The Storytelling Game 20TH ANNIVERSARY
Credits Street Fighter: The Stor ytelling Game 20th Anniversary Edition Compiled by: Rodger Gionelli Transcription Assistance: B. Honda Editing: Rodger Gionelli, B. Honda, Matt Meade Cover Concept: Rodger Gionelli Layout: Rodger Gionelli nterior !iagrams: Matt Meade (http://sfrpg.com) Special Thanks to eer!one "ho made the original Street #ighter: The Stor!telling Game possi$le% Street Fighter: The Stor ytelling Game "ritten by: Bill Bridges, &hil Br'cato, Brian amp$ell, Sean ang, Mike Tinne!, and Stephan *ieck !evelopment: Mike Tinne! and Stephan *ieck, "ith +ndre" R'dolf the Red- Green$erg and Bill BlankaBridges Editing: Ro$ert Hatch Art !irection: Richard Thomas Cover Art: ein M'rph! Layout and !esign: Michelle &rahler Cover !esign: hris Mcono'gh, arr! Schnelli #aps: hris Mcono'gh Art: 0ohn Bridges, arr!l 1lliott, Ton! Harris, 0eff Re$ner, 0osh'a Ga$riel Tim$rook, 0ennifer 2'h Colorist: arr! Schnelli Special thanks to aid 3 Martha4s class: +ndrea, +nthon!, Bill!, Brendan, aroline, arr!, ae, aid, &, 1lena, 1li5a$eth, Genni, Harding, atie, ell! G., ell! M., !le, a'ra, indsa! H., indsa! 6., Michael, Mike, Moll!e, 7ick, 8liia, &at, Rachel, Rae, Richie, Ro$, and Sean for their help in pla!testing this game. Secrets o$ Shadoloo "ritten by: Bill Bridges, &hil Br'cato, Brian amp$ell, Sean ang, Mike Tinne! and Stephan *ieck !evelopment: Mike Tinne!, Stephan *ieck Editing: Brian amp$ell Art !irection: Richard Thomas Cover Art: Ton! Harris Cover !esign: a"rence Snell! Layout: +ileen 1. Miles Art: 0ohn Bridges, Ton! Harris, 0eff Re$ner, 0osh'a Ga$riel Tim$rook, 0ennifer 2'h Colorist: +ileen R. Miles, a"rence Snell! Thanks to 0osh'a 9Mookie9 Tim$rook, &hil 9r. Holoca'st9 Br'cato, Mike 9Sergeant +le Stone9 Tinne!, Brian 9Mind;'ake9 amp$ell, Stee 9Ma'rice 0ackson9 *ieck, and Bill 9Blanka9 Bridges for pla!testing 9To'rist Trap9 Shades o$ Gray "ritten by: Mike Tinne! !eveloped by: Mike Tinne! !esign Contributions: en liffe, Stephan *ieck, &hil Br'cato, Bill Bridges and Brian amp$ell
Editing: 8h Soon Shropshire and !nthia S'mmers Art !irection: Richard Thomas Layout: Ro$ert ion %laytesting: Bill Bridges, 0osh Tim$rook, 0im To"nsend, Richard Haight, +ileen Miles and Brian amp$ell Street Fighter %layer&s Guide "ritten by: +ndre" 0. 'cas %relude "ritten by: 7igel #indle! !eveloped by: Mike Tinne! Edited by: Ro$ert Hatch and !nthia S'mmers Art !irection: Richard Thomas Cover Art: Matt Hale! Cover !esign: arr! Snell! Layout: +ileen 1. Miles nterior Art: 0ohn Bridges, 0ohn Hart"ell, Ron Spencer, 0osh'a Ga$riel Tim$rook, Gar! T. *ashington Colorists: +ileen 1. Miles, arr! Snell! The %er$ect "arrior "ritten by: 0ohn 9The Gneech9 Ro$e! !eveloped by: 0ames 1stes Editing: 0ennifer larke *ilkes Art !irection: Richard Thomas Cover Art: Ron Spencer Cover !esign: a"rence Snell! Layout: +ileen 1. Miles nterior Art: 0ohn Bridges, 0im al! 3 Hank arlson, 0ohn Hart"ell, ae 0ohnson, 0osh'a Ga$riel Tim$rook Colorist: +ileen 1. Miles, 0ohn &ark, a"rence Snell! #aps: Shagg! ion, 0ohn &ark Contenders "ritten by: &hil Br'cato, Mike hane!, +lessandra la!ton, 0ames 1stes, +ndre" Green$erg, Ro$ Hatch, Harr! Heckel, Ross 6saacs, 0ohn &ark, 1rin ell!, +ndre" 'cas, 0ohn 9The Gneech9 Ro$e! !eveloped by: 0ames 1stes Editing: aid Rem! Art !irection: Richard Thomas Cover Art: 0eff Re$ner and Ro$ert Ro Cover !esign: arr! Snell! Layout: 0ohn 1. &ark nterior Art: 0ohn Heart"ell Colorists: arr! Snell!, 0ohn 1. &ark Thanks to Thai 6ced Tea. Special Thanks to
angief are trademarks of apcom o., td.
T ABLE OF CONTENTS
CHAPTER ONE: INTRODUCTION
6-18
CHAPTER TWO: PLAYING STREET FIGHTER
19-24
CHAPTER THREE: CHARACTER CREATION
25-5
CHAPTER FOUR: CHARACTER TRAITS
6-6
CHAPTER FIVE: THE E!PENDABLES
64-"0
CHAPTER SI!: STYLES OF THE STREET FIGHTERS
"1-99
CHAPTER SEVEN: CO#BAT $ SUPPLE#ENTAL RULES
100-11
CHAPTER EIGHT: SPECIAL #ANEUVERS
114-159
CHAPTER NINE: STORYTELLING
160-168
CONCLUSION
169-1"
“If you're an average warrior, I be the master. I could teach you how to fight and move faster. One false move kid, that'd be disaster. I'll beat you endless and continue the day after! - Infinite Welcome, Street Fighters! It's been a long time. Just over 20 years ago Street Fighter II was still the hottest thing in the fight game, we were ust learning about "uma #$ou"i% for the first time, Jean &laue (an )amme was about to star in a beautiful isaster, an White Wolf ha release their very best *+$. he year was -/, an the game was Street Fighter: The Stor ytelling Game. White Wolf were at their ea", churning out the original an 2n eitions of their World of Darkness games, the most famous of which being Vampire: The Masquerade. With a soli trac" recor for roucing grim, serious horror games, no one coul have reicte that their best game was to ta"e the form that it i. Street Fighter: The Stor ytelling Game, a game base on the famous vieo game series, herale the beginning of a role laying tren that woul fin e1ression in later games such as Exalted, Feng Shui, Weapon of the Gods, in an later inie *+$s such as Thrash, Fight!, Super Ga"hapon Fighter an Wushu. colorful worl of overtheto action, cramme with every insane ul troe imaginable, Street Fighter's aesthetic can also be seen mirrore in games li"e White Wolf's #d$enture an many games an settings that woul be release for the Fate or Sa$age Worlds rule sets. It was a refreshing change of tone comare to some of the ar"er material at the time, or some of the heavy 3realism simulator3 style games of the era. s brilliant as Street Fighter: The Stor ytelling Game was, the rouct line was abanone an fell out of rint by -4. White Wolf seeme to act as if the game ha never e1iste, with no sign of it to be foun on their web site for years. Was it a mislace shame, or simly licensing issues that were to blame5 World of Darkness: %om&at, release in -6, was a clear attemt to bring the rules of Street Fighter into White Wolf's other rouct lines. 7ater, uring the *evise *uleset era, both #d$enture an Exalted #an erhas a bit of #&errant% containe elements that seem to have their sees in Street Fighter . In any event, White Wolf continue on, with Street Fighter being an almost forgotten oity from their ast. In 200/ they woul relaunch their horror titles with the 'e( World of Darkness , but 2
short years later they woul be ac8uire by &&+, eveloers of the SciFi 99: E$e )nline. +ublication of new material ene shortly after. For fans of White Wolf, the mi2000s were a grim time, but fortunately :ny1 +ath +ublishing #create by former White Wolf;&&+ ersonnel% was foune an license ol White Wolf roerties from &&+ to reublish ol material an begin wor" again on new materials for nearly every rouct line White Wolf ever rouce. :ne tren they became "nown for was roucing lavish 20th nniversary eitions of the original Worl of )ar"ness games utili
A NEW GENERATION OF STREET FIGHTERS Street Fighter: The Stor ytelling Game *+ th #nni$ersary Edition is a fan resonse, an act of reservation for one of the great *+$s. his boo" aims to collect all of the official rules, styles, maneuvers, abilities an bac"grouns that were create for Street Fighter> he Storytelling $ame uring its short run, clarifying an ocumenting inconsistencies, utting everything in easy reach. his boo" rovies everything you nee to lay. t its core, however, this is a rule boo". he original aventures, characters an setting materials White Wolf rouce were not inclue in the comilation of this wor". Street Fighter has a soli fan community, though, an there is no oubt more to come!
AN OVERVIEW OF THE BOOKS 7et's ta"e a loo" at the boo"s rouce for Street Fighter over its brief run. 9aterial from each of these boo"s can be foun in the 20th nniversary eition, an attemts have been mae to annotate the sources whenever ossible. For e1amle, you may rea an entry that says 3?lbow Smash #SoS .26%3, which inicates a Secial 9aneuver that was originally ublishe on age 26 of Se"rets of Shadoloo. s we iscuss the boo"s, you will see the abbreviation use to reference the original boo"s use as we cite them in the 20 th nniversary.
Street Fighter: The Stor ytelling Game ,%ore . he one that starte it all! he 20 th nniversary eition raws heavily from this boo". he only material from this boo" not use in the roect woul be the introuctory fiction, the characters, an the aventure @Aigh Sta"esB. x Se"rets of Shadoloo ,SoS- . )etailing the styles an characters of Shaoloo, this boo" was a useful aition! lso, lans an escritions for the mysterious lan of 9rigan"a, along with an aventure were rovie. he styles an maneuvers were the "ey arts ulle into the 20th nniversary eition, along with some minor rules scattere throughout the boo". #Science!, Clin!, Scuba!% x Street Fighter Storyteller/s S"reen0Shades of Gray ,SoG- . While largely a summari
WHAT'S IN THE BOOK? he 20th nniversary eition is bro"en own into the following chaters.
CHAPTER 1: INTRODUCTION What you're reaing! In aition to saying hello an a brief overview of the boo"s, this chater rovies an introuction to the worl of Street Fighter.
CHAPTER 2: PLAYING STREET FIGHTER
n introuction to the core rules behin Street Fighter, teaching you the basics of the Storyteller system.
CHAPTER 3: CHARACTER CREATION ?verything you nee to create your own hero. re you reay to stan with the Worl Warriors5
CHAPTER 4: CHARACTER TRAITS 7earn all about ttributes, bilities, Cac"grouns an echni8uesD imortant raits that efine the caabilities of your character.
CHAPTER 5: THE EXPENDABLES s characters engage in e1citing aventure, they change! 7earn about character avancement, Aealth, &hi, Willower an character *enown in this chater.
CHAPTER : STYLES OF THE STREET FIGHTERS Aow o you fight5 his chater escribes the martial art styles available to Street Fighters, an the other secial techni8ues those styles are caable of.
CHAPTER !: CO"BAT # SUPPLE"ENTAL RULES 7earn all there is to "now about engaging in combat, or using the rules to eal with the other various ha
CHAPTER $: SPECIAL "ANEUVERS collection an comlete escrition of the secial maneuvers an owers available to the varie eni
CHAPTER %: STORYTELLING vice an resources for running aventures an structuring chronicles in the worl of Street Fighter.
CONCLUSION Eotes an clarifications on the errata that was incororate into this te1t, as well as ointers to other useful resources for Street Fighter fans. Eow let's get to it!
THE WORLD OF THE STREET FIGHTER Gou are about to enter a worl of anger, intrigue an heroism H a worl where crime cartels rule the streets an sies stal" the corriors of o wer. he sta"es are high an the anger is great, for an evil organi
his chater etails the Street Fighter worl. It also introuces the Worl Warriors> who they are an why they fight. 7ast, but by no means least, this chater offers a glimse at Shaoloo, the evil emire in the worl of Street Fighter .
STREET FIGHTERS Who are the heroes of this worl, a worl wrac"e by unerworl crime an owerful tyrants5 hey are the Street Fighters, the toughasnails combatants foun all over the globe in the most unli"ely laces, continually forging themselves anew in the crucible of battle. hat bac"alley thug coul be a Street Fighter, as coul that retty girl who soa"s u rays on the beach in the morning but unches a heavy bag all afternoon. Street Fighters have many faces an hail from many countries. Some Street Fighters aren't even fully human, such as the mutants who come from the farthest reaches of the une1lore worl. Street Fighters aren't always heroes. 9any, in fact, are villains H thugs an assassins in the emloy of unerworl crime. hese few bring shame to the honorable fighting arts, but nonetheless control many of the most famous fighting tournaments H in this worl, ower e8uals influence. Influence, however, isn't everythingD self erfection is a higher goal, an the ultimate "ey to victory, as *yu, $ran 9aster of the Street Fighters, has rove. 9any Street Fighters are unli"ely heroes whose goals ust haen to coincie with the ath of honor. (engeance is a common Street Fighter goal. his vengeance is often fuele by 9. Cison, evil tyrant an crimelor. Cison has a list of eole waiting to ta"e him own. his is easier sai than one, for Cison is one of the most formiable fighters of all. ntil some brave young fighter rises u an efeats Cison, the emire of Shaoloo will continue to inflict ain an misery the worl over.
THE WORLD WARRIORS &ertain Street Fighters are e1cetional even among the other members of their rofession. hose who e1cel above the rest have become legens among their eers an the fans. hese are the - Worl Warriors, the Street Fighter &hamions. ll of them have fought har to achieve their status. 7esser Street Fighters ream of inuction into the ran"s of the Worl Warriors. With conviction, courage an a little bit of luc", they one ay might.
CHA"PIONSHIP ROLL CALL 2alrog: :nce a oular heavyweight bo1er, Calrog lost a fight in a controversial "noc"out. o restore his name, he entere Street Fighter cometitions, 8uic"ly battling his way to the to ran"s. Calrog wants fame an wealth more than anythingD he grew u oor an has sworn to overcome this by becoming the eitome of the merican )ream> a ragstoriches hero. Calrog has hire himself out as muscle for 9. Cison an will to o anything to regain his fame H no matter how wrong it is. 2lanka: From the steamy ungles of the ma
an increible combat e1ertise. Eo one "no ws where Clan"a learne his &aoeira, but many say that he is self traine, an that his electrical owers were taught to him by electric eels. Soun outrageous5 +erhas. Cut who truly "nows the secrets of the ee ungles5 +erhas Clan"a "nows %ammy: his highly s"ille Crit's ama
with =en, a stuent of $ou"en, who taught *yu an =en behind him, back there in the ungle, were "ison's guards, the ealy )ragon +unch. *yu has eicate his life to searching for him. one thing only> the e rfection of his martial art. Ae beat $e'd done what nobody else had ever done% he'd Sagat in the $ran 9aster tournament an has since escaed from "ison's fortified sanctuary in the ungles of retreate to solitary stuy of his art. Thailand. "ut he'd escaed alone, and for that "ison would ay% so #uile swore. Sagat: :nce the $ran 9aster of Street Fighters, $e hadn't heard the guards for a while now. $e'd finally Sagat lost his title to *yu an has burne with the nee for outdistanced them% they had returned to their master revenge ever since. Ae wants his title bac", an to this en emty-handed. #uile fell to his feet, tired from running a nd he has allie with 9. Cison, hoing the ictator can lure *yu bac" into the tournaments. Ae has been imroving his e&hausted from grief. nable to contain himself anymore, #uile roared to the sky( “)harlieee!!! I'm gonna make them 9uay hai "ic"bo1ing an has invente the ealy iger ay, )harlie! I'm gonna make them regret they ever ercut in resonse to *yu's )ragon +unch. catured us! They're gonna ay for what they did to you!* T5 6a(k: most intimiating warrior, . Aaw" stans #uile stared back the way he had come, back where the over seven feet tall. Ae is an e1ert in Eative merican fortress stood, hidden in the deths of the thickest forest. wrestling techni8uesD his style is sai to ha ve been taught $e would never forget the way, not even if years of growth to him by a great haw" sirit. Ais tribal lans were ta"en and underbrush covered the ath. One day, when he was away through the machinations of Shaoloo. . Aaw" has strong enough, he would return. +nd then "ison would see entere the chamionshi for one reason> to ta"e own some hell Cison. Inee, there are as many reasons to fight as there are Vega: he savate fighter an nina master gaine his fighters. ?. Aona wishes to rove to the worl that his eculiar style by fighting bulls in the astures of his sumo fighting style is inee worthy of acclaim. Langief Sanish homelan. Ae combine what he learne with his wrestles for his country, to rove that 9other *ussia can sly nina training to create a while new style of Sanish rouce the greatest an toughest of chilren. Clan"a Einitsu. Cesies his leaing an "ic"ing, (ega stri"es with see"s to "now more of the worl outsie his ungle an a ra to rove whom he hurts to get it. n 9. Cison fights for sheer to the worl the sueriority of the *ussian hysi8ue. arrogance, gaining immense leasure in beating the b est owar this en, he wrestle gri<
FIGHTING STYLES
GOALS
a ma, festive ance with many leas an sins. 4eet 7une Do: +ioneere by the late Cruce 7ee, Jeet =une )o is a fast, efficient, an owerful fighting style. he style ta"es what is best from many arts, focusing on no nonsense maneuvers that eschew the n iceties of formal traitional martial arts training. 4iu 4itsu: :riginally eveloe in Jaan in the -4th -6th centuries, Jiu Jitsu is a @softB martial art, relying uon using an oonent's own weight an momentum against them. he style laces an emhasis on oint loc"s an a variety of grabs intene to control an ultimately isable any oonent. 7a&addi . oga ,Dhalsim-: n art involving hysical maniulation of the boy, =abai relies on mysticism an e1tension of one's "ic"ing an unching ranges. It is a sliery artD its ractitioners nimbly avoi blows. single stri"e may lac" ower, but a =abai barrage can wear own even the toughest oonent. 7ung Fu ,Fei 3ong-: here are many styles of =ung Fu, from mon"ey to tiger to raying mantis to eagle. )eveloe by Shaolin mon"s in a seclue monastery, this fighting form borrows much from the wisom of animals an human sages. =ung Fu raws hilosohies an styles from the vast anorama of &hinese history an myth. 3er Drit ,M5 2ison-: 7ittle is "nown about this mysterious form eveloe by 9. Cison. &ombine with Cison's ar" sychic owers, this is a evastating art. 3ua: 7ua is a brutal martial art that originates in the Aawaiian islans. combination of graling an stri"ing that relies uon the ractitioner's "nowlege of human anatomy, articularly musculature an the nervous system. Ma;esti" %ro( 7ung Fu: relatively un"nown variant of =ung Fu, 9aestic &row is an e1ternal style H i.e., it relies more uon muscle ower an hysical rowess than on internal sychology an siritual eveloment. Muay Thai . Thai 7i"k&oxing ,Sagat-: he ower of this art is in the legs, an "ic"bo1ers evelo owerful legs inee. While this style is not very mobile, it has bliningly fast combinations. 'ati$e #meri"an Wrestling ,T5 6a(k-: his art was eveloe as a wrestling game among Eative merican tribes, but . Aaw" has shown that it can be a angerous art also, esecially when wiele by one of his si
"arate. nli"e bo1ing, however, it emloys a number of um "ic"s an highly acrobatic techni8ues. First associate with French mariners, it srea throughout France in time. Shotokan 7arate ,8yu and 7en-: style involving har blows an "ic"s, Shoto"an =arate is a ealy fighting art eveloe in Jaan. Its moves are straightforwar an ecetively simle. 9ost ractitioners wear a gi , a sort of loose ac"et an ants. Silat: n Inonesian martial art that in many ways is arallel to =ung Fu. In aition to a wie variety of techni8ues, Silat is also "nown for the 8uality of its weaons training. Spanish 'in;itsu ,Vega-: his style, eveloe by (ega, involves agility an leaing. Its "ic"s rely on uming momentum an see rather than leg strength. Secial nina maneuvers, such as wall climbing, also wor" to the fighter's avantage. Spe"ial For"es ,Guile and %ammy-: his is commano training, esigne to incaacitate an oonent 8uic"ly. It evolve from a hogeoge of arts> bo1ing, iu itsu, "arate, etc. It involves many surrise blows. Sumo ,E5 6onda-: Sumo is mainly thought of as a sectator ring sort in Jaan, but ?. Aona has rove that it can be evastating in the Street Fighter arena. Sumo relies on strength an sheer mass, an involves graling an slaing. Tai %hi %huan: aoist form of =ung Fu esigne to cultivate inner harmony an the ractitionerNs &hi, ai &hi &huan is sometimes calle @meitation in motionB. While ractice by many as a mil form of calisthenics, in the right hans it can function erfectly well as a form of self efense. Western 7i"k&oxing ,Dee 4ay-: While this resembles 9uay hai, it oes have its ifferences, such as more sinning "ic"s an allowances for unches. Wrestling: catchall term referring to the multitue of fighting arts aroun the worl that focus on grales, hols an throws. Wu Shu ,%hun 3i-: wil, acrobatic an showy art eveloe in &hina. here are many substyles of Wu Shu, an many ractitioners enter the &hinese :lymics to comete. hose who see" the toughest challenges, however, fight in the Street Fighter cometitions.
CHI &hi is the internal ower or energy inherent in everyone. It enters with the breath an flows li"e water through the boy, yet it roots the boy to the earth, ma"ing one stable, an its energy is li"e fire. &hi is all elements harmoni
of fire to electrical ischarges. hese secial owers are what istinguishes a Street Fighter's iniviual style from others> everyone "nows Clan"a for his electricity, $uile for his sonic boom, an )halsim for his Goga Fire. Cut there is a ar" sie to &hi, an evil ath to mastery of internal energy. his ath is best e1emlifie by 9. Cison. Eo one "nows how Cison gaine his rea sychic owers, but many are sure his abilities are lin"e to a ar" sie of &hi energy. Cy unloc"ing the eeest an most evil arts of his inner min, 9. Cison has been able to unleash some truly ama
virtuous enemy in the ring, for everyone "nows that if treachery is involve, the one at cause will suffer for it, whether through the fists of other fighters or by boycotts. hus, all Street Fighters give at least li service to honor. Aonor is more than a coe alie for the safety of fighters. It is the guieost on the ath to erfection. It is a coe that leas to wisom, which in turn allows a fighter to rise above the merely hysical, to achieve erfection of form an transcen the worl's bounaries.
BREAKING THE CODE
Few Street Fighters even consier brea"ing the coeD the reercussions can be vast. fighter who brea"s the coe sens a message to the worl that he is 9artial arts are not learne simly by trying H a fighter ishonorable, untrustworthy to enter the ring with true must have an instructor, someone who has alreay fighters. In aition, no one will treat him resectfully or mastere a style an can teach his e1ertise to a new trust him thereafter. Ae may fin himself gange u on by generation. martial arts teacher is calle a Sensei #from thugs in an alley or "ic"e out of certain fighter hangouts. the Jaanese wor%. Sensei #at least the goo ones% o If he is in trouble, few will raise a finger to hel him H if he not ust teach how to fightD they also rovie moral training nees no coe of honor, then he nees no friens, the an instruction in rightful action. resecte an wise reasoning goes. Sensei often gives a Street Fighter automatic honor Aowever, some fighters get away with a bit more than among his eers, simly for ha ving stuie uner him. others H ieals asie, it is a tough worl, an some are Whenever a Street Fighter fins it har to wal" the twin willing to honor treachery in return for money or favors. aths of honor an glory, the sensei is the erson to whom his "in of activity, say the wisest, always bac"fires in the she can turn for avice. here are no simle answers, but en, returning to the transgressor tenfol what misery he one can at least oint to the right irection on the ath. has cause. he most famous Sensei among the Worl Warriors is (ega is an e1amle of an honorable man in the ring, but $ou"en, sensei to both *yu an =en. Since *yu gaine out of the ring there are no hols barre H if he has an the $ran 9aster title, the sayings of $ou"en have assassin's contract on you, he will fulfill it in any way. Such become highly oular among Street Fighters everywhere, is the honor of the nina. all hoing that some of *yu's success will rub off. Calrog cares only about fame an glory, an will only $ou"en is the innacle of honorD even other Sensei use follow honor as far as it will hel him get these things. If he his teachings as e1amles when stume by their feels a crow will cheer at nasty an ishonorable blows, waywar stuents' 8uestions. 9uch of the Street Fighter's he'll throw them. In aition, he oesn't min if his &oe erives from the teachings of $ou"en. #See $onor( managers engage in organi
SENSEI
HONOR: THE CODE OF THE STREET FIGHTER
smiled evilly at /esucci. Then /esucci heard a familiar voice in the crowd, calling his name. )olina2 $ere2 $e turned and saw her% she was standing between two e vil-looking men, obviously lackeys of "ison. he looked scared and they sneered at /esucci, the threat aarent in their gestures. If he won the fight, they would hurt )olina. /esucci felt faint 4 what had he gotten into2 5hy had he trusted "ison2 /esucci's heart sank as the bell rang. $e looked at )olina, and then at "ison. $e was traed. "ison launched himself at /esucci, twirling and crackling with his 6sycho )rusher energy. /esucci was knocked back% he felt his skin burning all over, singeing at the touch of the sychic energy. Though woo1y, he tried to get u, to land a blow on his foe. "ut "ison came at him 7uicker than he imagined ossible. + fist, crackling with dark ower, landed in his stomach. /esucci doubled over, the air knocked from his lungs. $e abbed as he fell, striking "ison's chest. "ut it was a feeble blow, and "ison only smiled as his leg snaed uwards catching /esucci's falling chin, sending him reeling uwards. /esucci landed a few feet away and got to his feet, but the world was sinning. $e could only stumble about. The last thing he remembered seeing was a corona of blue, scintillating light surrounding a fist, growing larger and larger in his vision until there was a shar smacking sound and all was dark his is why 9. Cison must be stoe. Is any fighter u to the challenge5 9a"e no mista"e, thoughD 9. Cison oes not nee such tactics to trash a foe. Ais s"ills are consierable enough without istraction.
outsie the ring. Crea"ing into a ruglor's hacienda to eliver ustice can be lethal when attemte alone. grou of Street Fighter characters is calle a team, while a grou of layers is calle a troue. eams, li"e layer grous, range in si
TEA" GOALS team usually has a main goal, which can iffer from the goals of the iniviual members. :ne goal might be to @ma"e it to the $ran &hamionshi ournamentB, a goal which re8uires years of training on everyone's artD another might be to @estroy Shaoloo's crime networ"B, a seemingly hoeless tas" but one which might actually be ossible if the team wor"s together an tac"les its goal ste by ste, city by city.
WORKING TOGETHER
team has got to stic" together. oo much internal friction among team members can isban a fine team H a tragey for the fighting community, but a boon to the team's enemies. For this reason, all teams nee a leaer. Aonor is not the only mar" of esteem among Street his leaer oesn't H an shouln't H have to be a ictatorD Fighters. here is also $lory, the mar" of a fighter's ast he or she shoul only ste in an ta"e charge when victories. he more bouts a fighter has won, the more neee, such as for coorinating mass combats or for $lory he has accumulate in the eyes of the fighting brea"ing u infighting. community. Infighting, while inevitable, shoul be "et minimal. $lory is very imortant to Street Fighters, an carries a &onflicts shoul lie without, among the foes the team faces coe of its own. Street Fighter gains little $lory for every tournament, not within, among themselves. besting those beneath him in renown, but can gain much Eonetheless, a certain amount of ersonal conflict within by beating his eers H or even his betters. Aowever, the team can a sice to a storytelling session, esecially certain fighters of high $lory will only fight others who if one of the characters obects to the leaer. *emember, match or at least aroach them in s"ill. *yu will not stoo though, conflicts shoul be among characters, never to fight a young hotshot with only a little $lory H he' layers. cream him in secons H but he woul accet a f ight from eamwor" can ma"e the ifference between victory an his eers, the -4 other Worl Warriors. efeat $lory is gaine through courageous an s"ille fighting, tarke finally landed the telling blow, sending the 8uke an is the stanar by which a fighter's s"ill is uge. reeling. One more hit would do it. $e moved in 7uickly, seeking to land a blow before the 8uke could fully recover, but then he heard 9risty yell in ain. he was in trouble% )hang was laying a flurry of kicks on her. If tarke didn't hel her, she'd be down in seconds, and he'd have to face he most e1emlary fighters, the Worl Warriors the 5u hu freak and the 8uke. themselves, often act alone. 9any uancoming Street It took tarke only a moment to decide. $e leaed Fighters, however, refer to wor" in teams, cooerative forward and u, coming down hard on )hang's head. grous of warriors. eams are assets in many ways> in the )hang grunted and fell. tarke didn't let u, but threw a case of multileroun fights, team members can series of hard unches as )hang tried to stand. substitute for other members of their team who are too hurt Then he felt a sudden blow to his leg. $e'd forgotten the to continue into other rounsD in multilecombatant fights, 8uke! tarke stumbled and fell% the grinning 8uke moved teams are necessary to ensure that one fighter is not in to grale him. "ut 9risty leaed on the 8uke before he gange u on by othersD an finally, a team rovies a could finish, throwing the owerful kicks she'd learned in fighter with allies who will hel him achieve her own goals Thailand. It was too much for the 8uke% he went down with
GLORY
TEA"S
a ainful yell, collasing onto the h ard-acked dirt floor. tarke sun around to face )hang, who was now advancing on him. )hang stoed, staring into tarke's angry eyes. +t tarke's side, 9risty was ositioning herself. )hang gritted his teeth. $e knew he was in trouble now
given by that iamese rince at his tournament, set u by +lbert, of course 4 and it was gone almost immediately. #ymnasiums were damn e&ensive to build. +lbert sighed. These were all ust costs of the business, he knew 4 art of the ob. "ut he couldn't wait till his team won the big fight in 9yoto. Then he'd finally have a chance to rest, what with the free hot-srings vacation that came with the win. +h, that would be nice. The hone rang and +lbert grabbed it before the second ring. “ight 6ro nlimited% +lbert chneider seaking.* eams are usually organi
"ANAGERS
TOURNA"ENTS
ADVENTURES OUTSIDE THE RING
secret. 5ell, thanks to him, it wasn't a secret any longer. fight a )hamion, and $ard 3dge meant to get all the )ammy heard a sound behind her and felt something ublicity he could out of his victory. $e was sure he could oke into her back. he guled and turned around. + beat this thing they called a 5orld 5arrior. $ard 3dge guard stood there, his submachinegun barrel aimed right was an +merican, not something raised in the ungle like at her. Tar1an. “5hat are you doing here, raulein2* the guard said. uddenly, a crashing sound came from the ungle. The “3r... I'm ust looking for the, er the lounge! 5hat kind crowd's babbling 7uieted instantly. $ard 3dge turned to of resort is this anyway, with no lounge2* )ammy relied. eer into the foliage, looking for the source of the noise. It The guard looked confused. “:esort2 +h, you are one of grew louder and louder, accomanied by the sound of the maor's 'guests', yes2* he said as he lowered his gun. trees slintering. $ard 3dge could see something there “;eah, tosser!* )ammy yelled as her leg drove into his now, beyond the green, moving toward him. stomach, bowling him over with a grunt. $e collased into Then, a huge tree rocketed from the ungle and landed the floor, unconscious. with a crash at $ard 3dge's feet. This was immediately )ammy looked around. “ the continents regional escrition below. an cities are all in the same laces, an national
GEOGRAPHY
bounaries are similar. Aowever, there are some very telling ifferences. hese are etaile below.
ARENAS ournaments ta"e lace in arenas across the worl. ?1erience Street Fighters will become seasone worl travelers, learning more an more about the customs an ways of eole all over the globe as they ourney to an from tournaments. renas are tyically foun in e1otic an foreign locales. hey can sometimes be unsettling for a warrior not use to leaving home $ard 3dge hated the stench of the lace( fish, fish and more fish. $e wondered if the odor would ever clear. $e had always hated seafood and its smell, being a die-hard meat 'n' otatoes man. $e looked around as he waited for his oonent to arrive for the tournament. The ramshackle village showed obvious signs of overty, but held a certain charm nonetheless. The eole seemed content, and they were all smiling. 3&cited at the coming fight, $ard 3dge thought. ome of them were still docking their small fishing boats, tying u and rushing to the woodslat walkway without even unloading their catch. ights were oular here. $ard 3dge leaned u against a tree and almost immediately umed back as he felt something slick and scaly move behind his neck. + boa constrictor! 5raed around the tree as if it were some kind of et! 5hat kind of beast would kee a wild boa as a et2 $ard 3dge shook his head and walked over to his end of the arena to stretch. The local shos were selling bottles left and right as eole gathered in anticiation. 5here the hell was his oonent, anyway2 $e wasn't late, yet, but it was odd that he wasn't here warming u. $ard 3dge heard the sna of cameras and turned to see some eole already taking ictures. $e naturally, almost unconsciously, began to ose. This would look good for ublicity after the fight. It wasn't every day that you got to
NORTH A"ERICA Street Fighting is oular throughout the .S. an &anaa, with tournaments ta"ing lace all over both countries. In fact, many managers are trying to ma"e Street Fighting a recogni
CENTRAL A"ERICA AND THE CARIBBEAN &rime is a big roblem in &entral merica an the &aribbean. &orrution an bribery often e1ten to high levels of the government. Interol is often stymie by olitical an ilomatic roblems when trying to oerate in the area, which allows Shaoloo an a few renegae leagues to smuggle rugs an commit other crimes with relative ease. Jamaica, while not as ba off as many of its neighbors, still suffers from crime an government corrution. his only ma"es heroes li"e )ee Jay more oular, for this aring entertainer can ta"e the eole's mins off their troubles for a night. 9e1ico also hosts a growing number of otential Street Fighters. While the main sort here is 9e1ican wrestling, featuring heroes garbe in garish mas"s, Street Fighting has cativate many 9e1icans, esecially those who ha ve witnesse . Aaw" in action. Mexi"o ,T5 6a(k/s square- . his colorful an ictures8ue village is now home to . Aaw", who was islace from his reservation by Cison's treachery. Ae has mae a lot of local friens, however, an they gather to cheer him on for every fight. hey are a frienly bunch an will offer tasty fruits an local rin" for visitors to enoy while watching the fights. 4amai"a ,Dee 4ay/s ;oint- . regular arty sot for tourists becomes the oint to fre8uent when )ee Jay fights. local reggae ban lays own the rhythm for artying as eole gather to watch the fists fly. &hallengers are always invite to arty before an after a fight, an the music is usually enough to ma"e losers forget the ain of their efeat.
SOUTH A"ERICA South merica's une1lore an mysterious ungles house e1otic animals an lants, an e8ually e1otic native tribes. *umors eicting lost cities of gol an other remnants of ancient civili Clan"a, the Worl Warrior. Cra
whom now train har in hoes of emulating Clan"a. growing number of local tournaments give the young hotshots a chance at glory. &rime can be foun hien in the ungles, in the form of secret smuggler bases or e1Eail ,2lanka/s fishing $illage- . his small fishing village along the Cra
EUROPE Street Fighting is not a favore sort in ?uroe, being eeme too rugge an uncivili Shaoloo must be stoe. England ,%ammy/s "astle- . his ancient castle has long stoo near the Scottish highlans, in sight of the beautiful aurora borealis. 8uaint village graces the valley below. While the castle seems ol an creey, with its ancient statuary an cawing roo"s, it is 8uite co* can often be hear from visitors an onloo"ers uring a fight. (isitors can also see the local bullfights an erhas view the bullrun, an annual festival uring which the bulls are allowe to run through the streets of the city, chasing any who are run before them.
RUSSIA he .S.S.*. has issolve into many smaller states, an the new arliament is ivie in many irections. Cut
the *ussian eole are still one, regarless of minor cultural ifferences. In the mist of economic ifficulty an social uheaval, Street Fighting has become a oular release of aggression for both fighter an sectator. Langief is a hero, a role moel who has survive the ownfall of his favore government. Shaoloo is not blameless for the region's confusion an strife. Inee, for mysterious reasons, Cison wants 9other *ussia brought to her "nees an is oing everything he can to imee her recovery. Some seculate that he wor"e for Soviet intelligence uring his tenure as a hai ictator, an was betraye by his sueriors when he was eose by a eole's revolt. Eow, these seculators believe, Cison see"s revenge. 8ussia ,9angief/s fa"tory- . his moel of *ussian efficiency never stos wor"ing, but long brea"s are allowe when Langief fights. Wor"ers line u nearby to cheer their chamion an boo the challenger. Aowever, they will try to trae goos with challengers an visitors ali"e, being esecially intereste in blue eans an roc"anroll music.
AFRICA While a Worl Warrior has not yet emerge from frica, many seculate that it will not be long until one oes. Street Fighting has become oular in some areas, an hary warriors are creating interesting new styles from ancient fighting forms. frica is a lace to watch for u ancoming fighters. 9any strange creatures are rumore to inhabit the &ongo, the eeest an most une1lore ortion of the continent. Some eole whiser about mutants, erhas similar to Clan"aD others say an intelligent ae lives there, although none believe he is a Street Fighter. frica also has its troubles, from the racial strife in the south to the famines an warlors of the north an east. s usual, Shaoloo has a han in irty oerations, from illegal ivory smuggling to weaons sales. nyone attemting to hel may suffer the scorn of ancient clan hatres an rivalries.
"IDDLE EAST he 9ile ?ast is a lan torn by religious an olitical conflict. )esite this, Street Fighting is barely "nown here, though rumors aboun of a team of fighters eveloing a ealy style base on the ance of the whirling ervishes. he members of this team a llegely ossess the s"ills of an ancient orer of assassins suosely ating bac" to the Aoly &rusaes.
INDIA ?ven in this ancient an holy lan of ascetic riests an enlightene mon"s, Street Fighting has gaine a following, than"s to )halsim. he ol fighting arts of Inia are e1eriencing a renaissance. Goung villagers floc" to the very few masters, eserate to learn the ath of erfection through combat. Inia an the surrouning lans harbor many remote an strange sites, such as the mountains of Eeal, the ungles of Cengal, an mystic ibet high in the Aimalayas. 9any
locals believe that owerful mutants live in the highest mountains, isolate from the outsie worl. &rime is on the rise in Inia, than"s to Shaoloo. Cison see"s to corrut the country an rain its mystical strength. Ae hears that here, with ancient temles an the mins of ol riests, lie occult secrets which may enable others to efeat his sychic ower's wea"nesses. ?ndia ,Dhalsim/s indoor temple- . ?lehants line the walls of this temle, reay to trumet for the winner of a fight, whether it be )halsim or otherwise. cobra also resies here, in a large golen urn. he sna"e is uner )halsim's comlete control, so challengers nee not worry. &hallengers must travel far to reach the temle, for it is seclue in a hien valley. 7ocal villagers will not only hel challengers fin the temle, but will offer hositality an even avice ertaining to matters of enlightenment.
SOUTHEAST ASIA sia has given birth to the most owerful an legenary fighters, for many of the martial arts eveloe here an grew to become not ust fighting arts, but siritual arts besies. In Southeast sia, however, a great evil has arisen> Shaoloo. small, little"nown country rests ee in the South &hina Sea> 9rigan"a, 9. Cison's own "ingom, which he rules with an iron fist. Cison foune 9rigan"a with the ai of his sychic owers. sing information obtaine by reaing the mins of certain eole in ower, Cison blac"maile his country into e1istence. he worl courts an .E. were force to recogni
Thailand ,Sagat/s retreat- . large statue of the Cuha serenely overloo"s Sagat's arena. In the istance, ancient temles can be seen. he silence is ee, bro"en only occasionally by the souns of combat as Sagat trains to regain his title. he nearest village is a long wal" away, an hositality is not chea. he villagers are all oor, surly, an fearful of Sagat an 9. Cison.
CHINA
Jaanese countrysie. Ae fights only at night, when the s"y is clear an the stars are shining. his 8uiet time gives him a siritual strength that hels him beat his oonents. Ae is a gracious host, however, an lets his challengers stay in rooms rovie for them in the comoun. Ae also leas aily meitations by the srings nearby. (isitors leave with a eeer sense of the siritual 8ualities in their martial arts. 4apan ,E5 6onda/s &athhouse- . his oular bathhouse is a lace of rest an ractice for many of Jaan's sumo wrestlers, courtesy of ?mon Aona. Fights ta"e lace on the slic" tile floor by a large tub of water. Aona often invites challengers to rela1 in a acu<
&hina is home to one of the olest civili *yu. he Storyteller shoul feel free to ma"e the eole who han"s to the tutelage of $ou"en, he has beaten all his live an wor" near an arena a vital art of any story. oonents an become the best of the best. Ae owes it to the simle an highly honorable values of his homelan. han"s to *yu's an ?. Aona's success, Jaanese Street Fighting is booming, as oos across the country swell with eole eserate to learn the fighting arts. /ery few eole can be totally ruthless. It isn't easy. It Cut Jaan has a shay unersie> organi
AUSTRALIA
FANS
&APAN
TROUBLE: SHADOLOO
to ta"e over worl governments, eventually achieving his goal as gran ictator of the worl. Eo one "nows much about 9. Cison. When he was finally riven out of hailan, he escae ustice an isaeare. Gears later, he aeare again, this time heaing a criminal organi &hun 7i, whose father was "ille by Shaoloo oerativesD $uile, whose best frien was "ille by CisonD an . Aaw", whose reservation was isbane in a scheme evise by Cison. Cison is recogni honor, wisom, self sufficiency, an ersonal isciline. Cison is trying to lure *yu into fighting again, hoing to efeat him an shame him before the worl. Aowever, he hates all of the honorable Worl Warriors an lots their ooms also.
SHADOLOO'S "ANY TENTACLES While the main base for Shaoloo oerations is in 9rigan"a, numerous smaller oerations oerate throughout the worl. +lans are continually imlemente to avance Cison's goal of ictatorshi. &riminals of all tyes an nations wor" for Shaoloo, some "nowingly, some not. Inee, most have no iea of the e1tent to which Shaoloo has consoliate worl crime. If they "new, they might turn against such a monstrous organi
HENCH"EN LACKEYS AND THUGS Shaoloo has many minions, from unerworl crime figures H ons, corrut cos, etty thieves H to common mercenaries, hire guns an assassins. nyone lying a trae ami the seeier asects of human e1istence can gain emloy in Shaoloo. ?ven some of the Worl Warriors have wor"e for Shaoloo on occasion. Calrog has hire himself out as muscle to Cison, beating u a few eole who were troubling Cison in business ealings. (ega has hire himself out as an assassin, "illing a few hir Worl oliticians who threatene Cison's lans. n Sagat has lege to hel Cison in return for ai in efeating *yu. hese fighters may have gaine immense glory, but no honor comes to those who wor" for Shaoloo.
LAW ENFORCE"ENT he Street Fighter worl iffers from ours in minor ways> crime organi
more harrie, trying eserately to sever each tentacle of crime before it can strangle its victims. +olice secretly value the Street Fighters, some of whom are outlaws. 9any a Street Fighter has been invite to become an oerative for olice or esionage organi
RENEGADE CRI"E LEAGUES Shaoloo has not been able to tighten its gri on all criminal organi
BUSTING SHADOLOO :ne of the main themes of the Street Fighter storytelling game is the camaign against Shaoloo. his camaign is usually wage by busting u Shaoloo's oerations or by going heatohea with those Worl Warriors allie to it. )efeating Shaoloo will not haen overnight, though, an may be ne1t to imossible. Cut it must be one, if not by the characters, then by others. If not, Cison will win, an honor will become meaningless. ll the ieals of the martial arts will be crushe by his brutish methos an tyrannical regime. 9any tyes of stories can be tol about Shaoloo, for crime has many faces. &hater Eine has some suggeste stories for those who woul are efy Cison. hat Cison must be stoe is clear. re you u to the challenge5
Fool! I but clench my hand and the world trembles! My agents are everywhere, longing to do my bidding, fighting each other for the right to serve me. You think you can stand before my Shadoloo army? Fah! nd even if you somehow defeat my servants, you will still have to face me. o one has ever defeated me " and no one shall. # M. $ison, %ord of Shadoloo &ords cannot 'rotect you against the inevitable hand of (ustice! Fight whom you will, corru't whom you may) you will not stand before me when I 'ut an end to your tyranny. # *yu, +rand Master Street Fighter From the forests of Sri Lanka to the windswept crags of Scotland, from the back alleys of Las Vegas to the jungles of Brazil, Street Fighters gather to prove their fighting prowess !riven by revenge, glory, honor or desperation, these men and women pit their combat skills against the best the world has to offer Beneath the pall cast by the worldwide crime cartel Shadoloo, these blacktop Samurai strive to return honor and respect to a world of corruption and senseless brutality "elcome to the world of the Street Fighter, where danger and adventure, glory and e#citement, are yours for the taking $he Street Fighter storytelling game e#pands on the video game of the same name %t allows players to e#perience the triumphs and defeats of these modern&day gladiators "ith this game, you can do battle in a dark world where personal honor and skill are all that stand between hope and despair
fighting !oes -yu have a girlfriend !oes .hun Li have a boyfriend "ould would an honorable Street Fighter do if he saw a crime in progress "hat if someone important to him were captured by Shadoloo $hese /uestions and more are yours to answer 0or are players limited to the roles of the "orld "arriors 1layers may also create their own Street Fighter characters "hile these beginning characters will not have the awesome skill and power of seasoned warriors like 'uile or -yu 2at least not initially3, they may attain fame and renown of their own $hese new characters are yours to create 4 their motivation, style, personality and goals are yours to define "hether you play the famous "orld "arriors or create new Street Fighters of your own, you+ll pa rticipate in adventures that move beyond the combat arena5 forays into mysterious ruins, perilous clifftop chases, mad escapes through urban battlefields and daring rescues from hidden fortresses "ith Street Fighter , you can take your characters through any adventure you and your friends can conceive 6our greatest tool is your imagination, and your only limits are the boundaries you set for yourself 7lthough the Storyteller creates challenges and foes for the other players, the Storyteller and players are not antagonists, but collaborators $he challenge comes from inventing /uests and battles to rival the big&budget action movies, not from beating each other
WHAT IS A STORYTELLING GAME?
REMEMBER WHEN?
Storytelling games are like imaginary movies that you create with your friends $hese games allow you and your friends to become larger&than&life heroes and to have adventures impossible in the real world 'ames like Street Fighter are shared stories( each player creates part of a single, ongoing tale )ne Street Fighter player assumes the role of the Storyteller, the director and stage manger of your private movie $he player acting as Storyteller has the most challenging job, for she must bring the Street Fighter world to life $he Storyteller crafts the tale, details the perils that the characters face and describes the rewards that are theirs to win $he other players become actors of a sort, playing the Street Fighters $he roles of the p layers and Storyteller are e#plored in greater detail below Storytelling games are creative outlets, and fun ones at that $he interaction and cooperation found in storytelling games are hard to find anywhere else Storytelling brings a whole new dimension to the classic Street Fighter characters "hat are Blanka and *en like when they aren+t
7 storytelling game is like an adult version of the games we played as kids "hen we ran around our yards and playgrounds pretending to be cops and robbers, or superheroes, or cowboys, or astronauts, we were essentially actors performing a type of impromptu theater "e made up our lines, and the plot, as we went along $hese stories were usually pretty simple, but the make& believe made it fun 1laying a storytelling game such as Street Fighter isn+t much different 7s a player of the game, you+ll create a character whom you will act out during play $he character will probably be a marital arts hero, possessing fantastical physical abilities and capable of wielding potent mystical powers 2such as -yu+s Fireball or !halsim+s 6oga $eleport3 "hile you+re playing the game, you+ll decide what your character is going to do ne#t 6ou+ll speak for your character and describe what he does 7nd, when the going gets tough, you+ll decide how your character will fight 8nlike playground games, storytelling games don+t involve running around or physical activity 'ames are
played indoors at a kitchen table or on your bedroom floor 6ou don+t need a lot of props or e/uipment to play( all you need are pencils, paper, and some 9:&sided dice 2these special dice can be found in most hobby stores or ordered online3 6ou+ll need enough space to set up a map, so you can use cutout figures or miniatures to show the action as it happens in the game %t takes at least two people to play a storytelling game, although groups of three to five people are best 7 storytelling game group is called a troupe 2like the bands of actors and actresses who traveled from town to town in ;urope during the
THE RULES 7ll games have rules Some games, such as .hutes and Ladders, have only a few simple rules )thers, like bridge, have many complicated rules Street Fighter has something in common with both types of games > it has only a few simple rules, but you can use these rules in many different ways to describe what happens in a Street Fighter story $his chapter provides the basic rules of Street Fighter .ombat rules are presented in their own chapter later in the book %f this is your first time reading the book, you may want to skim through this chapter !oing so will give you an idea of what the rules are like and help you learn some key words that you+ll see throughout the rest of the book )nce you
know some of the rules and terms, the rest of the book will make more sense Finally, before you read on, remember that all the rules e#ist to make your story better -ules should never become a distraction from the overall theme5 enjoyment of the game %f a rule slows down game play or gets in the way of having fun, then ignore it or change it
TIME $he first thing you need to learn is how time passes in Street Fighter $here are si# different ways to de scribe time, progressing from the smallest unit to the all& encompassing one * $urn > )ne unit of time within a scene, anywhere from three seconds to three minutes in length 7 turn is enough time to take one action 2discussed below3 * -ound > 7 series of 9: turns )ne compact period of action and roleplaying that takes place in a single location 7 scene is made up of a variable number of turns 2as many as it takes to complete it3( it can also be completed strictly through roleplaying, which re/uires no use of turns * .hapter > )ne independent part of a story, almost always played in one game session %t is made up of a number of scenes connected by periods of downtime * Story > 7 complete tale, with an introduction, buildup and clima#, that often takes several chapters to complete * .hronicle > 7 whole series of stories connected by the lives of the characters and perhaps a broadly conceived theme and plot 7 chronicle is simply the ongoing story told by you and the players
ACTIONS Besides acting out their characters+ speeches and conversations, players will want their characters to perform 2or at least attempt to perform3 actions they describe to the Storyteller 7n action can be anything from jumping over a gorge to glancing over one+s shoulder to see if anyone is following $he player tells the Storyteller what her character is doing and details the procedure she users for instance, when a player tells the Storyteller that her character walks across the street toward the warehouse 7ll the Storyteller needs to do is keep track of where the character is and what she is doing =owever, certain actions re/uire a dice roll to determine success or failure
ROLLING DICE $here is always chance in life $here+s a chance you+ll win the lottery, a chance you+ll be audited, and a chance you+ll die in a plane crash .hance plays a role in Street Fighter as well =owever, Street Fighter players use dice to simulate the duplicity of Lady Luck Street Fighter re/uires the use of 9:&sided dice, which you can buy in any game store %f you a re the Storyteller, you will want a lot of dice, at least 9:, all to yourself 7s a player, you+ll also want dice, but you may share dice with other players "henever the success of an action is in doubt, or the
Storyteller thinks there is a chance your character might fail, you will have to roll dice $his gives your character an opportunity to let weaknesses and strengths e#hibit themselves, thereby revealing something of the character+s true nature to both you and the other players
RATINGS 7 character is described by her $raits > the innate and learned abilities and aptitudes she possesses $raits are defined by numbers( each $rait has a rating from 9 to ?, which describes the character+s ability in that particular $rait )ne is lousy( ? is superb $his scale of 9 to ? resembles the @star@ rating system made famous by movie and restaurant critics 6ou should consider the normal human range to be from 9 to A, with being average =owever, e#ceptional people can have $raits of C 2e#ceptional3 or ? 2superb3, or even have a zero in a $rait 2which is e#tremely rare but not unheard of3 For e#ample a character with a Strength 7ttribute rating of would be as strong as an average human being, while someone with a Strength of C would be e#ceptionally strong #
7bysmal 1oor 7verage ** 'ood *** **** ;#ceptional ***** )utstanding
s/uare from the $rait+s current score
DIFFICULTIES 0ow you+ve got to figure out what you need to look for when you roll the dice $he Storyteller assigns each action a difficulty rating 7 difficulty rating is always a number between and 9: 6ou need to roll that number or higher on at least one of the dice your !ice 1ool in order to succeed ;ach time you do so, it+s called a success %f the difficulty is E and you roll , A, ?, E, and , you have scored two successes $hough you usually need only one success to succeed, the more successes you score, the better you perform Scoring only one success is considered a marginal success 2you hurl yourself over the chasm and barely grasp the other side with one hand( it will take you several seconds to haul yourself up3 Scoring three is considered a complete success 2you gracefully leap over the chasm and continue your pursuit without breaking stride3 Scoring five is a momentous event 2you soar over the chasm and land in front of your fleeing foe3 8nless the Storyteller says otherwise, the difficulty for a particular task is always E $his is the standard difficulty, and E is assumed if a difficulty number is otherwise unstated
*
;ach dot your character has in a particular $rait allows you to roll one die in situations relevant to that $rait $hus, if your character had four dots in Strength, you would get to roll four dice %f she had one dot in 1erception, you would only get to roll one die =owever, you almost never simply roll the number of dice your character has in an 7ttribute, which defines her intrinsic capabilities 8sually you get to add an 7ttribute to an appropriate 7bility 7bilities are another kind of $rait( they describe things that a character knows and has learned So if the Storyteller wants the players to roll to see if they notice the Shadoloo agent tailing their characters, he would have them roll 1erception D 7lertness > an 7ttribute D an 7bility $hey would take as many dice as they had dots in 1erception and put them in their hands $hen they would take as many dice as they had dots in 7lertness and put those in their hands also $hese dice are collectively called the !ice 1ool $he !ice 1ool is the total number of dice a player may roll in a single turn > usually for a single action, though a player can divide her !ice 1ool in order to allow her character to perform more than one action in this case, Strength Finally, some $raits like "illpower and .hi have both a permanent rating 2shown with circles on the character sheet3 and a current score 2shown with s/uares3 "henever a character needs to perform a "illpower test, the permanent rating is almost always used "henever a character has to spend a point of "illpower 2for e#ample to e#ecute a Special
DIFFICULTIES
Three Four Five Six Seven Eight Nine
Easy Routine Straightforward Standard Challenging Difficult Extremely Difficult
DEGREES OF SUCCESS One Success Two Successes Three Successes Four Successes Five Successes
Marginal Moderate Comlete Excetional !henomenal
6ou can see that if the difficulty is lower, it becomes easier to score a success, while if it is higher, it becomes more difficult $he Storyteller will assign high difficulties whenever the action you have decided to take is difficult, and will either let you do something automatically 2because your 7ttributes and 7bilities are so high3 or give you a low difficulty if an action is particularly easy $hough they are not on the list above, you, as the Storyteller, can also assign difficulties of or 9: =owever, these should almost never be used !ifficulty is so pathetically easy that you might as well let the player
succeed without wasting time on a roll !ifficulty 9: is so difficult that there is an e/ual chance to botch 2described below3 as there is to succeed, no matter how many dice the player rolls 7n action with a difficulty of 9: is virtually impossible )n the rare occasions when you do announce a difficulty of 9:, be sure you realize how impossible you are making the chance of success Some tasks are impossible from the onset $hese are left to the discretion of the Storyteller %f the Storyteller decides that a task is impossible, it simply cannot be done Bear in mind that an impossible task should be one which is obviously so Breaking a pencil in half should never be an impossible task =owever, if .hun Li wanted to pick up a tank and throw it at < Bison, that task would clearly be impossible
THE RULE OF ONE $he last thing you need to know about rolling dice is the @rule of one@ "henever you roll a @9,@ it cancels a success %t completely takes it away 6ou remove both the @success@ die and the @9@ die and pay them no more heed For e#ample, Goe is playing his own Street Fighter named $sunami $sunami is trying to sneak past a guard dog into a Shadoloo warehouse Goe rolls $sunami+s !e#terity 7ttribute 23 plus his Stealth 7bility 23 as he tries to navigate /uietly over a patch of broken glass 2difficulty E3 =e rolls four dice and scores 9, A, ?, and H 0ormally, $sunami would have one success 2the 3, but he also rolled a 9, which cancels out the success $sunami fails the roll, and the dogs start barking at the sound of his footsteps %f you roll more @9+s@ than you do successes, a disaster occurs( something called a @botch@ takes place !on+t count the @9+s@ that canceled out successes, but if even a single @9@ is left after all the successes have been canceled, a botch occurs 'etting a single @9@ or five @9+s@ has about the same result in most cases( the circumstances surrounding the botch determine if it is catastrophic or a minor mishap %f there aren+t any @9+s@ or successes left, you+ve simply failed For e#ample, if $sunami had rolled a 9, 9, C, and , he would have botched $he first 9 cancels out the , and there is still a 9 left over, so it+s a botch 0ot only do the dogs hear $sunami, he also steps on the broken glass and cuts his foot
AUTOMATIC SUCCESSES 6ou don+t want to be rolling dice all the time( it can get in the way of roleplaying Street Fighter employs a very simple system for automatic successes, thus freeing players from having to make rolls for actions their characters could perform in their sleep %t works like this5 if the number of dice you have in your !ice 1ool to perform a feat e/uals or e#ceeds the difficulty of the feat, your character succeeds automatically Such a success is considered marginal 2the e/uivalent of getting only one success3, so sometimes a player will want to roll anyway in an attempt to gain even more successes But for very simple and often&repeated actions, automatic successes can eliminate a lot of wasted time For e#ample, let+s say Goe wants to see if his Street Fighter, $sunami, is able to find the Shadoloo file that+s hidden somewhere within the corrupt police chief+s office
$he Storyteller informs Goe that he must roll $sunami+s 1erception 7ttribute of A and an %nvestigation 7bility of C > seven dots total $he Storyteller allows Goe to use the automatic success system Goe has seven dots and his difficulty is E, so $sunami successfully finds the Shadoloo file 7nother way a character can score an automatic success is by spending a "illpower point $his method differs from the prior one, in that in addition to the automatic success granted by the "illpower, you also get to roll your regular die pool "illpower granted successes cannot be canceled 6ou won+t want to do this often, but it can be very advantageous to do so when seeking to accomplish certain difficult, heroic feats )f course, the "illpower e#penditure only counts for one success if multiple successes are re/uired 7lso, even " illpower won+t allow a character to succeed at a feat the Storyteller has ruled to be impossible "hen we play, we usually use a combination of dice rolling and automatic successes !uring most scenes > especially when we+re deeply involved in the story > we don+t even roll dice, preferring to roleplay without interruption through scenes =owever, when we get in the mood for 'laying#a#game, rather than telling#a#story , we make lots of dice rolls and add many complications to the rules
COMPLICATIONS 6ou may have already realized that it is /uite easy to score a single success, even when you roll only one or two dice 6ou have about a I?J chance for a marginal success when you roll only two dice and the difficulty is a E "hile that may sound too easy, there are various ways to complicate matters, some of which are discussed below For troupes heavily into roleplaying, simple rolls and automatic successes are enough 'enerally, complications are used if the players or you want a break from the roleplaying, if you want a realistic result, or if you want to make a game out of the current story scene .omplications add drama to the story and create a depth of passion and focus
EXTENDED ACTIONS %n order to succeed fully, you will sometimes need more than one success > you will need to accumulate three, or seven, or even : successes 2on rare occasions3 7n action that re/uires more than one success is called an e#tended action ;#tended actions are not uncommon, but simple actions are the ones most fre/uently made 7n e#tended action allows you to roll over and over on subse/uent turns in an attempt to collect enough successes to succeed For instance, your character is climbing a tree, and the Storyteller announces that a total of seven successes is re/uired for your character to reach the top She+ll get there eventually, but of course the more times you roll, the more chances your character has to botch and injure herself %f she is attempting to climb down the tree because it is on fire, the amount of time it takes becomes e#ceedingly important !uring an e#tended action, you can keep trying to obtain successes for as long as you want, or at least until you fail to score even one success %f you botch, your character may have to start over from scratch, with no accumulated successes 7fter a botch, the Storyteller may decide not to
let the character try again at all $his type of action is more complicated than a simple action and should not often be employed in the middle of intense roleplaying $he Storyteller should decide what type of action is called for
RESISTED ACTIONS
)ther e#amples of when to use the rule are5 picking a lock 2Streetwise3, scaling a wall 27thletics3, and /uestioning an agent of Shadoloo 2%nterrogation3 Sometimes the Storyteller shouldn+t invoke this rule 7 notable e#ample is during a car chase Failing one driving test doesn+t necessarily mean that the driver is frustrated and has a better chance of failing future driving tests But after the driver has failed a couple of times, she may lose sight of the car she+s chasing )ther e#amples of when not to use the rule are5 seeing something out of the corner of the eye 27lertness3, and fighting in the dark 2Blind Fighting3
Sometimes you will act in opposition to another character Both of you will make rolls, usually at difficulty E $he person who scores the most successes succeeds =owever, you are considered to score only as many successes as the amount by which you e#ceed your opponent+s successes $he opponent+s successes eliminate your own, just as @9+s@ do $herefore, it is very "ction difficult and rare to achieve an outstanding success on a resisted action ;ven if your opponent cannot beat you, Simle she can diminish the effect of your efforts Some actions are both e#tended and resisted, re/uiring one of the opponents to collect a certain number of successes in order to succeed completely ;ach success above the opponent+s total number of successes in a single turn is added to a success total $he first opponent to collect the designated number of successes wins the Extended contest For e#ample, *en and -yu decide to play tug&of&war $he Storyteller sets the difficulty at E and declares that five total successes must be scored in order to win *en and -yu both roll a number of dice e/ual to their respective Strength scores *en scores four successes( -yu gets three $he Storyteller subtracts -yu+s successes from *en+s, leaving *en with one of his five needed successes $he characters will continue rolling each turn Resisted until one of them accumulates five total successes
Examle Descrition Firearms, 7lertness
$ask is completed with one roll $he Storyteller announces the difficulty and the players roll their dice 7utomatic success is possible
-unning, -esearch
$ask is completed when a given number of successes are obtained, which may re/uire more than one roll 2thus providing more chances to botch3
Shadowing
7 contest of skill between two individuals $hey compare their number of successes and the one with the highest number succeeds
TEAMWORK Sometimes characters can work together to collect successes, most often during an e#tended action 7t the discretion of the Storyteller, two or more characters can make rolls separately and combine their successes $hey may never combine their separate $raits for one roll, though $eamwork is effective in some circumstances, such as in combat, shadowing enemies, collecting information, and repairing devices !uring others, it can actually be a hindrance, such as in many social actions 2where it can confuse the subject3
TRYING IT AGAIN %t can often be frustrating to fail %f you are having trouble with your computer and can+t figure out the source of the system error, you+ll likely become rather a nnoyed $his frustration is reflected in Street Fighter by increasing the difficulty of any action if it is tried again after it+s already been failed "henever a character attempts an action she previously failed, the Storyteller has the option of increasing the difficulty of the action by one .onsider a character who tries to intimidate someone %f the first attempt failed, it+s going to be harder the second time around, so the difficulty is one higher %f tried a third time, the difficulty is two higher %n cases like this, though, the Storyteller might simply rule that the character cannot even make another try > how do you intimidate someone who has already called your bluff
Extended 7rm # Resisted "restling
$wo individuals compete as in the resisted action, but before one can claim success he must accumulate a certain number of successes
THE GOLDEN RULE -emember that in the end there is only one real rule in Street Fighter 5 there are no rules 6ou should fashion this game into whatever you need it to be > if the rules get in your way, then ignore or change them %n the end, the true comple#ity and e#citement of the Street Fighter world cannot be captured by rules( storytelling and imagination are needed to do that %ndeed, these rules are not so much rules as they are guidelines, and you are f ree to use, abuse, ignore, and change them as you wish
TRY IT OUT "ell, that+s it $hese are the rules $his system for dice is all you really need to know in order to play this game 7ll the other rules are just clarifications and e#ceptions 7s
long as you understand what+s been discussed here, you won+t have any difficulty understanding anything else %f you don+t think you+ve caught everything, just read this chapter again( you+ll find it makes more sense the second time around
EXAMPLES OF ROLLS Following are some e#amples of rolls, to provide you with some ideas on how to incorporate these rules into your roleplaying 1lease note that each 7ttribute can work with each 7bility, so there are over 9?: potential types of simple rolls that can be made * 6ou threaten the young man by trying to lift him up by his collar -oll Strength D %ntimidation 2difficulty E3 * 6ou want to break down the metal door that was just slammed in your face 6ou need to roll Strength 2difficulty E3 6ou must accumulate si# successes in order to break it open enough to slip through * 6ou want to ascertain the style of your ne#t opponent -oll %ntelligence D Style Lore 2difficulty ?3 to figure out what style he+s practicing * 6ou want to get an edge on your opponent by determining his strengths and weaknesses -oll 1erception D %nsight 2difficulty E3 to view some of h is .ombat .ards * 7fter being /uestioned for hours, roll Stamina D Subterfuge to see if you can successfully maintain your story 2difficulty H3 Five successes completely con vince your interrogators * $he people before you are hostile, but also friendless and in trouble -oll .harisma D Leadership 2difficulty H3 to see if you can find a way to lead them from peril 6ou need to collect at least five successes before they+ll truly trust you * =ow long can you remain motionless in the bushes as the two guards chat for hours on end -oll Stamina D Stealth 2difficulty I3 * 6ou try to analyze what+s wrong with the car engine by listening to the strange sounds it is making -oll 1erception D !rive 2difficulty E3 * Suddenly, a man pushes a crate out of the van you have been chasing > roll "its D !rive to see if you can avoid hitting it 2difficulty E3 * 6our plane is fired upon with rocket launchers
pI3
GAME TERMS 7bility5 7 $rait that describes what a character know and has learned rather than what she is 7bility are $raits such as %ntimidation, !rive, and the s/uares, not the circles -ating5 7 number describing the permanent value of a $rait( most often a number from 9 to ?, though sometimes a number from 9 to 9: -esisted 7ction5 7n action that two difference characters take against each other Both compare their number of successes( the character with the most wins Scene5 7 single episode of the story( a time when and place where actions and events take place moment by moment 7 scene is often a dramatic high point of the story Simple 7ction5 7n action that re/uires the player to score only one success to succeed, though more successes indicate a better job or result Storyteller5 $he person who creates and guides the story by assuming the roles of all characters not run by the players and determining all events beyond the control of the players Special usually on a regular basis "orld "arrior5 $he creme de la creme of Street Fighters $he "orld "arriors are masters of their styles
GETTING STARTED Before you can begin to play Street Fighter , you must create a character. You may, if you wish and the Storyteller permits, run one of the established World Warriors. It is often more satisfying, however, to custom-build your very own Street Fighter. reating a character from scratch is half the fun of the game. Building a compelling yet honest character is a creative struggle for even the most e!perienced among us. "his chapter describes how to create a uni#ue character, beginning with a general concept and translating this concept into numbers usable in the game. "his process is very simple$ players can easily figure it out for themselves. %owever, the Storyteller should have a good grasp of the process in order to answer the players& #uestions #uic'ly and accurately. "he numbers on the character sheet may not seem particularly evocative. It is hard to imagine a novelist describing a character by saying, (She has a harisma of ).( %owever, these ratings ma'e it simple to describe the strengths and wea'nesses of a character. *ore importantly, these numbers allow the random factor created by dice to be employed in relation to the character&s "raits. + strong character has a better chance to brea' down a door than a wea' cha racter does. haracter creation usually follows a pattern from the general to the specific. First, you develop a general concept of who and what your character is is she more socially or mentally developed and then get specific by selecting the ratings of your "raits how effective are your harisma, *anipulation, and +ppearance o not use this process to create the (best( possible character$ that defeats the whole purpose of ma'ing up a really interesting individual. "hese numbers are intended to enhance roleplaying, not open an avenue to some mythical character %all of Fame. haracter creation is a lot li'e coo'ing/ you&ve got to gather the ingredients, stir and whip them together, and then let the mi!ture ba'e for a few hours. You start by deciding what 'ind of character you want. +re you going to be a street-hardened pun' or a rich and somewhat spoiled debutante id you complete your training in an e!pensive do0o or in a cave somewhere in the +ppalachian *ountains "he bac'ground and personality of your character are the essential ingredients of his persona. From your basic concepts, you can then start to wor' out the details, such as +ttributes and +dvantages.
You need to be aware of five concepts before you begin to create your character/ x You can create a character of nearly any age from any culture or nation$ however, you begin the game as an ine!perienced and un'nown Street Fighter who has only recently graduated from his school or Sensei. You character probably 'nows relatively little about Street Fighter society unless she was instructed by a *anager or Sensei. x "his character creation process was designed to help you develop an e!citing character and provide you with a means to interact with the rules. "he process of creating a character is meant to help you focus the concept of your character. 1emember that a character is not 0ust a bunch of numbers, but part of a story. x "his character creation system is a purchase system with absolutely no dice rolling involved. By choosing "raits from a variety of lists, you decide your character&s capabilities. You will receive e!tra points called (freebies( at the end of the process, which you can then use to add dots to any "rait, so do not agoni2e over all your choices. 3onetheless, even with freebie points, you probably cannot buy everything you want. x + "rait of 4 is poor and a "rait of 5 is superb, so if you have only one dot in a "rait, you are either not very good or only a beginner. "raits are based on an average human range. Street Fighters differ from (normal( humans because of the e!tra abilities and powers they possess. x It is your responsibility to create a character who fits into the group. If you fail to cooperate with the others and disrupt the story because of it, you will have to create a new character. 6ife as a Street Fighter is far too difficult for hatred and anger to e!ist within a team$ sometimes survival itself depends on team members& ability to wor' together.
CHARACTER CREATION SUMMARY CHARACTER CREATION PROCESS Step One: Character Concept Choose a concept and style for your Street Fighter. If your concept involves the +nimal %ybrid or ybernetics 7ni#ue Bac'grounds 8which re#uire Storyteller approval9, see hapter ) for notes on how this alters character creation. If you are creating a *anager, see later in this chapter for notes on how this alters character creation. x Step Two: Select Attributes Prioritize the three categories/ :hysical, Social, *ental 8;<5<=9. Assign dots to +ttributes, remembering that each +ttribute starts with one free dot already assigned. x Step Three: Select Abilities Prioritize the three categories/ "alents, S'ills, >nowledges 8?<;<)9. Assign dots to the desired "alents, S'ills and >nowledges. x Step Four: Select Advantages Choose Bac'grounds 859, "echni#ues 8@9, Special *aneuvers 8;9 x Step Five: Finishing Touches Record 1enown 8Alory and %onor9, hi and Willpower$ fill out ombat ards Spend Freebie :ointsC 8459 x
CONCEPT Dilettante – +rtist, writer, intellectual, gambler, student %obo, cowboy, hermit, pilgrim x Drifter – omic, musician, actor, movie star x Entertainer – Dailbird, *afioso, cat burglar, drug dealer, x ExCon – bandit etective, cop, government agent x !nvestigator – hild, runaway, nerd, gang member, street urchin x "id – +borigine, "hird World resident, "ibetan x Outsider – mon' lub crawler, mosher, anarchist, s'inhead, x #un$ – classic &;Es pun' Bodyguard, mercenary, Areen Beret x Soldier – "ruc'er, farmer, wage slave, servant x %or$er – x
STYLES Styles are summari2ed in hapter 4 and fully described in hapter . Ai$ido – x &ara'ah – x &oxing – x Capoeira – x (eet "une Do – x (iu (itsu – x "abaddi – x
hi/ 5 Willpower/ G hi/ ) Willpower/ = hi/ 4 Willpower/ hi/ G Willpower/ 5 hi/ 4 Willpower/ hi/ = Willpower/ ) hi/ 5 Willpower/ G
"ung Fu – x )er Drit – x )ua – x *a+estic Crow "ung Fu – x ,ative A-erican %restling – x ,in+itsu – x #an$ration – x Sanbo – x Savate – x Shoto$an "arate – x Silat – x Spanish ,in+itsu – x Special Forces – x Su-o – x Tai Chi Chuan – x Thai "ic$boxing – x %estern "ic$boxing – x %restling – x %u Shu – x
hi/ ) Willpower/ = hi/ 5 Willpower/ G hi/ = Willpower/ ) hi/ = Willpower/ ) hi/ = Willpower/ ) hi/ 5 Willpower/ G hi/ 4 Willpower/ hi/ 4 Willpower/ hi/ G Willpower/ 5 hi/ = Willpower/ ) hi/ ) Willpower/ = hi/ G Willpower/ 5 hi/ 4 Willpower/ hi/ G Willpower/ 5 hi/ Willpower/ 4 hi/ G Willpower/ 5 hi/ G Willpower/ 5 hi/ 4 Willpower/ hi/ = Willpower/ )
BACKGROUNDS Bac'grounds are detailed in hapter ). Allies: Friends or family who support you when you need help. x Ani-al Co-panion: +n animal H be it a wolf, haw' or even a rat H with which you have a rapport and which can even fight at your side. x Arena: Your own fighting arena, be it a small garage or giant stadium x &ac$ing: +n organi2ation that offers assistance in e!change for your loyalty and favors x Clan .eritage: Your standing in one of the great 3in0a clans, through which you can find support and training. x Contacts: :eople to whom you can turn for information, from observant shoeshine guys to newspaper reporters. x Fa-e: %ow well-'nown and adored you are by the populace. x *anager: + person who arranges all the necessary logistics of your Street Fighter career for you. x /esources: %ow much money you have, whether in investments or cold, hard cash. x Sensei: Your martial arts teacher, the one responsible for training you in your style. x Staff: + s'illed support team, from secretaries to chauffeurs to massage therapists to financial analysts. x
Unique Backgrounds (Require Storyteller Approval) x Ani-al .0brid: efines how animalistic or bestial you are. x C0bernetics: %ow much machine has replaced your flesh and changed your body. x Ele-ental: Your innate command over one of the elements 8air, earth, fire, water9.
TECHNIQUES See detailed description of "echni#ues in hapter ). istribute eight dots among the techni#ues/ x #unch x "ic$ x &loc$ x 1rab x Athletics x Focus Weapon Techniques include: x Axes x &lunt %eapons x &ows x Chains2%hips x Firear-s x Flails x .eav0 %eapons x "nives x Spears x Staves x Swords x Thrown %eapons
COMBAT CARDS You must now fill in your ombat ards. ach card is filled in by calculating the values using the *aneuver *odifiers, your +ttributes and "echni#ues. See hapter Seven for more details.
FREEBIE POINTS Trait +ttributes +bilities Bac'grounds "echni#ues :owers "emporary 1enown hi Willpower %ealth
EXPERIENCE POINTS
Trait +ttributes +ttributes above 5 3ew +bility +bilities +bilities above 5 3ew Bac'grounds Bac'grounds 3ew "echni#ues See also hapter @/ Special *aneuvers. "echni#ues :urchase Special *aneuvers with your seven points, "echni#ues above 5 using the lists given in hapter Si! 8Styles9 and ight 3ew :owers 8which describes all Special *aneuvers9. 1emember, each hi style has discount :owers listed under each style in Willpower hapter Si!. %ealth
SPECIAL MANEUVERS
RENOWN istribute three dots between %onor and Alory. See also the 1enown section of hapter Five. "emporary points may be bought with freebieC points.
CHI See Style, above, for starting hi. See also Chi , in hapter Five.
WILLPOWER See Style, above, for starting Willpower. See also Willpower , in hapter Five.
HEALTH +ll characters begin with 4E %ealth dots. *ore may be purchased with freebieC points.
Cost 5 per dot G per dot 4 per dot 5 per dot ) per point 4 per point 4 per dot 4 per dot = per dot
Cost current rating !) current rating ! = current rating !G current rating !) G current rating !4 = current rating != current rating !5 :ower :oint cost !) current rating current rating ) per point
ROLE OF THE STORYTELLER +s the Storyteller, you must guide the players through the character generation process. +fter your players arrive for the first game session, you need to introduce them to the basic premise of the game and describe the rules system. Your main goal should be to ma'e things easy for the players. If they are beginners, 'eep things as simple as you can$ let them discover the intricacies of the system on their own. Start by passing out the character sheets, and give the players a minute to e!amine them and as' #uestions about them. "hen go through the character creation process step by step, filling in all the details of the characters& "raits. It is usually advisable to spend an entire game session creating characters. "his ensures that players don&t feel rushed and that they ta'e the time to ma'e complete, flesh-and-blood characters, not paper-thin stooges. Jnce you have finished the p ractical details of character creation, you can spend the rest of the game session conducting a prelude for each character. + prelude is a form of abbreviated storytelling in which you tell the story of a character&s life up to the present. :reludes will be the players& introductions to the chronicle and their characters, so ma'e preludes memorable. :reludes are described a t the end of this chapter.
STEP TWO: CHOOSING ATTRIBUTES
3ow you start assigning numbers. "he first step in this process is to determine your character&s basic +ttributes. "he +ttributes are everything a character naturally, intrinsically is. %ow strong is she %ow #uic' are her refle!es %ow persuasive can she be Kuestions such as these are answered by the character&s +ttributes. First, you must prioriti2e the three different categories of your character&s +ttributes :hysical, *ental, and Social. You must decide in which category your character is best 8primary9, in which he is average 8secondary9, and in which he is poor 8tertiary9. Is your character more physically than socially oriented is he stronger than he is handsome x :hysical +ttributes embody everything that has anything to do with physical effort. "hey describe how strong, agile, and hardy your character is, and are the primary +ttributes of an action-oriented character the :hysical +ttributes concern only the strengths and wea'nesses of the body. Is your character brawny, nimble, or sturdy x Social +ttributes describe your character&s ability to relate to 8and sometimes use9 other. Social +ttributes are vital in determining first impressions, the character&s ability to inspire and motivate people, and the nature of her interactions with others. Is your character charming, wellspo'en, or good-loo'ing x *ental +ttributes represent your character&s mental capacity, including such things as memory, perception, and the ability to learn and thin'. Is your character insightful, Before you write down a single thing, you need to astute, or clever develop a concept for your character. "his concept need Your character&s concept may suggest to you what your only be a general idea of what your character is li'e, priorities should be, but feel free to pic' any scheme you something uni#ue and interesting that will be en0oyable to please. For now, your concept should be very general it play over the long term. uring the character creation is necessary to paint a broad, sweeping outline before process, you may change and ad0ust this concept, but at filling in the details. least it gives you a starting point. For e!ample, your +ll characters start with one (dot( in each +ttribute. Your concept could be, (I&m a down-and-out e!-mercenary with priority selection determines how many dots you get to a grudge against *. Bison. I&m not going to stop training spend in each category. You may divide seven dots among and fighting until I get that guy.( "his concept needs to be your character&s primary +ttributes, five dots among h er uni#ue and complete, and should be approved by the secondary +ttributes, and three among her tertiary Storyteller. +ttributes. "hus, you may choose to add seven dots to "he first thing you should do when determining the your character&s :hysical +ttributes, five to her *ental overall concept is as' who your character was before he +ttributes, and only three dots to her Social +ttributes. "he became a Street Fighter. ven if your character always dots may be divided among the +ttributes of a category as wanted to be a Street Fighter, he wasn&t born a blac' belt. you see fit you could assign all three of your Social "he haracter reation hart lists some typical careers +ttribute dots to harisma, one dot to each of the three and lifestyles people usually had before they became Social +ttributes, or two dots to one and one dot to Street Fighters. another. You may, of course, develop a character from a concept 6ater in the character creation process it is possible to not on the chart. You may also combine concepts. For increase these ratings, so don&t worry too much. 6et your instance, you may decide your character was a debutante intuition guide you. who felt stifled by life in h er Bel +ir estate. She wanted to Beginning characters may not have an +ttribute higher e!perience the e!citement that could only be found in the than 5. :layers may, however, through their character&s underworld arenas. She searched the world trying to find hard wor', spend e!perience to buy more than five dots the training she needed to stay alive in these arenas. eep later in their character&s careers. *any of the World amid the "ibetan %imalayas, she finally found the Warriors have more than five dots in some +ttributes. See 'nowledge needed. Experience in hapter Five. "he ne!t step, and arguably the most important element of character creation, is to choose your character&s type of martial arts. "he styles described in hapter Si! represent the ma0ority of fighting arts available to Street Fighters.
STEP ONE: CHARACTER CONCEPT
STEP THREE: CHOOSING ABILITIES +bilities delineate what your character 'nows rather than what he is$ they describe the things he has learned rather than the things he can naturally do. +ll "alents, S'ills, and >nowledges are +bilities. ach +bility your character possesses is assigned a rating representing the character&s aptitude in that particular area. "his number is used to determine how many dice you roll when your character attempts to use an +bility. "his section of the rules guides you in determining what +bilities to choose and how high or low to rate each +bility. +bilities are divided into three different categories/ "alents, S'ills, and >nowledges. ach type of +bility has different characteristics. x "alents describe all the intuitive +bilities. "alents do not need to be practiced per se and cannot be studied or learned from a boo'$ they are most often gained through direct e!perience. oes your character possess a lot of common sense x S'ills are +bilities learned through rigorous training. "his category includes any +bility that must be learned step by step through actual practice, but that can be taught and studied 8unli'e most "alents9. Is your character good at learning things through practice x >nowledges include all the +bilities re#uiring the rigorous application of the mind. "hese +bilities are generally learned through school, classes, boo's, and teachers, but can be ac#uired through e!perience. Is your character educated$ does he have a good memory You must prioriti2e these +bilities in the same way you prioriti2ed the +ttributes. You must decide in what order to ran' your "alents, S'ills, and >nowledges, choosing in which category your character will be above average 8primary9, in which she will be average 8secondary9, and in which she will be below a verage 8tertiary9. You get nine dots to spend on your character&s primary category, seven for the secondary category, and only four dots for the tertiary category. "here is one additional restriction/ you cannot give your character more than three dots in any one +bility 8later, however, you can use your (freebie( points to gain four or even five dots in a single +bility9.
STEP FOUR: ADVANTAGES You do not prioriti2e or ran' the different categories of +dvantages. You instead have a designated number of dots to assign within each one. "hough this number is fi!ed, you can purchase additional dots later with (freebie( points.
BACKGROUNDS You get five points to divide among the 4E Bac'ground "raits. You have only five points to allot, and some Storytellers may restrict access to certain Bac'grounds. Your Bac'ground "raits should fit into the general scheme of the concept originally chosen.
TECHNIQUES You start with eight points to divide among the different martial arts "echni#ues. "hese "echni#ues are similar to the different maneuvers common in the Street Fighter coin-op. You cannot begin with more than three dots in any one "echni#ue. %owever, you can supersede three dots by spending (freebie( points.
SPECIAL MANEUVERS ach character starts with seven :ower :oints to spend on Special *aneuvers. ach style charges lower costs for Special *aneuvers commonly used by that style 8see hapter Si!9. Special *aneuvers begin wea' at lower levels, but become much more potent at higher levels.
STEP FIVE: FINISHING TOUCHES Jften the most important stage of character creation is applying the last touches the little details and flourishes that complete the character. In this step you gain your 45 (freebie( points, enabling you to add more dots to any of the "raits on the character sheet. Before you spend these points, however, you must record the base scores for your character&s 1enown 8Alory and %onor9, hi, Willpower, and %ealth.
RENOWN 1enown comes in two different forms/ %onor, a Street Fighter&s personal code$ and Alory, how revered the Street Fighter is by other Street Fighters. %onor and Alory each have a permanent rating 8the dots on the character sheet9 and temporary points 8the s#uares9. 1enown is awarded for roleplaying a character&s actions. Whenever a Street Fighter does something honorable, such as 'eeping his word even though it endangers him, he gains temporary %onor points. %owever, if he commits a dishonorable act, he may lose some points. 6i'ewise for Alory/ besting an opponent causes the winner to gain temporary Alory points, while losing a fight may cause the fighter to lose Alory points. "o gain a permanent dot in a 1enown rating 8whether %onor or Alory9, a character needs to collect 4E temporary points during the course of the chronicle. Jnce 4E points have been gained 8and certain other re#uirements fulfilled9, the character can fill in another dot$ he then erases all his temporary points and starts over again. Beginning Street Fighter characters have three dots to distribute between permanent %onor and Alory in any way the player sees fit. Jne character might give two points to %onor and one to Alory, while another might give three to Alory and none to %onor. It&s the player&s choice. "emporary points may also be bought during character creation using (freebie( points, giving the character a headstart on getting that ne!t dot. Jnce roleplaying begins, the character gains 1enown only through his actions$ he may not purchase it with e!perience points. For more details on the process of gaining and losing 1enown, see hapter Five.
CHI hi is the inner energy that martial artists use to fuel their special powers, such as >en&s hi Blast or halsim&s Yoga Fire. Your character&s style determines his base hi. Your character&s hi will increase and decrease during the course of a story as she spends it to activate Special *aneuvers.
WILLPOWER "he Willpower "rait rates how much self-control a Street Fighter has. If she can control herself, then she can e!ert her will upon the world a round her to ma'e things occur. + character&s beginning Willpower is determined by style.
HEALTH %ealth determines how wounded or in0ured a character is. +s she ta'es damage, her %ealth drops lower and lower. When a character is at 2ero %ealth, she is unconscious. +ll characters begin with 4E %ealth 6evels and can buy more with (freebie( points.
FREEBIE POINTS You now get 45 freebie points, which you may spend on any "rait you wish. %owever, this e!penditure is not so straightforward as it might seem. ach dot added to an +ttribute costs five freebie points, while a Bac'ground dot costs only one point. osts a re listed in the haracter reation hart.
FILL OUT THE COMBAT CARDS "he last step in the character creation process is to fill out the ombat ards. "hese cards are designed to #uic'en combat and enhance the en0oyment of the game. "he base dots for each *aneuver are already listed on each card$ you merely add your appropriate +ttribute and "echni#ue scores to the card. +n e!ample of this process is described later in the boo'.
SPARK OF LIFE Jther aspects of a character can be detailed in addition to the above. You do not necessarily need to record these things, but you should certainly thin' about them not only now but throughout your character&s career.
EQUIPMENT If there are any possessions or pieces of e#uipment you want your character to have, you should wor' out the details now. Jtherwise, you will have to ac#uire the e#uipment during the game. "his can ta'e time and is not automatically successful. +lmost any piece of mundane e#uipment that fits your concept can be obtained, provided your character has sufficient dots in the 1esources Bac'ground.
QUIRKS By giving your character #uir's 8interesting personal details and anecdotes9, you can add a great deal of depth and interest to him. Write a few sentences on the bac' of your character sheet describing the strange a nd possibly interesting things that define your character. + #uir' could be a twisted sense of humor, a gentleness toward animals, or a habit of grunting when answering yes to a #uestion.
MOTIVATIONS *any Street Fighters are primarily motivated by fame and money, but even these Street Fighters have other motivating factors. You should decided what motivates your character to get into the arena and ris' in0ury to amuse the screaming hordes. "he more evocative the motivation, the more it will help define your character.
NORMAL IDENTITY + final important thing you should consider about your character is her identity in normal society, if any. You can&t fight seven days a wee', so what do you do between fights o you wor' as a bouncer at a bar, or ta'e classes at a local college %ow do you manage to maintain your double life
SIGNATURE What sets you apart in the ring What ma'es people remember you Lictory is certainly a big part, but how you handle victory is also remembered. o you raise your hands and cheer or do you #uietly turn your bac' on your opponent o you roar a victory cry or give your unconscious opponent a big smooch
EXAMPLE OF CHARACTER CREATION
APPEARANCE Your character&s appearance ma'es her "raits visible to other characters. You should turn the concept and relevant "raits of your character into aspects of her appearance. %igh Intelligence can become a clear, piercing ga2e. +n e!plorer concept could mean the character wears 'ha'i clothes and has a rugged appearance. It is much more evocative to say, (*y eyes are always unfocused, so I always seem to be staring into space,( than to say, (I loo' absent-minded.(
+ndrew decides to ma'e his first Street Fighter character. With a copy of the character creation outline in front of him, he sets to wor'.
STEP ONE: CONCEPT +ndrew must first develop a concept for his character. %e decides he wants to play a former street tough, one who has wor'ed hard to get off the mean streets. +ndrew decides that his character too' up >ic'bo!ing to foster
discipline and toughen himself for anything. +ndrew decides to call him "yrus Dac'son. 8"yrus is the brother of *aurice, the character from the introductory story. Both characters were used in playtest stories.9
STEP TWO: ATTRIBUTES "he ne!t step is to prioriti2e "yrus&s +ttributes. +ndrew ma'es the usual choice for Street Fighter, selecting :hysical as the primary +ttribute category. %e decides that "yrus&s life on the streets has made him a fairly sharp guy, so +ndrew selects *ental as the secondary +ttribute category. Social, then, is tertiary. +ndrew first divides the seven primary dots among "yrus&s :hysical +ttributes. Because "yrus spends a lot of time in the gym, practicing his moves, e!terity is the best choice for many of the points. In fact, +ndrew opts to put three points in e!terity, giving "yrus a score of ) 8remember the one free starting dot in every +ttribute "rait9. "yrus also lifts weights, so +ndrew puts two dots in Strength, giving him a score of =. +ndrew thus places the remaining two :hysical points in Stamina, ma'ing "yrus a fairly sturdy guy 8score of =9. "he secondary +ttribute category is tac'led ne!t. "yrus has learned to thin' and act fast, so +ndrew turns first to Wits. %ere he places three points, ma'ing "yrus a very aware guy 8Wits of )9. Jne point goes into :erception, to reflect that "yrus has learned to watch out for trouble, and the last point goes into Intelligence. "he tertiary +ttribute category of Social is easy to settle. Besides, with only three points to spend, +ndrew can&t do much. +ndrew places two points in *anipulation, to reflect "yrus&s ability to ma'e someone listen when he tal's, and the last point in +ppearance. +ndrew reasons that a rating of 4 in harisma is o'ay$ "yrus doesn&t care if anyone li'es him.
STEP THREE: ABILITIES +ndrew must now prioriti2e "yrus&s +bilities. Instead of doing this right away, +ndrew scans the character sheet and starts chec'ing off +bilities he thin's "yrus should have 8he does not have a free starting dot in every +bility "rait as he does with +ttribute "raits9. It soon becomes clear that most of the points are going to be spent in "alents, so +ndrew chooses it as :rimary. "yrus has nine points to spend. You&ve got to be alert on the streets, so +ndrew puts two points into "yrus&s +lertness. %e puts another two points into Intimidation, because "yrus has had to loo' tough often enough 0ust to save his s'in. %e puts two points in Streetwise$ "yrus 'now the streets well, even if he doesn&t li'e them. "yrus is also good at guessing fighting styles, so +ndrew puts one point into Insight. %e puts the last two points into Subterfuge, because "yrus has had to fast-tal' his way out of some situations. +ndrew chooses S'ills as his secondary +bility category$ he has seven points to spend. %e puts two points into Blind Fighting, because he&s had e!perience fighting in dar' alleys. +nother point goes into Security$ "yrus has sometimes had to brea' into buildings 0ust to find a place to sleep. %e puts one into rive 8for obvious reasons9, and two into Stealth, because "yrus has had to move #uietly a
lot of times to avoid trouble. "he last point goes into Survival. +ndrew has only four points to spend in >nowledges,$ he decided to ma'e this tertiary since "yrus didn&t have a lot of schooling. %e puts one point into Investigation, figuring "yrus has watched a lot of "L cop shows. %e pouts one into *edicine, because "yrus has had to patch himself up a number of times after some heavy fights. "he last two points go into Style 6ore$ "yrus has studied a number of different martial arts styles.
STEP FOUR: ADVANTAGES 3e!t comes the category that defines what "yrus can actually do as a Street Fighter. First, he has five points to spend on Bac'grounds. +ndrew ma'es sure "yrus has the Bac'grounds that most obviously define the character. "wo points go into +llies, because "yrus has met many friends at the gym and on the streets. Jne point is spent on ontacts a newspaper reporter "yrus has befriended. +ndrew puts another point into *anager, to represent that someone has ta'en an interest in "yrus&s fighting. "he final point goes into 1esources$ "yrus has won a little money in his fights. +ndrew then moves on to "echni#ues. %e places three points in :unch, three in >ic', one in Arab, and one in +thletics. "yrus is not well rounded, but he&s very good at punching and 'ic'ing. 3e!t +ndrew chooses Special *aneuvers for "yrus. %e has seven points to spend. "he most ine!pensive option for him is to buy the moves in which his style speciali2es. Because he is a Western >ic'bo!er, he turns to hapter Si! to find the >ic'bo!ing :owers. %e decides to start off with a Slide >ic' 8G points9. %e then buys a Spinning Bac' Fist 84 point9 and a Spinning >nuc'le 8= points9. With his remaining point he buys a ombo *aneuver, lin'ing his Dab with his Slide >ic' 8he figures to move in #uic'ly with a light punch and follow that up with a 'ic' to 'noc' down his opponent$ the Slide >ic' has a Speed advantage of MG when it follows his Dab9.
STEP FIVE: FINISHING TOUCHES "he ne!t step is to assign beginning 1enown. "yrus is more concerned with his reputation among other Street Fighters than he is about his own conduct. Still, personal discipline is important to him$ without it, he&d never get off the streets. So, "yrus puts two points into Alory and one point into %onor. +ndrew records his initial hi of G and his initial Willpower of 5 8because "yrus&s style is is Western >ic'bo!ing9. 3ow +ndrew gets to spend "yrus&s 45 (freebie( points. %e decides to buy a Dump maneuver for four points 8Dump costs one :ower :oint$ four freebie points buys one :ower :oint9. %e also uses another four points to turn his ombo *aneuver into a i22y ombo *aneuver. +ndrew wants "yrus to dish out some heavy damage with his blows, so he spends five points to add a dot to his Strength 8he now has a rating of )9. %e puts "yrus&s last two points into Willpower 8giving him a Willpower of ;9. "yrus is ready for actionN
LOOKING AHEAD
THE RIGHT TECHNIQUE
In the process of creating a character, you have hopefully become ready to roleplay that character. +n important part of the character creation process is the attachment that develops between you and your character, enabling you to play the role creatively and with purpose. 3urture your empathy for your character if she is at all different from you, it might not come naturally. "he process of character creation does not end with the beginning of the first story, for a character never stops growing, changing, developing, and maturing. +s the chronicle progresses, create new personality traits and historical details. 7se your e!perience wisely to develop your "raits. See' to build your character&s Willpower and increase her hi, and always, always add more and more flesh to the bare bones listed on the character sheet. "he true essence of the character can only be captured in your roleplaying$ it can never be listed upon the character sheet. *ost importantly, you should thin' of ways in which the personality of your character might change because of the events that occur in her life, and then guide her accordingly. 6et her determine her own fate. 3ever force her to conform to your earlier conceptions of who and what she should be. If your character ever bores you, it&s probably because you have not developed and changed her enough over time. Ideally, the character simply grows more real as you play in the chronicle, developing as a character and as a person. "he way a character changes reveals as much about that character as the way she is described. + character in a short story is rarely as real and complete as the way she is described. + character in a short story is rarely as real and complete as one in a no vel there simply is not enough time for proper development. *a'e your characters as complete, vital, and interesting as you possibly can throughout the course of the chronicle. 3ovelists often spea' of characters in their boo's coming to life, refusing to be manipulated or directed by the writer. "his type of character stands out from the page and says, (6eave me alone, I&m real.( %e then does as he will, regardless of the author&s original intent. We can learn much from this e!perience it is the epitome of what ma'es a great character. 1emember, though, that this is a game. While it is fun to play a Bruce 6ee type of character, you should 'eep in mind that this is a game. By no means is it real.
ach player undergoes the prelude alone. It is one-onone unless two or more characters were friends or spent a lot of time together before they became Street Fighters. While you, as the Storyteller, spend time with each player separately, the rest of the troupe can sociali2e and start to get e!cited about what lies ahead. +nticipation can ma'e a story blossom. uring the prelude you need to direct the player much more than usual. Aive him lots of decisions to ma'e, but rush everything and don&t give him much time to thin'. You need to play through things #uic'ly, unless you are willing and able to spend more time 8which can enable the creation of very detailed characters9. When 8or if9 characters engage in combat during the prelude, simply describe the results of any fights$ don&t slow down the action by ma'ing dice rolls. "he prelude is meant to be fast and loose. 1ules are for later, more detailed sessions. uring the time you set aside for the prelude, give the player a chance to interact with both the setting and the rules. If the player wants to change a few "raits during the prelude, you should let him, so long as it is done for a rational reason and not as an attempt to create a supercharacter. "here are many ways to progress through a character&s life$ any way that helps mold a complete character is fine. uring the course of the prelude, you should e!plain the full bac'ground of the character, including the identity of her *anager and the location of her +rena 8both are Bac'grounds discussed in hapter Four9. "he player should thoroughly understand the details of her Bac'ground "raits. You should play through one or more typical scenes from the character&s life to give the player a sense of how the character lived. You can get the player into her life as a Street Fighter by showing her the bland tedium of the character&s prior e!istence. 1emember, it is the mundane that gives scope to the magnificent. + prelude can proceed something li'e this/ (You finally finish a grueling, 4E-hour wor'day and want nothing more than to go home and sleep. +fter spending an hour in traffic, you finally climb up the five floors to your apartment. You try your 'ey in the loc', but it won&t wor'. "hen, you hear a noise in the room beyond someone&s in your apartment. What do you do( +s you describe things, let the player interrupt with her own ideas and details. You are telling a story together, so treat the player more li'e a partner. You can also include details that provo'e the player into feeling the emotions of her character (Your father is in a coma in the hospital.( Jnce the character 0oins a team to become a Street Fighter, she can&t freely visit the hospital anymore. %er father may want to spea' to her, but the character may be in another country fighting. "he player needs to feel a profound and overwhelming sense of the sacrifice and dedication necessary to wal' the path of the Street Fighter.
THE PRELUDE Jur past defines us most clearly, for it best indicates what we might become. "he purpose of a prelude is to give each character a past, thus allowing the future to be told. + prelude is, in fact, a form of one-on-one storytelling in which the story of a character&s life is told. "he prelude is a way to create character biographies before the chronicle actually begins. It is #uite similar to normal play, e!cept that many years are compressed into a series of rapid-fire decisions. "he personal biography a player creates in the prelude will be relevant throughout the chronicle, and you may well refer to it fre#uently.
QUESTIONS AND ANSWERS escribed below are some #uestions that should be answered by the end of the prelude. If there is no time for a full prelude, you should at least ma'e an effort to answer
these #uestions. It often helps to write out the answers, even if you have undergone the full prelude. With each #uestion we list what sorts of things the player should as' himself, as well as some advice to the Storyteller on how to run the prelude in relationship to the #uestion. x .ow old are 0ou3 How old are you now? It is often easier to apply dates to events in the prelude after the prelude is over, but it is also worthwhile to establish some important dates during the prelude. "he prelude should begin at one of the important dates for the character, preferably an event in his youth. Jne main purpose of the prelude is to put the character&s life in perspective, so setting dates and establishing character age are very effective. x %hen did 0ou decide to practice the -artial arts3 Have you always had an interest in the martial arts? id you start your training !or de!ense or !or sel!"discipline? What impact did the training have on your personality? What made you choose your particular style? You should find out what motivated the character to train in the martial arts. *aybe he started training because of a bully, or for some other reason that could inspire an interesting story later in the chronicle. :erhaps the character, having always imagined that he and he alone made the decision to train, discovers in a later story that it was actually his Sensei who chose him. x %ho was 0our Sensei3 id you search long !or your Sensei? id he choose you to undergo his private tutelage? Was your Sensei a #ind and wise mon# or an old and cra$$y ex"!ighter? o you still #now your Sensei? "he Sensei is the person who started the character on the path of the martial arts. She helped shape and mold the character into what he is now. "he role of the Sensei should have a huge impact on the growth of the character, for good or ill. You will need to create the Sensei if she is still a part of the character&s life or he chose the Sensei Bac'ground. "he Sensei may have done more than teach the character martial arts. arefully develop the relationship between teacher and student, for it will have an impact on the character&s future. x %h0 did 0ou decide to beco-e a Street Fighter3 Was it !or !ame and glory% or !or another reason? Was it easy !or you to enter your !irst competition? id you win? "he character&s initial entry into the Street Fighter world may well have influence how he feels about his style, the sport, and Shadoloo. %is first match should be both a learning e!perience and a way to prove his worth to his peers. %is first fight could decide how others view him as both a warrior and a person. "he first match should be the character&s first real loo' into the dar' and sinister world of Street Fighting. %e should feel li'e his life has changed forever, for both good and bad. %e should reali2e that there is a price for this new and wonderful lifestyle. x %hen did 0ou -eet 0our tea-3 o you get along with the other characters? How long have you teamed with them? id you meet through a &anager or another way? o you share the same goals?
It&s important, but in the end not necessary, that characters be compatible. *any good stories can be based on rivalries among fighters. %owever, few players find it entertaining to waste a game session because none of the characters can get along. It is more entertaining for the players, and you, if the players are somewhat compatible. "ry to give the characters a reason to cooperate. *aybe the characters want revenge on Shadoloo$ maybe they 0ust want the fame and money. Jnce you give them a reason to stay together, it becomes easy to establish meaningful connections among characters. "hese lin's have to mean something to the characters, and the best time to establish such depth and history is the prelude. x %here do 0ou live now3 o you have a house or do you move !rom city to city? o you live with your team? o you live with !riends or !amily? "he character&s dwelling not only ma'es an interesting setting, but can provide plot seeds. It is important for the character to establish a residence. x Do 0ou -aintain a nor-al life3 o you !ight !ull"time? o your !riends #now a$out your vocation 'or avocation(? "he character&s normal life can be very important to the chronicle. "he player may find it hard to 'eep his combats secret from friends or the local police. :roblems with the character trying to maintain two lifestyles could ma'e for interesting stories. x .as Shadoloo given 0ou an0 proble-s3 Has Shadoloo given you a hard time? Have the syndicate)s agents *as#ed* you to lose a !ight or even to !ight !or it? Have you ever angered a Shadoloo agent? Shadoloo controls most of the underworld. If the characters oppose it, their lives will become much more perilous. Shadoloo&s opinion of the character could change the pace of the chronicle. x %h0 do 0ou fight3 What #eeps you entering the ring? o you !ight !or !ame? +lory? &oney? Honor? o you want to leave your li!e as a Street ,ighter and return to your simple normal li!e? Aetting in the ring and trying not to have one&s head bashed in ta'e a lot of wor'. + complete character has goals that motivate his combats. "hese goals are important to the Storyteller, as they give her an idea of what sorts of stories to tell.
TEAMS -ou thin# you have a chance o! $eating me? -ou)d $etter $ring the rest o! your !riends. -ou)ll still lose% $ut you might not end up in the hospital i! / have to #noc# out !ive upstarts instead o! one. " Sagat% intimidating an overcon!ident Street ,ighter "eams are a very important part of the Street Fighter circuit. *ost tournaments are mode up of team events with a couple of high-profile single combat matches. Fighters who are 0ust starting out on their careers will often choose to 0oin a team because fight promoters and managers reali2e that un'nown fighters have little crowd-drawing potential. For a manager to ma'e any sort of profit off of novice Street Fighters, they have to boo' spectacular
matches. usually have precedence. While beginning fighters are not popular with spectators, "he manager usually has a standard, though informal teams are. :erhaps this is the very thing that made the contract, which all fighters or teams must sign to 0oin the circuses of ancient 1ome so popular. In any case, Stable. "his contract outlines the duties of the fighter to the managers prefer to boo' teams of new fighters over stable and various other clauses. Some particularly 'indun'nown individuals. 3ew fighters are usually #uite hearted managers set aside a portion of the Stable&s receptive to the idea, feeling there is a certain safety in profits in a retirement fund for the fighters. Stables with this numbers. "hey also come together as a team if they share program are obviously more popular than other Stables. a particular ideology or fighting style. Jnce a "eam or individual becomes well-'nown, they will "eams often live together in a communal arrangement. often be approached by a manager for admission into a Because the fighting circuit ta'es fighters on the road for Stable. +lternately, a fighter may see' out a manager to much of their time, they tend not to have permanent 0oin their Stable. *ost good teams have a manager and residences. If they do, they will often have a small house are part of a Stable. It ma'es their life so much easier and where the team will live communally. "his is not always the gives them more time to practice their arts. + Stable isn&t case, but the vast ma0ority of teams do live together. essential to success on the Street Fighting circuit, but it *anagers promote this type of living arrangement as it certainly helps. cements the solidarity of the group. Jn the road, teams will fre#uently rent a single suite or the floor of a hotel in T0pical clauses in a Stable contract: whatever city their ne!t match is in. x "he manager is responsible for all boo'ings and 3ot all teams have a manger, but there is always one administration of the Stable. member of the team who deals with the management x If the manager neglects this duty, the team may sign issues which arise. with another Stable after a three month period has passed. x "he manager is responsible for all purse moneys and There are a few general rules of conduct that e!penses. x 7nprofitable fighters and
THE TEAM
STABLES
the facility. +ll fighters and teams have access to the Stable&s facilities, staff and manager, although teams which are more profitable or higher in the standings
REASONS FOR TEAMS
What is the main reason for the team&s foundation Suggestions are offered below.
TOURNAMENT TEAM "his is probably the most common reason why beginning Street Fighters band together. *any low-level tournaments will only accept teams of fighters, because b eginning fighters do not have enough %onor or Alory to call attention to the tournament by their individual appearances there. stablished teams of Street Fighters draw more attention than individual fighters. "his is especially true if the team has a capable manager and a common image that draws attention to them. For e!ample, *alcolm Stonehands is a novice Street Fighter from the 7S+ who practices Western-style bo!ing. When *alcolm goes to a tournament, he doesn&t bring much fan support or attention with him. %owever, if *alcolm is a member of a team of +merican fighters who all claim to fight for national pride, then the team 8and therefore the tournament9 might get more attention. *ost tournament teams are groups of fighters who share the same style or nationality, but some highly successful teams have lately emerged that combine a variety of fighting styles and national origins. *any of the novicelevel tournaments have team vs. team rounds, and teams that have a variety of fighting styles tend to perform better in these rounds. + variety of fighting styles gives a team added fle!ibility, enabling it to defeat teams whose fighters all rely on speed or strength or a particular special power.
COMMON GOAL Aroups of Street Fighters can also be lin'ed by a common goal. For e!ample, both Auile and ". %aw' see' revenge against Shadoloo and *. Bison. "his common goal could 'eep the two World Warriors wor'ing together until they fulfill their combined mission of vengeance. Jther groups of Street Fighters might all see' the same bit of martial arts 'nowledge. "he world of Street Fighter is filled with martial arts legends and rumors of special powers, powers that can only be learned from certain teachers or certain long-lost boo's or ancient pictograms s'etched on the walls of a secret 0ungle cave. For e!ample, the characters may have all heard that a "ibetan lama atop a remote %imalayan pea' can still teach the fabled Scorpion >ic', but only to those who find the teacher and pass certain tests. ach character may even have a different clue to the teacher&s whereabouts, and thus only by combining their 'nowledge can the characters hope to find the secluded master and learn his deadly Scorpion >ic' techni#ue. "he #uest for martial 'nowledge can unite otherwise diverse characters.
SAME STYLE If the players all choose characters who learned the same style of martial arts 8even if each character has different special powers and techni#ues9, it is possible that all of the characters were taught by the same Sensei or come from the same do0o 8training hall9, temple, gym, or military camp. :racticing the same style gives the characters a natural bond, no matter what their individual
motivations may be$ their early training will have forged strong bonds of friendship and mutual respect. "he characters may even band together to form a tournament team, or to share a common goal for e!ample, to find their Sensei, who has mysteriously disappeared.
PLAYING YOUR CHARACTER Finally, you&ve created your character and familiari2ed yourself with the basic rules. You&re ready to sit down and play. When you do, the Storyteller should have already prepared an adventure outline for you to play. You won&t 'now anything about the story until it begins to unfold as you ta'e your character through it. When you play your character, try to put yourself in her position, her mindset. If your character is not very smart, then play her that way, even though you, the player, are smart. If your character is headstrong or shy or honorable, then try to ma'e your character do and say things that are in line with her personality, not your own real personality. "he better you enact the role of your character, the more fun you and everyone else will have. on&t be afraid to get into the role of your character. While you&re playing, try not to say, (*y character, hun 6i, yells at the Shadoloo assassin, &Your bomb 'illed the innocent children$ now prepare to face your own doom&.( Instead, simply say the line directly, as if you were hun 6i and your Storyteller were the assassin (Your bomb 'illed the innocent children$ now prepare to face your own doom.( Spea'ing as if you were your character ma'es the story seem more real. Jn the other hand, always remember that all the fighting and action events are handled with the tabletop figure and the dice, not with real-life simulated action. +lways remember that Street Fighter is only a game. When you leave the table, you leave your characters there as well. :laying Street Fighter can be fun, but it is not real life and should never ta'e precedence over any responsibilities you, the player, have.
There are many things that describe a heroic character like a Street Fighter. Every hero has superhuman characteristics that distinguish him from regular people, and every hero also has an all-too-human weak side to his character. Both the strong and the weak, the heroic and the tragic sides of a character are important. This chapter describes those elements that are essential to character definition and epansion. !ny beginning character will inevitably ecel in some of these Traits, but perform poorly in others. Even the "orld "arriors aren#t perfect $ yet.
ATTRIBUTES PHYSICAL These Traits describe how strong, deterous and sturdy a character is, and are the primary Traits of an actionoriented character. %hysical Traits concern only the strengths and weaknesses of the body.
STRENGTH This Trait measures your mean physical strength $ your ability to lift, carry and cause physical harm. ! person with a high Strength rating is usually larger than someone with a lower rating. &f course, there are always eceptions. Strength is used when you attempt to lift, carry, push, heave or break something. 'n melee combat, your Strength Trait is added to your damage (ice %ool. %oor) *ou can bench press + lbs. !verage) *ou can bench press lbs. 00 ood) *ou can bench press /0 lbs. 000 Eceptional) *ou can bench press + lbs. 0000 00000 &utstanding) *ou can bench press 10 lbs.
000 0000 00000
time. ood) *ou have ecellent raw athletic potential. Eceptional) *ou can 3uggle five knives. &utstanding) *ou can 3uggle five knives while blindfolded.
STAMINA Stamina measures general health and resistance to pain4 it indicates how long you can continue to eert yourself and how much physical punishment you can sustain. Stamina is your staying power, both physically and mentally, and one of its most important elements is the will to live. %oor) *ou are frail in constitution and may be sickly. !verage) *ou are moderately healthy. 00 ood) *ou are in good shape, the result of regular 000 eercise. Eceptional) *ou could run a marathon. 0000 00000 &utstanding) *ou are tough enough to survive almost anything. 0
SOCIAL *our Social Traits describe your appearance, charm and familiarity with the human mind. *our Social Traits are vital in determining first impressions, leadership ability and the nature of your interactions with others.
0
DEXTERITY This Trait measures your mean general physical prowess $ speed, 2uickness and agility. 't indicates the capacity for moving precisely and manipulating ob3ects with accuracy and grace. (eterity includes hand-eye coordination, fine motor manipulation, reaction speed, reflees and bodily grace. 0
00
%oor) *ou are butterfingered, so don#t use a chainsaw. !verage) *ou can chew gum and walk at the same
CHARISMA 5harisma measures your aptitude for enticing and fascinating others. *ou use 5harisma to win others over to you emotionally and to get them to trust you. This Trait reflects a charismatic personality more than it does an overt manipulation of others. 't is a sum of your bearing, charm and power of influence. 5harisma reflects your power to convince others to put their faith in you. %oor) &thers avoid being around you. !verage) *ou are likeable. ood) %eople trust and confide in you. 000 Eceptional) Something draws people to you. 0000 00000 &utstanding) *ou could lead a nation. 0
00
MANIPULATION This Trait measures your aptitude for active selfepression, such as when you want to get someone else to do something. 't is important when you attempt to influence or manipulate another person directly. *ou use 6anipulation to trick, fool, bluff, outmaneuver and out-talk another. "hile you may be effective at manipulating people whom you have 3ust met, those who already know you are rarely fooled. 6anipulation is used in all rolls where you are attempting to influence or convince another person overtly. "hether they like you or not is of no conse2uence 7though it can affect the difficulty of what you are trying8. 'f you fail a 6anipulation action, and the target reali9es what you were trying to do 7you botch, for instance8, she may well be angered. %eople are manipulated all the time and usually ignore it. :owever, if it is brought to their attention, it can be very disturbing. 6anipulation can net great results, but it is risky to perform openly. 5haracters with high 6anipulation ratings are not overly trusted by those who know them best. %oor) *ou epress yourself in as few words as possible. !verage) &thers might believe you. 00 ood) *ou#d make a good lawyer. 000 Eceptional) *ou should run for office. 0000 00000 &utstanding) *ou could sell ice to an Eskimo. 0
MENTAL The 6ental Traits represent your character#s total mental capacity, including such things as memory, perception, and the ability to learn and think.
PERCEPTION This Trait indicates your awareness of the environment around you. "hile this is sometimes a conscious action, such as when you search for something, it more often works intuitively $ you simply notice something. !t base, %erception is a sensitivity to the world, an open-eyed 2uality common among children 7for whom the world is a boundless and mysterious place8 and is seldom present among the most 3aded. %erception is used to see if you have the insight to understand or be aware of a certain fact or concept. 't can help indicate your degree of alertness to ambushes, the subtet of a politician#s speech, or the subtleties of color in a painting. %oor) *ou are blind to anything but the obvious. !verage) *ou are unaware of the subtle interactions that occur around you. ood) *ou are aware of moods and tetures. 000 Eceptional) *ou are constantly alert to the 0000 nuances of life. 00000 &utstanding) *ou can see a needle in a haystack.. 0
00
APPEARANCE This Trait describes your attractiveness and force of presence. *ou do not necessarily need beauty to have a high !ppearance, you only need looks that somehow attract others to you. !ppearance is not 3ust your a ctual physical looks4 it#s the appeal of the way you move and talk, your animation and epressiveness. 't is a measure of how interesting and attractive you seem to others. !ppearance is vital in any social situation where words are not echanged. 't is more important than you might think offhand4 your impressions of another are heavily affected by that person#s looks, no matter how openminded you are. *ou may not like to admit it, but it#s true. !ppearance is often used by the storyteller to 3udge roughly how others react to you upon a first meeting. Thus it can affect all other Social rolls you make involving that person 7in some cases, your rating determines the maimum number of successes from a Social action that can actually be applied, making it impossible for an ugly person to achieve anything beyond minimal success8. %oor) *ou tend to attract the hostility of others. !verage) *ou are easily ignored, for you fit in so well with the crowd. ood) *ou have a pleasing appearance, and 000 people treat you well. Eceptional) *ou are good-looking enough to be a 0000 model and are given respect and attention because of it. 00000 &utstanding) &thers# first reaction to you is either awe, intense 3ealousy or complete solicitude. 0
INTELLIGENCE 'ntelligence represents both your memory and your ability to learn and think. 't is important when using !bilities that re2uire comple thought processes. Some people describe 'ntelligence as a person#s 2uickness of mind or 3udgment, but it is more than that $ it is the facility for understanding and the capacity for reasoning and evaluation. 'ntelligence is a rating of an individual#s depth and fleibility of thought. :owever, low 'ntelligence can indicate a character who lacks the capacity to understand complicated thoughts, and who is a very slow learner $ he might simply see things in terms of black and white, and understand that things are really in shades of gray. 5haracters with high 'ntelligence, on the other hand, are sophisticated thinkers capable of decoding many different levels of an argument or problem. They have discerning 3udgment and are well able to separate truth from lies, at least when they have time to think things over. 'ntelligence caters to carefully reasoned 3udgments rather than snap decisions 7which employ the !ttribute of "its8.
00
%oor) '; < !verage) '; 00 ood) '; / 000 Eceptional) '; +. 0000 00000 &utstanding) '; 1= 0
WITS The "its !ttribute describes your ability to react 2uickly
and correctly to new situations, as well as your overall sharpness of mind and cleverness. 'n the simplest terms, it measures how 2uickly you think. ! more comple view understands "its as a shrewdness, sagacity and capacity for understanding problems in the most basic terms. Those with low "its are occasionally unable to take appropriate actions because of surprise 7like a deer caught in headlights8. ! low "its can indicate that you are more easily tricked and fooled than most people, for you are a gullible and unsophisticated student of human nature. 'f you have a high "its, you are able to react 2uickly to new situations and are seldom caught off guard by sudden changes in events. "hatever else happens, you are able to keep your "its about you.
strengths and weaknesses. This !bility allows you to analy9e an opponent#s fighting techni2ues, and possibly view some of his 5ombat 5ards. ! Storyteller may even reveal an opponent#s secret weaknesses after a really outstanding 'nsight roll. 'nsight can also be used to discover others# 2uirks 7that Shadoloo thug wrinkles his nose every time he tells a lie8. Ase of 'nsight re2uires the user to watch the target for at least three rounds. The user then rolls %erception = 'nsight 7difficulty 18. &nly one success is needed to learn a target#s style4 each additional success allows the user to view one 5ombat 5ard 7drawn randomly from the opponent#s deck8. 0
%oor) *ou send money to televangelists. !verage) *ou know when to bet or fold in poker. 00 ood) *ou are capable of handling >.!. rush hours 000 7without shooting anyone8. Eceptional) *ou could be a stand-up comic. 0000 00000 &utstanding) *ou have a supercomputer for a brain $ it#s fast. 0
00
000 0000 00000
%ossessed by) Street Fighters, Trainers, Bookies, 6anagers
ABILITIES TALENTS Talents describe all the untrained and intuitive !bilities. Talents can never be trained or studied, but can be learned through direct eperience $ usually during a story. 'f your character takes an action using a Talent he does not possess, there is no effect on your roll. ! number of dice e2ual to the base !ttribute are rolled. Talents are such natural and intuitive !bilities that every character has some small capacity in each one.
INSTRUCTION
&ver the years, you have become practiced in noticing all that happens around you, even if you are not actively concentrating upon the surroundings. *ou are a capable bodyguard, for you have learned how to stay alert over a long period of time. !lertness simply indicates your awareness of the world around you. 't describes how much attention you pay to things other than the rumblings in your belly or the doubts in your mind.
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?ovice) *ou tend to be alert to changes, more-so than most. %racticed) *ou are watchful and very attentive to your surroundings. 5ompetent) *ou are highly vigilant. Epert) *ou are a truly cautious individual and rarely let down your guard. 6aster) *ou notice everything that goes on around you.
%ossessed by) "atchmen, :unters, Bodyguards, @eporters, Burglars
INSIGHT
75ore p. 0/8
The 'nsight Talent allows you to evaluate an opponent#s
7So p. 8
*ou have a knack for communicating ideas and passing your knowledge on to others. "ith this ability, you are well on your way to becoming a master. %art of being a master is being able to pass on your art to others. *ou can teach any of your Skills, Cnowledges, Techni2ues and Special 6aneuvers to another character. :owever, the student#s level of ability may not eceed either your own level of proficiency or your level of instruction, whichever is lower. Fellow characters who wish to learn from you must still pay the full cost for their education. 0
ALERTNESS 75ore p. 0/8
?ovice) *ou think she#ll go for a kick first... %racticed) *ou could determine if a boer was a southpaw. 5ompetent) *ou know how to bet on the fights. Epert) Bookie 6aster) Sensei
?ovice) *ou can convey simple sub3ects in an easily understood manner. %racticed) *ou can teach moderately comple topics and make your sub3ects interesting. 5ompetent) *ou can teach any sub3ect that you have knowledge of and make the lessons seem simple. Epert) >earning from you is never difficult. *ou can convey the most comple information or teach the toughest maneuvers and make them all seem very simple. 6aster) *ou are an inspiring teacher who makes a lasting impression on any student.
%ossessed by) Senseis, Teachers, >ecturers and some %arents
INTERROGATION
75ore p. 0/8
*ou are able to etract information by fair means or foul. Asing a miture of threats, trickery and persistent 2uestioning, you ultimately unearth the truth. ?o honorable Street Fighter would resort to torture 7it#s a 2uick way to lose permanent :onor points8, but not everyone at Shadoloo has the same morals. 0 00
?ovice) ?osy neighbor %racticed) 6ovie cop
000 0000 00000
5ompetent) Talk-show host Epert) 'nvestigative 3ournalist 6aster) Spymaster.
%ossessed by) 5ops, Dournalists, Secret Service %ersonnel, Shadoloo !gents
INTIMIDATION
75ore p. 08
The art of intimidation ranges from subtle suggestions to outright physical threats. Each method of intimidation has its time and place. 5haracters with the 'ntimidation Talent understand the science of being overbearing and know how to use it to get what they want. %eople with high 'ntimidation ratings seem to radiate auras of authority. Street Fighters can use 'ntimidation to psych outG opponents before a fight. The user must roll 5harisma = 'ntimidation 7difficulty of the opponent#s "illpower8. Each success forces the opponent to subtract one from her Speed rating for the first turn only. 0 00 000 0000
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?ovice) Si-year-olds give you the right of way. %racticed) *ou win an occasional staredown. 5ompetent) *our ga9e is very unsettling. Epert) *ou would be an above-average drill instructor. 6aster) 6. Bison
MANAGE
7% p. 8
!ll managers, or fighters who wish to manage, must have this !bility. The 6anage Talent allows the character to run the business side of the Street Fighter circuit. 't encompasses everything from travel bookings to medical coverage. ! good manager with a good team can keep epenses down and make a profit. 'f the manager also has the %ublicist and Bookie !bilities, profits can be incredible. ?ovice) *ou can open a bank account and calculate simple interest. 7'f you have a calculator on hand, that is.8 %racticed) *ou can balance your checkbook. 00 Figuring out compound interest is a snap for you. 'f you were interested in the fast-food industry, you would be a shoe-in for assistant manager. 5ompetent) *our friends ask you to do their taes 000 for them and you always get them refunds. 6ost small businesses have a 0H0 chance of success in their first year4 yours is IH. Epert) *our friends still ask you to do their taes 0000 and you agree, but only so you can claim them as dependents on your own taes. *ou can spot a profitable business deal a mile away and invest heavily in the stock market. 00000 6aster) (onald Trump, Bill ates, :oward :ughes $ and you. *ou could sell free9ers to Eskimos. *ou#ve had a lot of profitable business eperience, which makes you ideal for high-level 5E& positions. 0
*ou have a talent for finding false bottoms, hidden doors and secret wall safes. Jery little escapes your notice when it comes to finding things that you#re not supposed to. 5onse2uently, you are also 2uite adept at hiding things. Ase %erception = Searching when trying to find something. 'ntelligence = Searching is used when attempting to hide something. 'f you are short on time, "its = Searching is used instead, in either case, and more successes are re2uired. 0 00
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%ossessed by) Spies, Thieves and 5ouriers
STREETWISE
SEARCHING
7So p. 8
75ore p. 08
The streets are a ma3or source of information and money, as well as big-time trouble. The Streetwise Talent has a variety of uses. First and foremost, Streetwise allows you to blend in with the local scene without drawing attention to yourself. This Talent also imparts knowledge of street slang and shadyG areas. 0 00
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?ovice) *ou know whom to avoid on the street. %racticed) *ou are considered cool by the populace. 5ompetent) *ou know the gangs and their allegiances. *ou might have been a member of a gang yourself. Epert) *ou have spent most of your life on the streets. 6aster) 'f you don#t know it, it hasn#t been said.
%ossessed by) ang 6embers, "inos, @eporters, :omeless %eople, (etectives
SUBTERFUGE
75ore p. 08
*ou know how to conceal your own motives4 moreover, you know how to decipher the motives of others and how to use those motives against them. The secrets and intrigues of others interest you, and you work at understanding their weaknesses. ! command of this Talent makes you the ultimate conversationalist, or the ultimate spy. ! master of Subterfuge can gain information from another person without that person even reali9ing he#s sharing secrets. 0 00 000 0000 00000
%ossessed by) Financial 5onsultants, Business 6anagers, '@S !gents, Team 6anagers
?ovice) *ou know to check behind curtains. %racticed) *ou know how to tap on walls to listen for hollow spots. 5ompetent) *ou can take in details at a glance and prioriti9e your search. Epert) Jery little remains hidden from you. *ou can spot a wall safe from across a room. 6aster) Dames Bond has nothing on you.
?ovice) ! few white lies never hurt anyone. %racticed) *ou can pick up in a nightclub. 5ompetent) *ou could be a criminal lawyer. Epert) Ased-car salesmen have nothing on you. 6aster) *ou should work for Shadoloo.
%ossessed by) Shadoloo !gents, >awyers, 5on 6en, 5asanovas, %oliticians
SKILLS
DEMOLITIONS
Skills are !bilities learned through apprenticeships or rigorous training. 'f you try to use a Skill, but have no rating in it, the difficulty increases by one. *ou are untrained in the techni2ues of that Skill and thus have a harder time accomplishing that task than someone who has at least some idea of what he is doing.
The ability to set and defuse bombs and other eplosives. *ou are familiar with dynamite, plastic eplosive, nitroglycerin, black powder, blasting cord and even napalm. *ou can build, set and defuse nearly any type of bomb. 0 00
BLIND FIGHTING
75ore p. 08
*our senses are preternaturally acute. *ou can, through sounds, pressure changes, and possibly even 5hi, sense an opponent even when you cannot see him.
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0000
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?ovice) *ou can find your way around in the dark without stubbing your toes too much. %racticed) *ou win %in-the-Tail-on-the-(onkey games at parties. 5ompetent) *ou are aware of your general surroundings at all times. Epert) Few can surprise you, even in total darkness. 6aster) ?ot even nin3a can gain advantage on you in the dark.
%ossessed by) Street Fighters, ?in3a, 5hi 6asters
BOOKIE
0
00
000
0000
00000
DISGUISE
%ossessed by) amblers, Bookies, >oan Sharks, 6afia Bookmakers
7So p. 8
*ou can change your appearance, through manipulation of clothes and make-up, to look like another person of your choosing. 0
00
?ovice) *ou like to place bets on 3ust about everything, but rarely break even. %racticed) The lotteries look attractive, but you have learned enough about statistics to reali9e that the odds 3ust aren#t in your favor. 5ompetent) %eople ask your opinion on horse races and black3ack odds. *ou can usually place winning bets, but not consistently enough for your friends to trust your 3udgment. Epert) *ou#ve decided to carry a pager because too many people need to get a hold of you wherever you are. %lacing bets has become a lucrative sideline, and you consistently win. The gambling houses all know you by name $ they don#t like you, but they know you and will take your bets. 6aster) *ou don#t need a day 3ob. ?o one in town will take your bets anymore, but that#s okay because you have enough capital to cover most bets on your own. *ou have your own clientele, who gamble only with you. *ou are an epert at statistics and calculating odds. &ccasionally there is an upset and you lose money, but rarely.
?ovice) *ou#re best off sticking to firecrackers. %racticed) *ou can work with simple eplosives and avoid serious in3ury. 5ompetent) *ou know enough to defuse most bombs. Epert) *ou can build, set or defuse nearly any type of bomb. 6aster) 6cuyver could learn a few things from you.
%ossessed by) Terrorists, Bomb S2uads and Shadoloo !gents
7% p. 8
't isn#t easy to make a buck in this world. Sometimes you have to be smart about it. >ike letting the poor sap in the ring take the lumps while you collect the dough betting against him. Sometimes it#s your friend in there, but the money#s good, and someone#s got to look out for your buddy. Even if that means betting against him occasionally.
7So p. 8
000
0000
00000
?ovice) *ou still buy your make-up off the bargain :alloween racks. %racticed) !t a distance, you could pass for someone else. 5ompetent) *ou can create fairly complete disguises, fooling all but close friends. Epert) *ou can fool most of the people most of the time. 6aster) *ou become another person. Even those closest to you have a hard time recogni9ing you.
%ossessed by) !ctors, Spies and 5on !rtists
DRIVE
75ore p. 08
*ou can drive a car and perhaps other vehicles as well. Simply because you have a (rive rating does not mean that you are familiar with all land vehicles. *our difficulty may be raised or lowered depending on your general eperience with a particular automobile. 0 00
000 0000 00000
?ovice) *ou can drive an automatic automobile. %racticed) *ou can operate a manualHshift transmission. 5ompetent) 5ommercial trucker Epert) Formula &ne car driver 6aster) Evel Cneivil
%ossessed by) Truckers, @ace 5ar (rivers, anyone with a driver#s license.
LEADERSHIP
75ore p. 08
*ou can get people to follow your lead and obey your orders by eerting authority and by eample. >eadership isn#t so much knowing the techni2ues of getting people to follow you as it is being the type of person people will follow. >eadership is often used in con3unction with
5harisma. 00000 0 00
000
0000 00000
?ovice) *ou could coach a >ittle >eague team. %racticed) *our voice is a dominant one4 you can demand silence. 5ompetent) *ou are an effective leader in times of strife. Epert) *ou attract followers without really trying. 6aster) *ou are a ?apoleon, a 5hurchill $ or a Bison...
%ossessed by) %oliticians, 6ilitary &fficers, ang >eaders, Eecutives, %olice &fficers
PUBLICIST
7% p. /8
This skill allows you to advertise an upcoming event in order to attract paying customers. This can be a little tricky sometimes $ some countries frown on the circuit and those that don#t always want a cut off the top. 't#s best to keep the authorities out of the rung and the accompanying deals. 0
00
000
0000
00000
?ovice) *ou believe that advertising in the classified section of the local paper is the best way to attract an audience. %racticed) Spreading posters on telephone poles attracts more people, but few of the real movers. 5ompetent) *ou know how to contact the people most interested in the Street Fighting circuit. *ou let them do your work for you, as they spread word of the upcoming match to interested parties. Epert) *ou know the ma3or players in nearly every city in which circuit matches occur. 6anagers envy your advertising savvy, and fighters seek you out to finance their matches. 'mportant city officials know you by name. They may not like or approve of you, but they know you. 6aster) ?othing happens on the Street Fighter 5ircuit without your knowledge. *ou can make one call to any city in the world and organi9e a match. *our services are sought out by the largest, bestfinanced stables. *our name is known by important government officials, who may help or hinder you depending upon how you play your cards. Shadoloo has also taken an interest in your activities.
REPAIR
7So p. 8
*ou are familiar with machines and simple electronics. *ou can fi and maintain anything from cars to calculators to television sets. The more damaged or the more comple an item is, the more difficult it is to fi. 6any repair 3obs can take days or weeks. ! skilled repairman can 3ury-rig something so that it functions in a pinch, and worries about fiing it properly some other time. 0 00
000
0000
?ovice) *ou had an Erector Set as a kid. %racticed) 'f you have a manual in front of you, you can follow the instructions. 5ompetent) *ou are able to fi most things, given time and the right tools. Epert) *ou#re good at improvising and can usually make something work, even when it#s not
supposed to. 6aster) *ou know machines better than you know people, and can fi nearly anything in less than half the time it would take even a skilled repairman.
%ossessed by) 6echanics, @epairmen, Saboteurs and :ome &wners
SECURITY
75ore p. 08
*ou are proficient at picking locks, deactivating burglar alarms, hot-wiring cars, cracking safes, and other forms of breaking and entering. *ou might be a burglar4 conversely, you might be a security epert whose 3ob is to improve anti-theft precautions. 0 00 000 0000 00000
?ovice) *ou can pick a simple lock. %racticed) *ou can hot-wire a car.. 5ompetent) *ou can disable a house alarm. Epert) *ou can crack a safe. 6aster) Fort Cno isn#t safe from you.
%ossessed by) 5riminals, >ocksmiths, (etectives, Security Specialists
STEALTH
75ore p. 0+8
Stealth is the ability to sneak about or hide without being seen or heard4 it is often rolled against another character#s %erception. 0 00 000 0000
00000
?ovice) *ou can hide in the dark. %racticed) *ou can hide in the shadows. 5ompetent) *ou are an accomplished hunter. Epert) *ou can walk silently over two inches of dry leaves. 6aster) ?in3a clan leader.
%ossessed by) 5riminals, Spies, @eporters
SURVIVAL
75ore p. 0+8
The wilderness is a dangerous place, at least for those who do not understand it. The Skill of Survival includes seeking shelter, finding a direct route through in relative safety in the wilderness, and tracking. "hen you use Stealth in the wilderness, you cannot roll more dice for your Stealth (ice %ool than you have in Survival. 0 00 000
0000 00000
?ovice) *ou can survive a five-mile hike. %racticed) *ou are familiar with the wilderness. 5ompetent) *ou know how to brew natural medicines. Epert) *ou are at home in the wild. 6aster) *ou could find an oasis in (eath Jalley.
%ossessed by) Tribesmen, :unters, %ark @angers, hikers, ?ative !mericans
KNOWLEGES
Cnowledges includes all !bilities that re2uire the rigorous
application of the mind. Though the ratings discuss Cnowledges in terms of college degrees, school is not the only way to gain Cnowledges $ it is simply the most common. These are scholastic !bilities for the most part, but self-study or tutoring is also possible. 'f you do not have a Cnowledge !bility, you cannot even attempt a roll involving that Cnowledge. There are eceptions, however, such as rolls involving trivial information that anyone has a chance of knowing.
ARENA
Before a character can learn 5ybernetics, he must attain five dots in the 6edicine Cnowledge. 0
00
75ore p. 0+8
*ou have traveled and practiced in some of the underground arenas. The !rena Cnowledge represents an awareness of who sponsors which tournaments, where they are held, and when. Furthermore, fighters who host their own tournaments often stack the odds in their favor by customi9ing their arena according to their own fighting style. For eample, wrestlers might put a low ceiling on an indoor arena to prevent acrobatic characters from leaping away. 5haracters with the !rena Cnowledge will be privy to these home fieldG advantages, allowing them to prepare accordingly.
000
0000
00000 0
00
000
0000
00000
Student) *ou#ve heard stories about the big arenas. 5ollege) *ou#ve seen a few tournaments and scoped the arenas. 6asters) *ou#re familiar with many of the small arenas. (octorate) *ou know all the horror stories of specialty arenas. *ou know how to prepare for nearly any arena. Scholar) *ou know the world#s arenas like the back of your hand.
%ossessed by) 6anagers, Trainers, Bookies, Fighters, "orld "arriors
COMPUTER 75ore p. 0+8 *ou understand how to operate and program computers. *ou might even be able to design your own system. 0 00
000
0000 00000
Student) *ou can boot up a video game. 5ollege) *ou made at least a B in (ata %rocessing . 6asters) *ou are a skilled programmer and can design your own software. (octorate) *ou can hack into nearly any system. Scholar) *ou are years ahead of current technology. *ou can accomplish nearly impossible feats with a computer.
%ossessed by) (octors, 6ad Scientists, 'nventors, ?obel %ri9e "inners
FINANCE
7% p. /8
This is the ability to install and upgrade cybernetic implants. *ou have combined high-tech know-how with medical and prosthetic technology to achieve truly ama9ing results. *ou can repair, upgrade and, given time, build cybernetic limbs.
7So p. 8
*ou understand economics and can use your knowledge to your benefit. *ou are familiar with the stock market and various international echange rates. *ou can also use this knowledge to track individuals# or companies# resources. 6any Shadoloo fronts can be detected by application of this Cnowledge. 0 00
000
0000
00000
Student) *ou# can balance your check book. 5ollege) *ou understand economic echange on a large scale. 6asters) *ou can take advantage of market trends and maimi9e your resources# profits. (octorate) *ou know more about the state of the world, from the way people spend their money, than most people learn from a newspaper. Scholar) *ou could give financial seminars to the wealthiest people in the world.
%ossessed by) Bankers, Stock Brokers, Bookies and 6anagers
%ossessed by) %rogrammers, (ata %rocessors, Students, amers, :ackers
CYBERNETICS
Student) *ou know the basics of prosthetics technology and how to replace simple e2uipment. Simple repairs are the best you can manage. *ou know enough to refer the patient to a more 2ualified technician. 5ollege) !t this stage you are able to recogni9e the inefficiency of most artificial limbs. *ou begin to design improved models, but lack the technical knowledge to build them. 6asters) Scientific teams have offered you a position in their ranks. *ou are respected by your peers as an inspired scientist and a hard worker. ! few of your papers concerning prosthetic replacements have been published in medical and technical maga9ines. (octorate) *our advice is solicited for all manner of pro3ects. *ou can completely rebuild and improve any off the rackG prosthetic device, increasing its efficiency tenfold. "ere the technology involved not so epensive, your designs would be the medical standard. Scholar) Few people ask you for advice, because few can understand the concepts you talk about. The word revolutionaryG doesn#t do 3ustice to your work. Some of your patients regard their accidents as the best thing that ever happened to them $ your cybernetic replacements are that good.
INVESTIGATION
75ore p. 0+8
*ou are trained to notice all sorts of details others might miss, and at higher levels may function as a detective. This Cnowledge also reflects a character#s ability to conduct research, both in libraries and through interviews. 0 00
Student) !mateur detective 5ollege) %olice officer
000 0000 00000
%rofessional) %.'., 'nvestigative 3ournalist (octorate) FB', 5'!, CB, 6' 0, 'nterpol agent Scholar) Sherlock :olmes
%ossessed by) (etectives, 'nsurance 'nvestigators, @eporters, FB' !gents, 'ntelligence !gents
LAW
7So p. 8
*ou understand the law and can manipulate the legal system to your advantage. This Cnowledge can be especially handy if you#re caught in a foreign country without a manager to bail you out. *ou are familiar with the laws, fines, punishments, the procedures of most law enforcement agencies, and you can understand and use the often confusing legal terms tossed around by attorneys and legislators. 0 00
000
0000
00000
Student) *ou know your constitutional rights. 5ollege) *ou are familiar with legal terms and prose. 6asters) *ou know the laws of your native country 7or the one you currently live in8. (octorate) *ou could lecture an attorney on legal proceedings. Scholar) *ou intimately know both national and international laws and can move through legal loop holes like a fish through water.
0000 00000
%ossessed by) "orld-Travelers, %olyglots, (iplomats, Translators 'f a character is trying to understand someone who speaks a language she doesn#t know, the player should roll "its with a base difficulty of <, lowered by one for every two points of "its possessed by the speaker 7as he tries to simplify and clarify his point8. The difficulty should be raised if the information to be conveyed is very comple or difficult to grasp 7:ow are youKG or Take me to the airport.G is much easier to comprehend than This island nation of 6riganka#s main eports are pain, suffering, and oppression.G8 Similarly, it should be more difficult if the language is very different from any the character knows) someone who speaks Spanish might have an easier time understanding 'talian or French than they would an obscure dialect of 5antonese.
MEDICINE
00 000 0000 00000
Street Fighters and Languages (PW p.11):
Street Fighters cruise the globe in the course of their tournaments and adventures4 they rapidly pick up bits of language here and there. >anguage can be a useful tool or a ma3or story hindrance, depending on the situation and the Storyteller#s preferences. 'n general, the number of languages a character knows should be dependent on a character concept. !n international socialite or an 'nterpol agent probably knows a smattering of many languages or a few languages really well, while a kickboing >os !ngeles cop who grew up on the streets probably only knows English, and maybe some Spanish. !lternatively, the Storyteller may re2uire that players purchase the >inguistics Cnowledge 7see below8 for their characters.
MYSTERIES 75ore p. 0+8 *ou know some of the world#s secrets and strange mysteries. *ou know that the legend of monsters, ghosts and magic are truer than modern man believes. 6uch of what you know is speculation or sheer fantasy. Still, if half of the martial arts legends you know are true, there are awesome Special 6aneuvers waiting to be discovered in the remote corners of the world. 0
00
0000
0 00 000
Student) &ne additional language 5ollege) Two additional languages 6asters) Three additional languages
Student) 6other of small children 5ollege) Boy scout 6asters) &ffice safety representative (octorate) School nurse Scholar) %aramedic
%ossessed by) 6ed Students, Sensei, 6anagers, ?urses, Street Fighters
000
't is assumed that you can speak your own native language, but you must purchase any other languages that you wish to speak. Each level of >inguistics allows you to speak another language fluently. >inguistics also gives you understanding of the structure of language, which is in urn the basis of thought. "ith this !bility, you can also identify accents and variant dialects or read lips, but each such sub-ability must be purchased in place of a particular language
75ore p. 0+8
This Cnowledge allows a character to give basic medical attention to another. !t low levels, 6edicine represents knowledge of first-aid practices. !t higher ratings, it reflects a comprehensive grasp of medicinal practices. 0
%ossessed by) %olice, !ttorneys, 5riminals and 5ongressmen
(octorate) Four additional languages Scholar) Five additional languages
00000
Student) *ou know that there are weird things in the world#s corners. 5ollege) *ou know all the old wives# tales. 6asters) *ou could tell a yeti from a sas2uatch. (octorate) *ou know all about the monsters that stalk the world. Scholar) *ou could read the >ost Tablets of 6u.
%ossessed by) "eirdos, ?ew !gers, Scholars, the curious
SCIENCE
7SoS p. 0+8
"hat is ScienceK 's it a beacon of light to lead men to a brighter tomorrow or an engine of destruction that ruthlessly grinds humanity into mindless slavesK To many Street Fighters, Science is an esoteric sub3ect that must take a back seat to more important things... like learning to throw punches.
:owever, some Street Fighters and their !llies may draw on this skill, whether they intend to stop a mysterious plague or figure out the best way to stop a giant robot.
000
0000 00000
0
00
000
0000
00000
Student) (on#t worry, it probably won#t blow up... ' think.G 5ollege) Those skates would work much better with some small chemical rockets.G 6asters) 6en were not meant to perform such horrible eperiments... ecept for me, of course.G (octorate) &f course this plane can fly backwardsL ive me a few hours...G Scholar) ;uickly, my giant robotL 5rush themL 5rush them allLG
STYLE LORE 75ore p. 008 *ou have learned all you could about other forms of martial arts. *ou have practiced and studied they styles your opponents use. *ou don#t know everything, but you do know what each style basically can and can#t do. 0
00
000
0000
00000
Student) *ou know not to let a Sanbo fighter grab you. 5ollege) *ou can tell the difference between Cickboing and Cung Fu. 6asters) *ou know about each style#s different beliefs. (octorate) *ou could teach a class on the principles of the martial arts. Scholar) ! wise man atop a mountain.
%ossessed by) Sensei, "orld "arriors, Trainers, 6anagers
ADVANTAGES BACKGROUNDS These Traits are the special 2ualities and advantages your character has. *ou will have to decide which of these your character has, and why. 'f your character has @esources, you must describe the nature of those assets. 's she living off an inheritance or does she work for a livingK Backgrounds cannot normally be purchased with eperience $ they are normally only ac2uired during character creation. Thereafter, any new Background Traits must be ac2uired through game actions and roleplaying.
Three !llies, or fewer !llies who are more powerful. Four !llies, or fewer !llies who are more powerful. Five !llies, or fewer !llies who have greater levels of power 7or influence8
ANIMAL COMPANION
75ore p. 0I8
!n !nimal 5ompanion can be a powerful ally. 'n fact, a Street Fighter who sufficiently attunes himself to his !nimal 5ompanion can purchase special powers and maneuvers that reflect his animal#s abilities 7!nimal 5ompanion Special 6aneuvers were to be presented in later Street Fighter supplements. For now, you can create your own8. The Storyteller and player should work together to determine the statistics and Trait ratings for an !nimal 5ompanion. !nimals can be helpful allies in combat, although they are not allowed in tournaments. Some animals can be useful spies or couriers. The higher a character#s rating in !nimal 5ompanion, the more eceptional that animal is and the more attuned the character is to his animal. ! house pet. *our animal is tame and well trained, but nothing more. Anusual. This can be an unusual or rare animal 00 that is somewhat eceptional. The character still has no specific rapport with the pet. *ou have a remarkable animal4 you also have 000 some degree of empathic rapport with your animal. *our animal is truly eceptional4 furthermore, you 0000 have an ecellent rapport with it. 't sometimes senses when you#re in danger and it understands your commands perfectly. 00000 *our animal is uni2ue. *ou and your 5ompanion are completely attuned to one another. 'n addition to the advantages listed above, you can also form a mystic link with your animal for brief periods of time. This link allows you to see what your animal sees, even over great distances. 0
ARENA
75ore p. 0I8
*ou run your own arena. !renas range from small boing rings set up in a character#s garage to enormous coliseums seating tens of thousands. !n arena could even be a remote island far removed from civili9ation. 'f your arena, or you, become well known, managers will seek you out in hopes of using your arena. Eventually, you could even host your own tournaments. Small ring set up in a garage or barn. ! modest ring set up in a do3o or other private place. !n arena of some renown4 some Street Fighters 000 may actually seek it out. ! well-known arena. %romoters are already talking 0000 about bringing their teams to it. 00000 ! grand arena, one which could very easily host a "orld "arrior tournament. ?ow if only their managers would return your calls... 0
ALLIES
00
75ore p. 0I8
!llies are friends and family who support the character. They#re not always there, but they can be called upon in times of need. The higher your rating, the more friends and family your character has. !llies are not limited to normal people4 a character might have another Street Fighter as an !lly. ! character could have an !lly in 'nterpol, or even a befriended a traitor within ShadolooL 0 00
&ne !lly, of moderate power Two !llies, or one more powerful !lly
BACKING
75ore p. 0I8
Some Street Fighters are assisted by various companies
and organi9ations. These organi9ations can range from government agencies, like 'nterpol, to franchises or corporations, like a 6cBurger restaurant chain. The 2uality of assistance can vary greatly, but any level is useful. Backing is a two-way street, though. 'n echange for assistance, these companies and organi9ations epect Street Fighters to perform favors in return. 0
00
000
0000
00000
6inor 5ompany) *ou get some travel assistance. 'n echange for endorsing some of the company#s products. Eamples) shoe companies, shampoo companies, small schools. >arger 5ompany) These companies offer Street Fighters free travel and lodging in echange for minor favors. These favors could include handdelivering documentation, distributing merchandise, or 3ust checking up on one of the company#s regional offices. Eamples) beverage companies, martial arts schools, cereal companies. This can be a company or government organi9ation. This type of group will usually cover all of a Street Fighter#s epenses and even pay a small allowance. 'n echange, the company often epects surveillance missions and escort services. Eamples) government agencies, powerful companies. These are companies and services like those mentioned above. !t this Background rating, however, the character holds a position of responsibility. :e more or less works covertly for the company and uses Street Fighting as his cover. The agency or company epects efficient service from him and usually pays well in echange. 't is not uncommon for a character with this level of backing to be routinely sent on espionage and sabotage missions. These are the world#s most powerful governments and agencies. ! character working for one of these is basically owned by her backer. The missions are constant and dangerous, but the pay and benefits are ecellent.
CLAN HERITAGE
00
000
0000
CONTACTS
The family tolerated your presence only because it knew you wouldn#t reveal its secrets. Then again, they didn#t share many of them with you. *ou received a few lessons in the clan do3o, but your teachings usually consisted of the proper way to do the laundry or clean the shrine. The clan accepted you into the fold, and you are allowed to sleep in the main building. *our intense study and earnest efforts to be accepted finally paid off. *ou were given the rank of Genin4 now you must prove yourself worthy of it. The clan allowed you to lead the occasional ceremony at the 6ikkyo temple. 6artial arts and
75ore p. 0<8
5ontacts are people the character knows who provide information. 5ontacts can be anyone, anywhere. *ou need to decide before the game begins who your character#s 5ontacts are and what their working relationship is. ! 5ontact can be anyone from a shoeshine boy to a hotel concierge to a stockbroker to a bookie. Anlike !llies, 5ontacts are not necessarily interested in the character#s welfare, but 5ontacts usually have better information than !llies. 5ontacts are not free sources of information. 6any times a character will have to perform a favor in return for the information or favors provided. &f course, there will also be times when a 5ontact does not know the information the character seeks. 0 00
000
0000
00000
&ne 5ontact with limited information. Two 5ontacts with limited information, or one contact with accurate information. Three 5ontacts with limited information, or few contacts with better information. Four 5ontacts with limited information, or fewer contacts with better information. Five 5ontacts with limited information, or fewer contacts with better information.
FAME 75ore p. 0<8
7% p. I8
*ou have either been born into or adopted by an ancient ?in3a clan. 7't is rare for a Gaijin to be accepted into a traditional ?in3a household, but not unheard of.8 *ou have been indoctrinated with the ways of honor, stealth and combat, all of which the ?in3a spirit embodies. *ou are among family when with your ?in3a clan. 0
00000
espionage training occupy much of your time. The 6asters have taught you their mystic hand signs. *ou anticipate the day they will trust you enough to teach you all of their skills. *ou will be allowed to become a Chunin if you prove yourself worthy. *ou are one with the family clan. The secrets of Saiminjutsu were laid open for you. *ou are allowed to operate in the field as a full clan ?in3a, with all the attendant danger and ecitement. *ou have been commanded to uphold the honor of the clan and protect its interests at all times. *ou will be allowed to become a Jonin and begin your own clan, if you 2ualify for the rank. The clan elders are already looking at the unmarried children of neighboring clans for prospective partners.
"hile lory represents a character#s popularity inside the ring, Fame represents a character#s popularity among everyday people. The more famous a Street Fighter is, the more people will seek him out. Street Fighters with fame aren#t necessarily famous for being Street Fighters4 they could be rock stars or movie actors. Fame has its inherent advantages4 people who have heard of you may go out of their way to help you. Fame has its share of drawbacks too $ such as people knocking on your hotel-room door at all hours of the night looking for an autograph. 0
00
000
0000
*ou are known to a select group in society 7like heavy metal fans8. *our face is recogni9ed by a ma3ority of the local populace. *ou#re a local celebrity 7like the weather man8. *ou are fairly famous4 your face and name are known by many. *ou are 2uite a celebrity4 everyone knows something about you.
00000
6a3or Star %erformer. *ou are a nationally famous individual. *our face appears regularly on maga9ine covers and TJ. 00
MANAGER
75ore p. 08
! 6anager handles a Street Fighter#s business, arranging transportation, housing and competition schedules. 6anagers come from any walk of life and do what they do for nearly any reason. Some managers are rich debutantes, with little or no actual eperience, who are 3ust looking for ecitement. &ther managers are themselves retired or failed Street Fighters who still can#t get the business out of their blood. 'n any event, a 6anager is the person who handles the Street Fighter#s 7or team#s8 daily business. :e finds a tournament, arranges transportation and lodging, and boosts the morale of the team. ! 6anager is an accountant and coach all rolled into one. The higher a character#s rating, the more competent her 6anager is. !t the Storyteller#s discretion, members of a team can combine points for a 6anager. :owever, the Storyteller should always have the final say on how competent their 6anager can be. Furthermore, even if the players do combine their points for a 6anager, they should never spend more than five points total. %oor 6anager. Few connections and even fewer ambitions. But he#s better than not having one at all. !verage 6anager. She tries to work the bi9 and 00 sometimes gets it right. Still, your luggage gets lost more often than it should, and there are some tournaments you 3ust don#t hear about until it#s too late. 5ompetent 6anager. :e gets you to the 000 tournaments on time, even if he cuts corners from time to time. :e generally takes good care of you. Every now and then, however, he makes a mistake and schedules you against an opponent who seriously outclasses you. Slick 6anager. She#s got the angle, she#s got the 0000 edge. She knows every tournament promoter in this hemisphere and gets you in front of the best trainers in the country. 00000 !wesome 6anager. This 6anager has worldwide connections and influence. :e can get you into any tournament, anywhere. 'f you hold up your end of the bargain and win your fights, then everythingMs peachy and it#s off to the net match $ first class. :owever, if you find yourself in a losing slump, you#ll probably need to find a new 6anager $ this one doesn#t sail on a sinking ship. 0
RESOURCES
75ore p. 08
>ondon, 5airo, %eking) you can go anywhere you want to, and you can go first class $ if you#ve for the resources to handle it. @esources are the character#s cash flow. *ou#ll need to determine the source of your character#s income. 's it an inheritance, or does he still hold down a 3obK "here does he spend his money, and what type of lifestyle does he leadK 0
Small savings) *ou have an apartment and
000
0000
00000
perhaps a motorcycle. 'f li2uidated, you would have about N, in cash. *ou have an allowance of N0 a month. 6iddle class) *ou have an apartment or a condominium. 'f li2uidated, you would have approimately N<, in cash. *ou have an allowance of N,/ a month. >arge savings) *ou own a house 7or some other form of e2uity8. 'f li2uidated, you would have N0, in cash. *ou have an allowance of N, a month. *ou are wealthy. *ou own a very large house or perhaps a small mansion. 'f li2uidated, you would have N0, in cash. *ou have an allowance of N, a month. *ou are easily a millionaire many times over. 'f li2uidated, you would have at least N0,, in cash. *ou have an allowance of N0, a month.
SENSEI
75ore p. 08
*ou remain in contact with your Sensei and still learn from him from time to time. :e is a source of wisdom, training and advice. *our Sensei could be right net door or cloistered away in a monastery somewhere in Tibet. 'n any case, you have an advantage some others might not $ the opportunity to continue your education. 'n some cases, having a well-known Sensei can affect the way others treat you. 'f your Sensei is known for being honorable, then others will epect you to display similar 2ualities and treat you accordingly. 'n some cases, your Sensei and 6anager might be one and the same4 this is a tremendous asset. :owever, Background points must still be spent on both the Sensei and 6anager Backgrounds. !n average Sensei who is readily accessible, or an above-average Sensei who is very much removed from the modern world. 'n either case, your Sensei has not mastered the true secrets of your style, although he is a passable trainer for the basics. !n above-average Sensei who is near at hand, or 00 a good Sensei who lives in a remote part of the world. !n above-average Sensei has mastered all of the basic moves of a style and has learned one or two difficult maneuvers. ! good Sensei who is easy to reach, or an 000 ecellent Sensei who lives in a remote part of the world. ! good Sensei has mastered most of the difficult maneuvers associated with a given style. !n ecellent Sensei who is easy to reach, or a true 0000 master who is removed from the modern world. !n ecellent Sensei has mastered all of the special maneuvers associated with a style and might even know a few tricks from some other styles. ! true master who is somewhat accessible. ! true 00000 master has mastered all of the special maneuvers associated with a style and has possibly created her own uni2ue maneuvers. True masters often have a smattering of maneuvers from other styles. 0
STAFF
75ore p. 08
:aving a skilled support team can make a tremendous difference for some Street Fighters. ! Staff can include students, personal trainers, nutritionists, masseuses, chauffeurs, financial analysts and even cheerleaders. Each member of a character#s Staff is a uni2ue individual with his own skills and motivations. Staff members are usually played by the Storyteller and they aren#t always involved with the story. :owever, if you want, another player can play the role of a Staff member. 'ndeed, an entire chronicle could be based around a single Street Fighter and the team that supports her. The Storyteller will create statistics for your Staff members. 0
&ne Staff member Two Staff members Three Staff members Four Staff members Five Staff members
be applied to many different circumstances, such as tightrope walking or even dancing. !cting out the part of your cyborg or malad3usted hybrid will open up whole new dimensions to your chronicle. Ase 2uestions like the ones below to help you define how your character interacts with the rest of the world. x (oes a cyborg have a built-in change compartmentK x "ill an animal hybrid smell your hand when you shake itK x :ow does a water elemental wash his carK x "hat does an animal hybrid think of fast foodK
ANIMAL HYBRIDS Lions and tigers and bears – oh my!
$ (orothy, The "i9ard of &9G ?o one really knows what lives in the wild areas of our 000 planet. Strange stories occasionally filter back to 0000 civili9ation $ tales of weird creatures stalking through the 00000 untamed wilderness. For millennia, these stories have been myths and little more. @ecently, however, a few of these half-manHhalf-animals have emerged from their lairs UNIQUE BACKGROUNDS to enter the civili9ed world. @arely is such an immigration successful, for most of these hybrids have difficulty their animal sides and 3ust can#t adapt to human INTRODUCTION TO UNIQUE BACKGROUNDS controlling society. !ccordingly, they shun large cities, living on the Ani2ue Backgrounds were designed to enhance outskirts of the wilds that spawned them. character variety. 5reating a character who incorporates Few studies of these so-called animal hybrids have been Ani2ue Backgrounds is a little more complicated than conducted, and pure empirical evidence is both difficult making a run-of-the-mill Street Fighter. Some Backgrounds and dangerous to garner. ?onetheless, a couple of have new Special 6aneuvers associated with them, while theories have been postulated to eplain the origin of others give characters access to maneuvers they wouldn#t these aberrations. normally be able to use. The first theory cites 7admittedly sketchy8 evidence that the hybrids have undergone a mutagenic transformation at the cellular level. This is presumed to be caused by an UNIQUE BACKGROUNDS AND STYLES unknown virus that mutates the (?! code of its victim, Ani2ue Backgrounds are meant to be used in rendering the victim etremely susceptible to cellular con3unction with a fighting style. This doesn#t mean that the manipulation. Then, by sharing cellular information with character has to be dependent on the style, but she will another organism for an etended period of time 7via close need it to supply the basic moves. contact or shared food8, the victim#s (?! is rewritten to Some Ani2ue Backgrounds modify eperience point correspond to the second organism#s cellular pattern. This costs. These modifiers are meant to ensure that new virus is presumed to survive only in isolated areas of the players are not overpowered by 7or don#t overpower8 the globe, hence the appearance of these animal hybrids. The rest of the team. They also reflect the fact that these origin of this virus is unknown, as are its methods of people are fundamentally different, inside and out. 't is transmission. harder for a cyborg to advance socially than a normal 6any people uninvolved in the scientific community fighter. This makes up for any initial combat advantage a adhere to a different theory, the tenets of which are as cybernetically enhanced character has. follows) The hybrids have been possessed by the spirit of the animal and imbued with aspects of that animal to serve some greater good. 6any people, witnessing the hybrids# UNIQUE BACKGROUNDS IN COMBAT savagery, believe this mission to be one of vengeance. Some of the Ani2ue Backgrounds work in unusual &thers suppose that the natural order is reasserting its manners or provide combat bonuses. 't is advisable to power over the world and that these creatures are create a 5ombat 5ard detailing the Background#s effect ambassadors from the wilderness. Still others hold the and keep it on the table in front of you during combat. That opinion that nature is rebelling against the pollution and way you, your opponent and the Storyteller will not be wide-scale environmental destruction wrought by modern confused by the sudden appearance of a strange bonus. society. "hatever the source of the hybrids# condition, the fact of eistence is no longer in 2uestion. :uman society#s UNIQUE BACKGROUNDS OUT OF COMBAT their reaction to these newcomers has been widely variable but &ne of the most rewarding aspects of having a character generally negative. ! combination of the hybrids# bestiality with a Ani2ue Background is the interaction between the and society#s intolerance has led the public to vilify animal character and other people or the environment. ! Ani2ue hybrids as savage monsters. Background#s impact on a character#s everyday life can !nimal hybrids are, in fact, prone to fits of violent rage if lead to countless interesting vignettes or inspire entire provoked. The rules of society stifle the animal within, and stories. For eample, the Special 6aneuver Balance can 00
the compleity of modern living often baffles these neardots in Stamina, bringing it up to ' savages. Frustration and incomprehension build up stress in these creatures, and violence is often the result. %olice ABILITIES or soldiers are fre2uently re2uired to deal with these !nimal :ybrids have certain disadvantages with regard insane monsters. 6ost animal hybrids are either killed to Talents, Skills and Cnowledges. ! character is limited to during a fren9ied rampage or driven back into the one starting dot in the following !bilities) Streetwise, wilderness by the rigors of polite society.G ! few, however, Subterfuge, (rive, Security and 5omputer. ! character is find a way to control their anger and remain in the human limited to two starting dots in these additional !bilities) world. 6any hybrids are attracted to the inherent violence of the 'nterrogation, !rena and 'nvestigation. "hen spending eperience, the character must pay three times the current Street Fighter circuit. :ere they find a place where they level of the !bility instead of the normal two. This reflects can vent their anger and frustration. :ere they find the cultural difficulties that all animal hybrids endure. something they understand) the strong triumphing while the weak are cast down in defeat. &nly in the arena can a hybrid let loose without breaking the weak humans around ADVANTAGES him. Anfortunately, a hybrid may lose control of the animal !ll beginning animal hybrids have two free dots in the aspect of his personality during combat, especially if he is !nimal 5ompanion Background. 'f an established losing. 'n such cases the fighter#s survival instincts kick character develops the !nimal :ybrid Background, he into overdrive. ! simple sparring match could become a fight to the death at any time. 't is not uncommon to see an does not gain the free !nimal 5ompanion Background that starting animal hybrids get. animal hybrid fighter clambering about an arena, smeared ?ew animal hybrid characters also gain one free dot in with the blood of an opponent, once his animal side has the !thletics Techni2ue. taken over. Altimately a hybrid learns to control the animal within him. 'f he cannot, he is usually driven out of the circuit, and HYBRID BASIC MANEUVERS society, by other Street Fighters. ?ot all men, women, and hybrids are created e2ual. The most successful hybrid fighters are usually rigidly (epending upon the type of hybrid a character is, certain disciplined by their teachers, who punish their students for new Basic 6aneuvers may be inherently available. The even the slightest breaches of eti2uette. The intense player and Storyteller must decide which :ybrid Basic discipline of the martial arts allows the animal side to be 6aneuvers are available to the character, based upon that controlled and harnessed without fear of going berserk character#s concept. &bviously, there#s a tradeoff when during a match. :ybrids, more than any other fighters, selecting these maneuvers. 'f a character has a Tail attack re2uire the steadying discipline of the martial arts to 7and therefore a tail8, he will have a much harder time control their rages. blending in with society than he otherwise would. These new 6aneuvers do not cost %ower %oints and are WORKING WITH THE ANIMAL HYBRID considered to be additional Basic 6aneuvers 7much like Forward Cick, Strong %unch, Block, etc.8. The number of BACKGROUND dots in the character#s !nimal :ybrid Background %layers who choose to create animal hybrids trade social determines the number of additional Basic 6aneuvers disadvantages for physical power and a permanent lust for available to the character. The !nimal :ybrid Basic 6aneuvers do not correspond to any of the si Basic battle. "hen creating an animal hybrid Street Fighter, the Techni2ues 7%unch, Cick, Block, rab, !thletics or Focus8. following rules are used) These new 6aneuvers utili9e the character#s !nimal :ybrid Background dots in lieu of any Techni2ue dots.
ATTRIBUTES
The rigors of the wild and their genetic structure make animal hybrids stronger, faster and hardier than ordinary humans. :owever, they are also savage and uncouth. Their beginning statistics reflect this. !ll animal hybrids begin with the following points for their !ttributes) Attribute
%hysical Social 6ental
Starting Dots
/ +
Maximum
1 + 0
For example, ileen is creating a cat hybrid character She begins by determining her ttributes She has nine dots to di"ide among Strength, #exterity and Stamina – $ith a natural maximum o% & in any o% them She spends t$o dots on Strength, raising it to ' She spends %i"e dots on #exterity, making it a $hopping & (she $ants her character to be really )uick* Finally she puts her last t$o
#ni!al $"brid Bac%grund:
to xx $ one additional 6aneuver xxx to xxxx $ two additional 6aneuvers xxxxx $ three additional 6aneuvers x
The new Basic Maneuvers available t ani!al h"brids are:
Bite $ = Speed, = (amage, - 6ove Tail Slash $ = Speed, = (amage, - 6ove x 5law $ = Speed, = (amage, - 6ove &ther 6aneuvers can be created in accordance with the hybrid#s specific animal counterpart) Fin Slash 7for a shark hybrid8, ;uill Sweep 7for a porcupine hybrid8, and Tentacle S2uee9e 7for a s2uid hybrid8 are all possibilities. x x
For example, ileen is $orking on her cat character, $hom she has named +ummetta er nimal ybrid
-ackground is ', $hich allo$s her t$o additional -asic .aneu"ers She selects Cla$ and -ite She calculates the Speed, #amage and .o"e %or her Cla$ ttack er #exterity is &, and the Cla$ .aneu"er has a /0 Speed – so the Speed o% her Cla$ .aneu"er is 1 2o determine the #amage, she totals her Strength ('*, her number o% dots in the nimal ybrid -ackground ('*, and the Cla$ .aneu"er3s #amage modi%ier (45* er Cla$3s total #amage is 6 Finally, she calculates her .o"e er thletics 2echni)ue is ' and the Cla$ .aneu"er has a modi%ier o% 47 .o"e, so her .o"e %or the Cla$ .aneu"er is '
NATURAL ABILITIES &ther innate powers may be available to the hybrid fighter. These abilities stem from the conditions that fostered the animal side of the fighter. The proportion of animal to human characteristics will determine if or to what etent these abilities are present. There are two types of hybrids) :omid 7manlike8 and Bestial 7beast-like8. The more dots a character has in this Ani2ue Background, the more Bestial the character is. enerally three dots is the breaking point for determining whether the hybrid is Bestial or :omid. ! character with an !nimal :ybrid Background of + or 0 is almost always Bestial, though there are eceptions. &bviously, the more human-like a hybrid appears, the fewer social problems she#ll have. :owever, a Bestial hybrid will have more natural abilities than her human counterparts. Bestial hybrids may be able to use powers uni2ue to the animal they are melded with, like flight or swimming.
COMMON SPECIAL MANEUVERS FOR ANIMAL HYBRIDS Special Maneuvers Punch:
Eye @ake 78 Grab:
Bear :ug 7/8 :ead Bite 78 Daw Spin 78 @ipping Bite 7/8 Tearing Bite 7/8 Athletics:
(ragon#s Tail 78 (runken 6onkey @oll 7/8 Tail Sweep 7/8 Typhoon Tail 7/8 Apper Tail Strike 78 %ounce 78 Focus:
5obra 5harm 78 @egeneration 7/8 Toughskin 7/8 Jenom 7/8
enerally, a character will need to have the !nimal :ybrid Background at + or 0 before you can select a natural ability for her.
CONTROLLING THE ANIMAL SIDE >oss of control during combat is a real problem for animal hybrids. "hen a fighter loses half her :ealth, she must make a check against her current 5hi to see if she retains control. She must score at least one success4 otherwise, she will lose control and attack her opponent with all her bestial power. The effects of the berserk fren9y are as follows) x "hile she has lost control the fighter may not use any 5ombos. X The fighter must attack, regardless of whether he r opponent is unconscious, fallen or pleading for mercy. X For the duration of the fren9y, the hybrid has a =/ Speed advantage on all attacks. X The hybrid cannot use abilities such as "all 5limbing or Flight. X The hybrid cannot use any Special 6aneuvers. X The hybrid cannot be di99ied. X The character loses one temporary :onor each round she is in fren9y. 'f her temporary :onor drops below 9ero, she loses one permanent :onor. X !t the end of each turn the character may make a new 5hi roll to see if she can regain control. X &n the second and subse2uent turns of a fren9y, an !nimal :ybrid can epend a point of "illpower to make a second 5hi roll, if her first roll during that turn failed. &nly one "illpower point can be spent in this manner per turn. Each time the character takes half her remaining :ealth >evels in damage she must make a test to retain control of her animal side. 'f she fails she will go berserk.
ANIMAL HYBRIDS AND FIGHTING STYLES *ou got strengthL ?o discipline. *ou flail at enemy like ocelot cubL 6e show how to direct power toward targetL $ Blanka, trying to 2uote his 5apoiera teacher. !n animal hybrid is powerful by its very nature. The animal side provides a number of effective, if brutal, strategies for combat. These alone often win most fights for the hybrid $ but not always, and rarely on the Street Fighter circuit. Street Fighters# training allows them to counter and overcome the hybrids# undisciplined savagery. Therefore, to supplement their natural ferocity, many animal hybrids seek out the martial arts. 6artial arts provide not only increased combat prowess, but a sense of serenity rarely felt by hybrids. 'n the ring an animal hybrid can be at peace with his nature. :e doesn#t have to worry about when it#s safe to cross the road, or how many of the colored papers he needs to have for a good meal. !ll he needs to know is where his enemy is and how far he has to 3ump to sink his teeth into him. This brutal attitude shocks most sensei. The ma3ority of sensei assume that such a beast could never adhere to the strict regimen of the martial arts $ and in most cases they are correct. 6any hybrids are unable to accept the teachings of the school. :owever, others wholeheartedly embrace the discipline of the sensei#s school, seeing it not merely as a way to improve their performance in the arena but also as a way to control the beast within. These
&atural #bilities include: 'esistant t $eat (natural heat)
Effects) The character is unaffected by etremely hot weather conditions. :ybrid eamples) 5amel, >i9ard, Julture, Snake 'esistant t ld (natural cld)
Effects) The character is unaffected by etremely cold weather conditions. :ybrid eamples) %olar Bear, %enguin, &wl, "alrus, Ciller "hale Wall li!bing
Effects) The hybrid may move straight up vertical surfaces, provided there are sufficient handHfootH3awHtail holds to allow this. There is no movement modifier for this movement. :ybrid eamples) 6onkey, Sloth, Spider Flight
Effects) The fighter may fly, although this is not a natural mode of travel for him. The strain of lifting his bulk greatly reduces the effectiveness of this ability. ! fighter may fly a number of hees e2ual to half his !thletics Techni2ue 7round up8 and may remain in flight a number of turns e2ual to his Stamina. 5haracters also cannot block while they#re flying. :ybrid eamples) Bird, Bat, 'nsect, Flying S2uirrel Swi!!ing
Effects) 6oving through water is second nature to these fighters, and they suffer no Speed, (amage or 6ovement penalties when doing so. They can also hold their breath for a number of turns e2ual to twice their Stamina. :ybrid eamples) Fish, &tter, (olphin, Shark, Eel
forces to make Stamina tests. !nimal hybrids with this natural ability are considered to have double their normal Stamina for purposes of running long distances. :ybrid eamples) :orse, "olf ills
Effects) :ybrids with this power can breathe underwater. 5haracters with gills should also be able to breathe above water $ although it may be fun to play a purely a2uatic fighter who re2uires a helmet or periodic immersion in water. 't is up to you and the Storyteller to work out the re2uirements of these characters. :ybrid eamples) Shark, Fish, Salamander 'egeneratin
Effects) Fighters with this power can heal one aggravated would per hour. 'n addition, they may regrow or reattach severed limbs. 't usually takes days to regrow missing limbs. :ybrid eamples) Salamander, >i9ard, %lanarian #dditinal Li!bs
Effects) The fighter gains one, two or more additional limbs, depending upon her animal hybrid concept. !n additional pair of arms adds one dot to %unch and rab Techni2ues. !n additional pair of legs adds one to the character#s Cick and !thletics Techni2ues. ! character with etra limbs is al$ays considered a Bestial hybrid. :ybrid eamples) Spider, 'nsect, S2uid, Freak of ?ature *ther &atural #bilities
'maginative players are encouraged to create their own animal-based abilities, but, as always, the Storyteller should have the last word on the effectiveness of these abilities.
'unning
Effects) Bestial :ybrids with this power will not suffer ill effects from running long distances. &ther fighters will only be able to sprint short distances before being
!!n St"les +r #ni!al $"brids:
5apoeira Cung Fu x ?ative !merican "restling x Sanbo x Shotokan Carate x Special Forces Training x "estern Cickboing x "u Shu x
*ou avoid civili9ation because it bothers you. The wilds are where you#re at home. %eople are 3ust too frail and too structured for you to tolerate for long periods of time. *ou bear an unmistakable resemblance to a beast. 00000 *ou are barely human anymore. *our new body is much more efficient and incredibly powerful. *ou see most things on a basic and primal level. *our actions are instinctive $ those of a predator. 0000
x
CYBERNETICS ANIMAL HYBRID
7% p. //8
The !nimal :ybrid Background defines 3ust how animalistic the character is. The higher the Background, the more bestial the character. 0
00
000
*ou were always a bit different from the other children. They seemed meek and fragile to you. *ou have a rapport with nature that most people cannot understand $ let alone appreciate. *ou spend long periods of time in the wilds $ perhaps you even live there. *our body has
8 ha"e yet to see anything that is metal put up a %ight be%itting o% a true $arrior 2here is no spirit in metal – only in %lesh can the $arrior %ocus his spirit 9nly in %lesh can one attain the highest o% goals
$ @yu, lecturing his first cyborg opponent. @ecently, Street Fighter arenas have been invaded by a new breed of warriors $ half-human, half-machine beings known as cyborgs. Some managers and traditionalists feel that this violates the spirit of competition. ?onetheless, cyborgs have been allowed to compete in Street Fighter tournaments, albeit with reluctance. The creation of a cyborg is an incredible feat of
engineering, programming and surgery, une2ualed by any the strength of their convictions in and outside the arena. other technological marvel in this decade. :uman flesh, These precious few have not sacrificed their humanity to bone, muscle and nerve are grafted to mechanical the machine with which they have melded. implants to produce a synthesis of man and machine. This technology#s potential uses are manifold and wondrous. WORKING WITH THE CYBERNETICS >imbs lost to accidents or paralysis can be replaced4 optic nerves of the blind can be wired into mechanical lenses, BACKGROUND restoring sight4 brain diseases can be countered with 5yborg characters radiate cold, aloof auras and are cerebral implants. But there is a dark side to constantly reminded of their mechanical enhancements by cybertechnology. Too much metal, and the human the looks of fear in the people they meet. *ou may be a disappears, replaced by an implacable killing machine. great crowd favorite in the ring, but your fans may cringe Three years ago, the Anited States government created its first cybernetic warrior, codenamed !rgent for its silvery when they meet you in person. eoskeleton. The !rmy was etremely proud of its engineering miracle. !rgent was deployed to an isolated ESTABLISHED CHARACTERS AND location in ?ew 6eico for final evaluation. 'n field tests the unit proved unstoppable, unbeatable $ and, ultimately, CYBERNETICS uncontrollable. 't is conceivable that a player may wish to graft %erhaps a tiny logic circuit went haywire4 perhaps the cybernetic enhancements to her eisting Street Fighter sensory overload of computeri9ed thought processes was too taing to process4 perhaps a machine programmed for character instead of creating a completely new one. These established characters are only sub3ect to ongoing war simply cannot turn off.G 'n any case, !rgent went eperience ad3ustments and do not receive the free points amok. The unit escaped from the base and rampaged that a new cyborg character receives. Established through the state. !rgent single-handedly destroyed two characters still lose two permanent :onor points once they small towns, and soon it became evident that the cyborg#s become cybernetically enhanced. rampage was taking it directly into >as Jegas. The situation was desperate. Then !rgent met Balrog. Balrog reduced the cyborg to scrap metal in <./1 ATTRIBUTES seconds 7according to the internal chronometer recovered 5ybernetic characters are at a social disadvantage from from the defunct unit#s remains8. >as Jegas was saved, the beginning. !s a result they have one fewer point to and ?evada#s governor rewarded the boer etravagantly spend on Social !ttributes than other characters do. They for his service to the city. ?onetheless, most people reali9ed what a close call the incident had been. The public can still make Social !ttributes primary, secondary or tertiary $ they will merely have si, four or two dots, cried out for a moratorium, forcing the %entagon to halt all respectively, to spend on their Social !ttributes. 5yborgs research in into cybernetics. &r so people thought. naturally have a difficult time interfacing with other people. 5?? had broadcast the crisis in >as Jegas across the Because of this, a cyborg must always pay si times the globe. "ithin a year every national and corporate superpower was researching cybertechnology. 6uch of the current rating to increase any Social !ttribute, even if it#s less than superhuman. research was beneficial, producing more efficient artificial :owever, it is easier for cyborgs to reach superhuman hearts or improved prostheses for accident victims. &ther levels in their %hysical or 6ental !ttributes. 5yborgs gain discoveries were less benevolent. Secret pro3ects one additional dot to be put in a %hysical or 6ental developed designs far more efficient, and lethal, than the !ttribute. Furthermore, a cyborg wishing to increase her !rgent prototype. @esearchers needed a way to test their %hysical or 6ental !ttributes beyond 0 is not sub3ect to the products without running the risk of repeating the ?ew 6eico crisis. They needed a rigorous proving ground that higher cost multiple used for purchasing superhuman traits. "hile other Street Fighters pay si times an would allow them to eamine the full potential of their !ttribute#s current rating when increasing it into the warriors. They chose the Street Fighter circuit. superhuman range, the cyborg character still only pays ?ow managers and fighters alike are being offered four times that !ttribute#s current rating. cybernetic enhancements. 6ost indignantly refuse the offer4 however, a few accept for one reason or another. 6aybe the fighter has reali9ed he doesn#t have what it ABILITIES takes to be a contender4 maybe he#s been crippled in the 5yborgs# mechanical nature provides them with certain ring4 perhaps he simply feels the advancing years dulling inherent !bilities. %layers are not re2uired to spend any of his reflees. For whatever reason, a few accept the offer their characters# starting !bility points on these !bilities $ and allow their nameless benefactors to alter their bodies they#re freeG for cyborgs. Because they#re free, it is for the sake of victory in the arena. possible for a cyborg character to start with more than Today, cyborgs have appeared in nearly all important three dots in these !bilities. tournaments and are accepted as opponents $ accepted 5yborg !bilities are as follows) 'nterrogation x, but not respected. Few Street Fighters regard cyborgs as 'ntimidation xx, 5omputer x, and 6edicine x. honorable opponents, and they constantly show their :owever, cyborgs cannot begin with more than two dots contempt for these half-human freaks. 6ost Street in Streetwise or 'nvestigation. Furthermore, increasing Fighters consider it detestable for a warrior to corrupt his these !bilities via eperience costs three times the current body for the sake of victory. :onor in the ring is earned $ rating instead of the normal two. not bought in a hardware store. There are eceptions $ cyborgs who have demonstrated
OTHER TRAITS $nr
5yborgs begin with negative :onor, which reflects the way other Street Fighters regard cybernetically enhanced warriors. "hen creating a cyborg, the player adds two boes to the left of the character#s :onor track. These boes have to be filled in the normal way before the character is regarded as having any :onor at all. The original three points divided between lory and :onor may be used to buy off this negative :onor value when the fighter is created. Ander no circumstances does the character get two etra dice for these negativeG boes when rolling :onor.
CYBERNETIC PARTS >egs x !rms x Torso x :ead x !dditional >imbs $ Before a character can take any additional limbs, she must first have a cybernetic torso. 7This is a freakish but cheap way to increase a fighter#s Techni2ues. See below.8 x
ADDITIONAL LIMBS
Each pair of limbs adds one to the fighter#s appropriate Techni2ues. 'f you have %unch and rab Techni2ues of $ealth 5yborg Street Fighters begin with / :ealth dots instead and two additional arms, then your ad3usted Techni2ues would be + for the purposes of eecuting maneuvers. of the normal . !dditional legs provide the same bonuses to Cicking and !thletics Techni2ues. USING CYBERNETICS !nother option is the addition of animal-like implants. The number of dots a character has in the 5ybernetics *ou may add wings, 3aws, or a tail to your character. Background determines the number and type of limbs Fighters such as these may use animal hybrid maneuvers enhanced. For each dot the character has, one area of the in combat. body may be enhanced. :owever, once a character has five dots in the 5ybernetics Background he is considered CYBERNETICS 7% p. /<8 to be fullyG cybernetic. !s such, all limbs are cybernetic, 5ybernetics is a Background that defines how much as are the head and torso. This is as high as anyone can machine has replaced your flesh. The higher the go and still maintain a grasp, albeit a small one, on her Background, the more cybernetic changes you have humanity. 5yborgs tread a fine line between man and installed and the less human your are. machine $ if they go too far, they forget what it means to be alive and human. *our enhancements are minimal and so is their 0 Each point in the 5ybernetics Background also serves usefulness. !t this stage only one limb or area of another purpose. The power systems of a cyborg allow it the body has been replaced. The replacement is to simulate the Focus Techni2ue. To this end, the fighter relatively unnoticeable. may use the 5ybernetics Background in place of his Focus Two areas of your body have been replaced with 00 Techni2ue when purchasing and eecuting Focus-based mechanical parts. ! highly perceptive person can Special 6aneuvers. ! cyborg does not re2uire a specific tell there is something unusual about you. fighting style to learn Focus Special 6aneuvers. :e must *our limbs are stronger and faster than a normal 000 still pay the point cost to learn the maneuver, but doesn#t human#s. Three areas of your body have been re2uire the Focus prere2uisite. The cost for these Special enhanced by technology. &nly the densest people 6aneuvers is always the most epensive one listed. "hen don#t reali9e you have prosthetics. determining Speed, (amage and 6ove for these cybernetic Focus 6aneuvers, the cyborg character has the 0000 *ou cybernetics are more powerful than most machines. *ou can seriously in3ure normal fighters option of using %hysical !ttributes instead of the 6ental and win most matches against Street Fighters. !ttributes normally used with Focus-based Special Four areas have been enhanced. These could be 6aneuvers. Furthermore, cyborgs can spend :ealth all four limbs, or other body parts. There is no way >evels instead of 5hi to power cybernetic Focus that you can pass as a normal fighter. Even bulky 6aneuvers. clothing will not disguise your true form. Small For example, :en is designing his Street Fighter, the children run from you. Canuckatron, and he $ants to add an 8ce -last to the 00000 Five *ou are truly a technological marvel4 your Canickatron3s cybernetic array 8ce -last re)uires a Focus powers eceed your designers# wildest dreams. 2echni)ue o% ' ;hile the Canuckatron3s Focus 2echni)ue Jeteran Street Fighters see you as a threat. Five is a mere 0, :en can still purchase this Special .aneu"er areas of your body have been replaced with %or his character because the Canuckatron3s Cybernetics advanced prosthetics. *ou are more machine than -ackground is '
COMMON STYLES PRACTICED BY ELEMENTALS Air
5apoeira Cabaddi Cung Fu ?in3itsu Special Forces "estern Cickboing "u Shu
Earth
Fire
Water
Boing Cung Fu ?ative !merican "restling Sanbo Special Forces
Cabaddi Cung Fu Shotokan Carate Special Forces "estern Cickboing
5apoeira Cung Fu ?in3itsu Savate Special Forces "estern Cickboing "u Shu
For whatever reason, elementals never study the >er (rit style used by 6. Bison.
ELEMENTAL SPECIAL MANEUVERS Special Maneuvers Air:
!ir Blast 78 Elemental Skin 708 Elemental Stride 7+8 Flight 7/8 :eal 7+8 >ightness 78 %ush 7+8 Sense Element 78 Jacuum 78 Earth:
Elemental Skin 708 Elemental Stride 7+8 :eal 7+8 %it 78 Sense Element 78 Stone 7/8 "all 7/8 "eight 78 Fire:
Fire Strike 78 Flaming Fist 7/8 Elemental Skin 708 Elemental Stride 7+8 :eal 7+8 :eatwave 78 Sense Element 78 Spontaneous 5ombustion 7+8 Water:
(rain 78 (rench 7/8 Elemental Skin 708 Elemental Stride 7+8 Envelop 78 :eal 7+8 %ool 7/8 Sense Element 78
Elementals have a firm connection with the planet. They also tend to speciali9e in only one element. Their temperaments often mirror their chosen elements. ! fire elemental is hot-headed and volatile, while an earth elemental is slow to anger and steadfast in its convictions. "ater elementals are free thinkers and persistent, and air elementals are wanderers. !pparently an elemental#s mindset is a ma3or factor in determining which element she can manipulate.
ELEMENTALS AND THE EARTH 6any elementals are drawn to environmental causes. Some elementals are maddened by their powers and view themselves as gods. These few individuals are etremely dangerous but, luckily, are usually no more powerful than any other Street Fighters, despite their delusions.
WORKING WITH THE ELEMENTAL BACKGROUND "hen creating an elemental, the player generates the character per normal rules. The usual point costs for !ttributes, !bilities, etc. apply. To become an Elemental, however, the character must purchase points in the Elemental Background. She must also specify the element 7air, earth, fire, water8 with which she has an affinity. Elemental Special 6aneuvers have the Elemental Background as an additional prere2uisite. The dots in the Elemental Background prere2uisite must be met along with any other prere2uisites before the character can purchase a specific Elemental Special 6aneuver. !n eisting character may become an elemental at any time, provided he invests enough eperience in the Elemental Background.
SOAK BONUSES Elementals are unusually resistant to their own element, yet vulnerable to their opposed element. Because of this, Elementals have inherent Soak modifiers to certain types of damage. These modifiers are as follows) Fire
= to Soak verses fire-based attacks. - to Soak verses water-based attacks. Water
0000
= to Soak verses water-based attacks. - to Soak verses earth-based attacks.
00000
#ir
= to Soak verses air-based attacks and any !erial 6aneuver. - to Soak verses fire-based attacks.
KICK
,arth
= to Soak verses earth-based attacks and any maneuver that results in a Cnockdown. - to Soak verses air-based attacks.
ELEMENTALS AND FIGHTING STYLES Elemental powers are supernatural in origin and very powerful. ! fire elemental is easily the match of any normal warrior, but is often outclassed by a Street Fighter. @aw power and conviction can never e2ual efficient training. Elementals can study any style of martial arts, but tend to base their choice upon the type of elemental energy with which they are imbued.
ELEMENTAL 7% p. 8
The Cick Techni2ue includes most moves involving the feet and legs. There are many different types of kicks4 each style places a different emphasis on their value in combat. !ll styles agree, however, that a master of the Cick Techni2ue is capable of delivering awesome attacks. 0
00
000
0000
00000
The character has an innate command over the elements. The etent of this command is governed by this Background. 0 00 000
0000
00000
*ou can manipulate your element on a basic level. *ou have some control over your chosen element. The element is yours to command $ although you have not mastered it. *ou developed your elemental powers at an early age and have had many years of practice. *ou can affect your chosen element to incredible degrees. *ou can make truly miraculous things occur. %ower is at your beck and call.
Techni2ues are the combat abilities learned by Street Fighters. They are the building blocks of all styles and Special 6aneuvers. Techni2ues are rated in dots, 3ust like !ttributes and !bilities. The more dots a character has in a Techni2ue, the better she is at maneuvers involving that Techni2ue. Techni2ue dots affect the amount of damage a Street Fighter inflicts and indicates the compleity of the Special 6aneuvers she can learn.
PUNCH !ny and all strikes involving the hands are considered part of the %unch Techni2ue. %unches can be closed-fisted direct strikes, open-fisted knife hands, or knuckle thrusts. !lmost all strikes involving the hand and, in some cases, other parts of the arm are considered punches. 0
00 000
?ovice) *ou know to put your thumb on the outside of your fist. %racticed) Barroom opponents rarely get back up. 5ompetent) *ou#re good) you can hit nearly any
?ovice) *ou can sometimes keep your balance while kicking. %racticed) *ou can get your foot above your head and hold it there. 5ompetent) *ou are capable of delivering kicks of impressive force. Epert) Stunning, brilliant and deadly moves are now possible. 6aster) *our kicking ability is legendary. *ou are capable of crushing most opponents.
BLOCK Blocks work a bit differently than other Techni2ues do. 6ost blocks do no damage. The more dots a Street Fighter has in the Block Techni2ue, the more effective his blocks are and the more damage they#ll stop. Furthermore, many advanced blocking maneuvers are available only to masters of this Techni2ue. 0
00
000
TECHNIQUES
spot on a foe and break boards with your bare hands. Epert) *our hands are lethal weapons. *ou can punch through cinder blocks and shatter bones. 6aster) *ou can kill with your hands. *ou can fell any lesser opponent with a single blow and have been known to punch dents into solid steel.
0000
00000
?ovice) *ou can get your hands in front of your face. %racticed) *ou can block many basic maneuvers with some success. 5ompetent) *ou#re pretty good at stopping a blow before it hits you. Epert) *our blocking maneuvers go far beyond stopping punches and kicks. ?ow you can defend yourself against even greater threats. 6aster) *ou defend yourself with unsurpassed grace and precision. !ll but the most potent strikes will fail to harm you.
GRAB The rab Techni2ue can be used in a variety of stunning and devastating maneuvers. rabs can be used to eecute holds and throws, both of which can 2uickly take the fight out of an opponent. rabs have a range limitation and can be difficult to eecute against a 2uick foe. :owever, a well-trained wrestler only needs to get close to her opponent once or twice to render him helpless. 0
00
000
?ovice) *ou used to wrestle in school and remember most of the basics. %racticed) *ou know a few holds, possibly even a throw or two. 5ompetent) *ouMre 2uite good $ not &lympic material, but good nonetheless.
0000
00000
Epert) *ou are a world-class wrestler and usually crush or throw anyone foolish enough to get close to you in the ring. 6aster) *our holds are like lightning and your grip is like a vise. Few can match your grabs in the ring.
ATHLETICS :ow 2uickly can you close the distance between you and your opponentK The !thletics Techni2ue tells you how far you can move. The higher your !thletics rating, the higher you 3ump, the farther you can dash and the 2uicker you can retreat. !thletics are an integral part of almost every maneuver, and there are many !thletic Special 6aneuvers. 0
00
000
0000
00000
?ovice) *ou can walk a straight line $ when you concentrate. %racticed) *ou might have placed in high-school track meets. 5ompetent) *ou can surprise a foe with your dashes. Epert) *ou could have been an &lympic gymnast or a professional acrobat. 6aster) *ou can leap tall buildings in a single bound... 7?ot really, but you get the picture8
FOCUS The mind and spirit can be channeled to perform awesome feats. The more developed the mind, the more 5hi energy a Street Fighter can channel to perform truly supernatural acts. Focus governs all Special 6aneuvers above and beyond the normal realm of understanding. Truly superhuman feats are possible for the master of the Focus Techni2ue. Fireballs, bioelectricity control, telepathy, teleportation and more await the student who hones his Focus. 0
00
000
0000
00000
?ovice) *ou can hold your hand over an open flame and not feel the pain right away. %racticed) *ou have begun to eplore the mysteries of the mind. *ou have a certain degree of control over the force of your 5hi. 5ompetent) *ou are beginning to understand the true mysteries of the inner self. *ou now have the control to learn some of the soul#s deeper secrets. Epert) *ou have attained nearly total mastery of your mind and spirit. *ou can accomplish great feats through focusing your inner strength. 6aster) *ou have truly mastered the mind and spirit. 6any will seek you out to learn from your teachings.
WEAPON TECHNIQUES =ach $eapon has its o$n >spirit? =ach $eapon must be used in its proper place in order to be e%%ecti"e and enable the handler o% the $eapon to take ad"antage o% its properties $ 6iyamoto 6usashi, 2he -ook o% the Fi"e @ings
! number of "eapon Techni2ues are likely to come up
during the course of a Street Fighter chronicle. These "eapon Techni2ues include)
AXES This includes any variety of ae-like weapons, from a camp-ae to medieval battle-aes to the short ae of some Cung Fu styles. (epending on the si9e of the weapon, it may be used one or two-handed.
BLUNT WEAPONS These are heavy instruments used to batter an opponent. They can be elaborate and beautifully-crafted maces or warhammers, or they can be rocks or heavy sticks picked up from the ground. (epending on the si9e of the weapon, it may be used one or two-handed.
BOWS Bows are not allowed within the ring, but they may be used in tournaments as tests or demonstrations of skill. The skill may be developed by hunters, assassins, hobbyists, and others. Bows are obviously two-handed weapons.
CHAINS/WHIPS These are long, fleible weapons which are usually 2uite heavy. Their use involves a snapping motion at the weapon#s terminus to produce a rapid and painful impact or a clubbing action which flees around the target, thus hitting more of the target#s surface. They can also be used to wrap around ob3ects $ such as, opponents# weapons 7to disarm the person8, rafters 7to create an impromptu swingline8, opponents# legs 7to trip them8, etc. ?ote that a minimum 5hainsH"hips of x or better is re2uired to use these weapons without serious risk of selfin3ury. Ase of these weapons accurately and with maimum effect is a comple skill.
FIREARMS These are guns of any kind. Storytellers may feel that Firearms are not sufficiently threatening4 if so, Storytellers can rule that Firearms automatically cause aggravated damage. :onorable Street Fighters do not use Firearms. &f course, if a Street Fighter has any military training whatsoever, it is foolish to think that she will be ignorant in Firearms use $ even the Samurai were trained in riflery, along with the bow. Some stylists have tried to establish gunmanship and Oen archery as cognates, but theirs is a minority view.
FLAILS These are any weapons which have two or more sections connected by short lengths of chain or rope. Asually they are two foot-long rods, longer sections of chain, etc. 'f the chain is longer than a foot, however, the weapon is considered a 5hainH"hip weapon.
HEAVY WEAPONS
"hereas Firearms covers normal hand-held guns, :eavy "eapons is used for eplosives such as grenades and rocket propelled weapons, as well as artillery and other such weapons of a si9e larger than one would reasonably epect one to be capable of carrying.
KNIVES These are short, bladed weapons, usually no more than a foot long. Cnives 7daggers, etc.8 are one-handed weapons, and some can be thrown.
SPEARS These are any weapons that have a long shaft with a blade on one or both ends. Anless specified otherwise, they can be thrown or used at close range, and are twohanded weapons.
STAVES These are long 7four foot or more8 rods, usually made of wood. They are two-handed weapons.
SWORDS These long-bladed instruments come in an unbelievable variety of shapes and si9es, and can be one-handed or two-handed weapons. "hile they are not balanced for throwing, the Storyteller may elect to allow a Street Fighter to throw her sword by spending one "illpower point.
THROWN WEAPONS These are any weapons designed specifically for throwing, such as shurikens or darts. >ike Firearms, Thrown "eapons are disdained by honorable Street Fighters. Their range is usually the thrower#s Strength = Techni2ue in hees.
OTHER TECHNIQUES Should the Storyteller need other Techni2ues 7such as !nti-Tank "eapons8, she should feel free to develop them based on the eamples here.
DETAILED USE OF BACKGROUNDS: MANAGERS, ARENAS & STAFF Backgrounds chosen by characters can have a potentially huge impact on the course of the chronicle. The following rules further flesh out the possibilities of these Backgrounds in con3unction with associated !bilities.
MANAGERS 8 honestly don3t kno$ $here 83d be $ithout my manager 83m certain 83d still be great, o% course, but 8 $ouldn3t be nearly as organiAed or marketable She3s $onder%ul! / Fei Long, tele"ised li"e on Good .orning ong :ong
6anagers are an integral part of the Street Fighter world. "ithout a manager, a fighter can epect endless scheduling headaches that will detract from her training
time. ! good manager can make all the little details flow together, leaving the Street Fighter free to concentrate on the net fight. 6anagers come in all shapes and si9es, and no two have the same managing style. Each is an individual, and like the Street Fighters they manage, some are incredible, and some are merely competent. ! manager can have any number of skills from other professions, such as Trainer, !ccountant or Street Fighter. :owever, some of the best managers are strictly that $ managers and nothing else. These managers are administrative and public relations specialists. They don#t know how to make a good fighter, but they do make a good fighter successful. These managers are specialists in their profession and will rarely, if ever, leave their offices. They don#t work well in the field and prefer to leave the business of the ring to professional trainers. But when it comes to booking fights and taking care of all the administrative needs of their fighters, they are right at home. There is another breed of manager on the circuit, one that applies the hands-on approach to the Street Fighting bi9. These mangers involve themselves in every aspect of their fighters# training, from food preparation to arranging sparring practices to accompanying them around the globe from match to match. 6anagers such as these are fre2uently e-Street Fighters, who have 2uit the circuit for less strenuous and safer occupations, even though they still crave the ecitement of competition. &ther managers en3oy looking out for their fighters as they would their own children. 'n either case, these managers will follow their fighters to nearly all of their matches and often coach them from the side of the ring. ! fighter doesn#t need a manager, but then they probably en3oy doing paperwork, court appearances and taes.
CREATING A MANAGER CHARACTER This character is usually played by the Storyteller, but can be played by one of the players. There are a few differences in the character creation which make this type of character less physically powerful than Street Fighters. :owever, it is usually the manager who can negotiate with tournament directors, obtain eit visas and do lunch with the rich and powerful. "hen creating the character, you should ad3ust the character creation points as follows) x !bilities preferred by this character are 6anage, Bookie, !rena, Style >ore, 'nsight, 6edicine, Streetwise and Subterfuge. X 6anagers receive H
'nitial "illpower) +
x
ADAPTING A STREET FIGHTER TYPE TO BECOME A MANAGER
and location of the tournament, who hosts it, the date of the tournament, how long it lasts, the grand pri9e if any and who is attending. Being adept at Streetwise and 'nvestigation or having the 5ontacts Background will be useful for learning other things about the Tournament, such as any interesting rumors about the hosts, or what has happened at past tournaments.
Some people only reali9e their life#s calling after they have already committed years to another 3ob or are forced to learn other skills simply to survive. Some characters BOOKIE reali9e that they want to be managers or have to be. %erhaps no other manager will handle a particular Street Fighter, and he is forced to manage himself. 6aybe the Anfortunately most teams do not bring in a lot of money fighter has become too old to hold his own in the ring, but for a manager, especially as the Street Fighting circuit is can#t bear to give up the life forever. 6anaging allows him illegal in most countries. To actually make a team to stay on the scene, maybe even help new fighters along. profitable, the manager must often place side bets on the To become a manager, the character must use their success of the team in tournament. 6anagers will often accumulated eperience to develop the !bilities necessary place bets on other matches during a tournament to for the 3ob. These !bilities include) 6anage, Bookie and increase their profit margin. &ccasionally, unscrupulous !rena. mangers will bet against their clients. Such managers do The etent to which a character develops these skills not last long once this knowledge is revealed. before becoming a manager will determine what kind of a %layers may also use this skill, if they possess it. 't is manager that character is. &bviously, a character with one poor form for fighters to be for or against themselves or dot in each of these wouldn#t have much of a clue, but their team during a match. ! fighter discovered doing so could take their best shot at managing a team will lose one temporary :onor @enown. oing through a nonetheless. ! character who is proficient at all of these bookie will also result in the loss of temporary :onor. !bilities would undoubtedly be an effective manager. To simulate the profits from side bets, roll the character#s There are other !bilities which will greatly add to a Bookie = "its. The number of successes determines how manager#s effectiveness. These secondary !bilities are much money the manager makes on side bets. The necessary for 6anagers of high-ranking fighters. !t high amount of money won is listed in the following chart. levels of competition, you need to be able to spot a shady !lternately, the character could actually pick and place deal and evaluate your fighter#s opponent, or else you and their fight bets using their own 3udgment leaving the luck your fighter will probably lose. The stakes at this level are up to the combat that actually occurs at the tournament. too high for amateurs. ! bad business deal or booking a This chart indicates the monetary amount won. *ou#ll match against an opponent who is too strong for your notice that there are negative values associated with the fighter can be disastrous. This can bankrupt your business, bets. ?o one ever said that gambling was safe. &nly or your fighter can be seriously in3ured, perhaps even eperienced gamblers should attempt betting on fights for a living. ! botch result will double the maimum amount crippled. :elpful secondary !bilities include) Medicine , lost. Style ore , !nsight , !nvestigation, Publicist and Street"ise. The #ontacts Background can also be invaluable to managers. Successes Winnings "hen making an established character into a manager, -N, you do not receive any of the ad3ustments to character / -N,/ traits that you would if you were making a manager -N0 character from scratch. To create a Street Fighter with + N0 manager skills, simply purchase the appropriate !bilities 0 N,/ during the character creation process as normal. 1 N, I N, < N0, USING THE MANAGER SKILLS N<, N+, To be an effective manager, you must first be able to use your different !bilities and resources to the benefit of your fighter. 'nefficiency and sloppiness on a manager#s part can spell doom for even the most talented fighter.
ARENA To locate a tournament, or even know that one is going to be held, the manager must roll his %erception = !rena. The number of successes will indicate to the Storyteller how much the manager knows about the tournament. This information may also be learned by the Street Fighters. 'nformation which may be ac2uired consists of) the name
MANAGE
STAFF
There is a lot of work involved with managing a team, 8t3s a good job, isn3t itB 2ype something, $ill yaB ;e3re and the epenses can really add up. 6ost of the money paying %or this stu%%! won by a team at tournaments is funneled back into the / -ill .urray, >Ghostbusters? overhead of the Stable. &f course, creative bookkeeping >ike most athletes, Street Fighters are only as good as and good managing skills can reduce the overhead and their support network. The making of a champion is a team allow more of the money to be kept by the team itself. effort. "hen the athlete or Street Fighter wins, it is not only !t the Storyteller#s option, the manager can make an a victory for her but also a victory for those who helped to 'ntelligence = 6anage roll at the beginning of each month get her there. to see how the manager is handling the team#s mundane ! staff is the individual or individuals who work with the affairs. 'f the team is successful in their tournament bouts Street Fighter to either hone her abilities or to take care of the previous month, then the manager can gain one some other aspect of the Street Fighter#s life. Staff additional die for every bout won. :owever, the manager members come from all walks of life and can be friends or also loses one die for every bout lost. The more successes family of the Street Fighter or simply professionals hired to gained on the toll, the higher the team#s standard of living. do a specific 3ob. This section takes a look at the many 'f the team is stuck in a losing streak, a manager can different types of staff a Street Fighter can have and what make a 6anipulation = 6anage roll. The number of they can do for him in and out of the ring. successes needed to keep the team afloat are e2ual to the number of members in the team. Failure or too few TEACHERS successes means that the team is running out of money. They will need to draw from their own resources and had There are four basic types of staff who can be involved in better start winning matches soon. &f course, Storytellers should feel free to skip these rolls the ongoing training of a Street Fighter. These are Trainers, 6entors, Tutors and 'nstructors. entirely, if it interferes with their story at all. >ikewise, the Each has a particular area of epertise and can help a Storyteller can 3ust decide how well the team is doing fighter increase a particular !ttribute or !bility by based upon the manager#s actions and decisions. &r Fate decreasing the amount of eperience necessary to could play a hand and the team could fall into tough times improve. They do this through custom physical training in spite of their manager#s best efforts. programs and advanced instruction techni2ues.
PREPARING FOR A FIGHT
$rainers
Trainers speciali9e in keeping their client in top physical condition. ! personal trainer oversees many aspects of a Street Fighter#s life. From dietary and sleep habits to personal workout regimes, a personal trainer does it all. ! personal trainer lowers the cost of improving a character#s %hysical !ttributes 7Strength, (eterity and Stamina8.
!n ineperienced or poor manager will simply book and sip his team off to a tournament with little or no preparation. ! good one will use all their skills and resources to prepare his team for the upcoming mach well ahead of time. To do this, he will use resources that go above and Mentors beyond his 6anage !bility to ready the team. Streetwise, !lso known as eti2uette specialists. 6entors are often Style >ore, 5ontacts and 'nvestigation can all provide some of the most overlooked on a Street Fighter#s staff valuable information. 'f successful, a manager can find o ut roster. !lthough their value may seem understated, Street what other teams will be attending. :e can also press Fighters from nearly all walks of life find new doors opened more and learn details about the Street Fighters who for them through the cultivation of good social graces. belong to the other teams. 'f he is particularly successful, 6ore than one Street Fighter has gone on to become a he can learn public 7and sometimes private8 details about movie or fashion star as a result of their personal fame the opposing Street Fighters. &nce he learns as much as coupled with a mentor#s guidance. he can, he#ll pass it all on to his team. %articularly ! mentor lowers the cost of improving Social !ttributes resourceful managers will go so far as to prepare 75harisma, 6anipulation and !ppearance8. situations and circumstances that mimic a particular $utors opponent#s Special 6aneuvers. Tutors help their students to epand their thought ood managers will also keep an eye on the processes. ! good tutor uses a variety of methods to maneuverings of other managers. 't is easy for a novice improve the student#s memory skills, her awareness of the team with a poor manager to be matched against an world around her and her ability to react to new and eperienced group of ruthless fighters. !n eperienced unepected circumstances. !lthough many Street Fighters manager will spot these uneven matches and avoid them. fail to see the benefit of this type of staff member, those The importance of a good manager should not be neglected by a new team. :e is well wroth the price. ! new who do invariably have the upper hand when forced to think their way out of a tricky situation. team might not make any money with a manager, but they ! tutor lowers the cost of improving a character#s 6ental definitely won#t make any without one and will probably end up in the hospital every other fight. ! good manager is !ttributes 7%erception, 'ntelligence and "its8. !nstructors as necessary to a Street Fighter as a good Block 'nstructors come in all shapes and si9es. They can teach Techni2ue. Both will protect their interests. anything from auto repair to first aid to bungee 3umping. !
good source of instructors is essential for any character who someday dreams of outgrowing the fighting arena. !n instructor may teach any !bility she is familiar with. :owever, an instructor can never raise a student#s level of ability above her own. !n instructor lowers the cost of learning new !bilities 7Talents, Skills and Cnowledges8 and improving eisting ones. 'nstead of gaining a single instructor when selecting this type of staff, the character can opt to gain a source of instructors 7this could be college faculty, a street gang or anything in between8. "hile this group will never be personally involved with a character like a single instructor would, it does allow the character a broader base of !bilities to learn from. The player and Storyteller should decide in advance what type of group this is and what types of !bilities the character can learn from them.
LEARNING FROM EXPERIENCE ! teacher must have the 'nstruction !bility to be able to impart any of their knowledge to a pupil. The !bility can be applied to any of the applicable areas which they speciali9e in 7i.e., a personal trainer could not teach a character 'nvestigation8. ! teacher may never help her students advance beyond a five point rating in any area. This sort of intense knowledge can only be learned by oneself. Teaching doesn#t always result in a lower point cost. ! teacher must roll her 'ntelligence = 'nstruction and get a number of successes e2ual to the current level of the !ttribute or !bility that the character is improving. 'f the teacher does not get enough successes, the character must pay the full eperience cost. :owever, if the teacher does roll the necessary number of successes then the character#s eperience costs are as follows) current rating for !ttributes and current rating for !bilities.
RING DOCTORS 83m a doctor, Jim, not a bricklayer! / #eForest :elly, >Star 2rek?
! ring doctor is able to heal aggravated damage between rounds or at least temporarily. By applying ice and local anesthetics, the doctor may allow the fighter to ignore the effects of aggravated damage until the match ends. The ring doctor is a highly speciali9ed type of doctor who uses his skills in a very specific way. They are trained to patch up a fighter in the few minutes 7-8 which they are allowed to rest n between rounds. Their medical training is 2uite different from the training that most characters have access to. The ring doctor rolls their "its = 6edicine !bility. For each success rolled, one aggravated damage bo will be temporarily removed from the character. This only lasts until the end of the match. !ny further aggravated damage will be added to the rest when the fight ends. !ggravated damage will heal as normal whether it is treated by a ring doctor or not. ! character should be careful though4 it is possible to become seriously in3ured in this way. !ny doctor may heal one aggravated damage bo on any character. This healing is in addition to any healing done in the regular manner, however only one bo of
aggravated damage may be healed by a doctor per week. "hile modern medicine is often seen as the ultimate solution to any medical problem, the fact is, only time can heal most wounds, unless you have been trained in the arts of 5hi Cung :ealing or @egeneration.
OTHER STAFF ! Street Fighter#s staff need not be limited to those roles that help a character in the ring. ! helpful staff can assist the character in everyday life as well. 6any of these professions# beneficial effects might not be as noticeable as a trainer who can lower a character#s eperience costs. ?evertheless, these roles can make a 5hronicle fun and interesting and in the long run can be worth their weight in gold. ! personal trainer might not risk her life to smuggle a character his lock pick set while he#s being held in some foreign 3ail cell, but his butler mightL The following is a list of other staff members a Street Fighter could have. This list is by no means all inclusive $ players and Storytellers alike should feel free to add their own uni2ue Staff as they see fit.
BUTLER ! butler is far more than the person who opens doors at your re2uest. :e organi9es your household and ensures that your home 7mansion or otherwise8 is in good repair. :e also takes care of your everyday needs, like repairing your clothes and laying them out for you, keeping track of your personal engagements and reminding your of appointments. :e will also accompany you on your travels at your re2uest.
PHOTOGRAPHER :ow else will you get those
FASHION CONSULTANT (o you really think that your combat gear is appropriate for tea with the ;ueen of EnglandK "hat about a business meeting or a night on the townK 'mage is everything to these people, and a fashion consultant will make sure you look your best in every situation.
BODYGUARD &kay, you can handle yourself in the ring, but can you deal with mobs of frantic fansK ! "hirlwind Cick could clear a path from the can to your hotel, but it could also end up in a lawsuit. These bruisers are trained to skillfully and diplomatically move crowds out of the way. They also watch your back in the real world.
CHAUFFEUR
*ou#ve got better things to do than drive. These retainers are epert drivers, trained not only to make your ride as smooth as humanly possible, but they#re also skilled rally drivers. ?eed a lift to a dinner party or a high speed chase through the back streets of an unfamiliar cityK Then you need a chauffeur.
PILOT !cross the !tlantic or a hot fire 9one, these 3et 3ockeys can do it. 'f you can buy, rent or borrow an aircraft, these guys can fly it for you. ! pilot might seem like an obscure type of staff member, but the real movers and shakers fly in style. Besides, who else is going to air-lift you out of the steamy 6riganka 3ungles when things get out of handK
something they must accomplish in character, throughout the 5hronicle, something more than a simple purchase with eperience points. To create an arena, the fighter should have an :onor and lory @enown e2ual to or greater than the level of arena they wish to purchase. 7Beginning characters with the !rena Background do not need to meet this re2uirement.8 The !rena Background must be bought using accumulated eperience. 'f the character meets the :onor re2uirements, then they are generally accepted by their hometown. 'f the character is not honorable, then her arena will be visited by the police more often than spectators. 'f the fighter#s lory is not up to snuff, then she will attract ruffians and scum to the matches, which will cause problems for the townsfolk. 'n either situation, the arena will not stay open for long.
MAID Tired after a grueling night of being pummeled by another unknown Street FighterK >et the maid draw your bath and turn down your bed for you. Dust because you#re a rough-and-ready fighter doesn#t mean you can#t en3oy some pampering every now and then. There are plenty of other staff which would be willing to work for you, all you have to decide is what you want or need. ! %rivate 'nvestigator, >awyer, Scientist, !ccountant, %ersonal Secretary, %@ 6an 7or "oman8 or o-fer are all good choices, and there are do9ens of others you might like to use. The choice is up to you. The people who surround and support your character make a statement about who that character is and what she values. "hat is your statementK
ARENAS 9h, great! rock shaped like a giant skull 2hey al$ays mean trouble / Samurai +iAAa Cats
!renas are the pride of a Street Fighter and reflect the esteem in which a fighter is held by his hometown. 't is possible to purchase and build an arena and keep its presence a secret from the general population. These secret arenas are not appreciated by Street Fighters, who will rarely set foot inside of one. Street Fighting is a spectacle to be shared with the public, not a vice to be hidden away from prying eyes. There is no glory in competing in secret and no honor to be found confronting an opponent in the basement. !n arena must be accepted by the fighter#s people to be of any use to the fighter. Even @yu#s rooftop arena is known by his neighbors, if not certain authorities. There are benefits to having an arena of one#s own but there are responsibilities as well. For a description of the !rena Background, see 5hapter Four.
MAKING AN ARENA 'f a character buys the !rena Background, then allow them to construct an arena with the advantages listed below. 'f they wish to create one later, you should make it
RESPONSIBILITIES 'f the town accepts the fighter and allows the arena to be built, there are a number of responsibilities the fighter must live up to. This is an unwritten code and can vary from town to town. Typically it is an understanding which promotes good relations between the town and the Street Fighter. $hese responsibilities o%ten include:
%rotecting the town from harm. x :elp individuals in dire need of a protector. x 6inimi9ing the disturbance a match creates. x 'mproving the area an arena is built in 7donations or community work will suffice8. x
!n return& the to"nspeople "ill loo' out %or the %ighter:
They will warn him of newly arrived fighters. x %rotect the fighter from ringside interference. x "arn him of weapons about to be used by an opponent. x Share a portion of the side bets with the fighter 7but only if the fighter is winning8. x %rovide safe houses when needed. The importance of being accepted by your hometown can#t be emphasi9ed enough, especially since Street Fighters are involved in an illegal circuit. x
ARENA ADVANTAGES The larger the arena, the more advantages the owning Street Fighter gains when fighting in it. !lso the more prestigious fighters will often seek out a well-known arena 7and its owner8. The !rena !bility can be used by the visiting fighter to understand and negate many of these advantages, but only if the character has enough time to study the arena. For each dot in the !rena Background, the advantages are as follows) The authorities can be convinced to look the other x way. *ou have no real advantages, save for the luury of having your own arena. !t this stage, and hereafter, the fighter owning the Xx arena doubles all of her gains and losses in lory when fighting on her home turf. Xxx !n arena of this si9e is fairly well-known 7even if its owner is not8. ?evertheless, it has the attention of the
fighter#s hometown and is plugged inG to the Street Fighting circuit. !ll :onor gains and losses are doubled for the owning fighter when she fights on her own turf. Xxxx *our arena is uni2ue and somewhat spectacular. 't has nooks, crannies and conditions that only you are truly accustomed to. "hen rolling damage in your own arena, your difficulty drops to five 7instead of si8. *ou can decide eactly what kind of conditions make it this way. :owever, an opponent who makes a successful %erception = !rena roll can negate this advantage, if their successes match the si9e of the arena. Xxxxx*ou have an intimate knowledge of your arena, which is unlike any other in the circuit. For the first three turns of any round, you may add = to Speed, (amage or 6ovement. !s above, an opponent who makes a successful %erception = !rena roll can negate this advantage, if his successes match the si9e of the arena.
MASTERS 2he student has surpassed the master / #arth ader, >Star ;ars?
The ultimate attainment of any martial arts style is the rank of master. 6asters embody the wisdom and enlightenment of their particular art form, often to the eclusion of all else in their lives. Solitude and meditation are their paths to enlightenment. The seeking of fundamental insight occupies their thoughts, and the 2uest for personal fulfillment consumes their lives. They see knowledge in every move they make and meditate upon the value of the most innocuous occurrences in their world. 't is a great honor for a fighter to be selected by a master for personal tutelage. 6asters are a solitary lot, fre2uently se2uestering themselves in secluded spots to better follow their disciplines. 6ost have left the affairs of the world to the more worldly followers of the martial arts, but not all. The "orld "arriors are all masters in their own rights. 'n their own way, they are advancing the beliefs of their martial arts by demonstrating their ideals in and out of the ring. 6ost masters teach only a select few and will not demonstrate their own powers outside the do3o. These believe that meditation and practice are enough to perfect their arts, without resorting to competition. True masters rarely resort to brutish contests to further their studies. @yu tells a story from his early years as a student of the rand 6aster of Shotokan Carate, the legendary ouken. &ne day, a stranger had appeared at the gate of his master#s do3o seeking entrance. !t that time, @yu still had much to learn, but was filled with arrogance over what he was already capable of. "atching over his shoulder, ouken bade the stranger enter and politely asked his business at the do3o. The man answered that he intended to challenge ouken for the title of rand 6aster and advanced along the path towards ouken. Taken aback, @yu rushed to his master#s side, seeking to protect the old man. "hen the stranger reached the do3o, ouken acknowledged his claim as rand 6aster and, bowing deeply, returned to his meditation. "ith that the stranger also bowed, showing his respect for the old man, and left. @yu was confused. :ow could his master have relin2uished his title so easilyK e would have fought for it, perhaps even died. :e followed his master to ask him why.
ouken merely pointed to the intricate rock garden outside. !mid the delicate patterns of the pebbles were unsightly marks left by @yu as he had rushed to his master#s side. !s you can see, the distinction between masters of different ranks is not always one of training and eperience. The was a master lives his life is as important to his ranking as his knowledge of his style. Sometimes the difference between masters and rand 6asters is one of discipline or attitude, not only of the master#s but of his students. The action of a master#s pupils always reflect on the master and can adversely affect his standing in the martial arts community.
THE DIFFERENCE BETWEEN MASTERS & SENSEI 6any characters can begin the game with a sensei 7by selecting a Sensei as a Background !dvantage8. :owever, not all of these sensei are automatically considered mastersG. ! character must have four or five dots in the Sensei Background for her sensei to be considered a master. There is little difference between a master and a sensei, save that of epertise. For guidelines as to what types of maneuvers 6asters and sensei have access to refer to the Sensei Background in this book. Finding a sensei can be 2uite difficult or surprisingly easy. Some masters run do3os which accept any students. From these classes they select the students who show the most promise for private tutelage. ouken was known to operate such a school in Tokyo. Sometimes these schools are run by unscrupulous martial artists passing themselves off as masters when they are in fact little more than students themselves. The only way to be sure that your sensei is in fact a master is to learn from him. Eventually you will reali9e the true worth of your teacher. This is your first step upon the road to enlightenment. &ther masters dwell in remote locations to isolate themselves and their students from the distractions of the modern world. Shrines and monasteries are fre2uent homes for sensei because of their serenity. >ikewise, inaccessible locales are also favored, where simply finding the master is a trial. @umors of a "ing 5hun Cung Fu school deep in the !ma9on Basin seem to bear out this fact. &ccasionally a master will accept a student of eceptional merit from another fighting style. &f course the student is re2uired to immerse herself in the doctrines of the master#s style. The basics must be learned and relearned before the student is ever introduced to the more advanced techni2ues. >earning new moves re2uires that the student learn to adapt his own style to that of the master. 6any students are unable to do this and are forced to admit failure, sometimes after years of training. ! fighter skilled in more than one style of fighting is incredibly formidable and e2ually rare. ! master may refuse to teach the applicant, or the student may not be able to handle the cross-training. ?o one knows if there are any truly successful Street Fighters who practice two styles.
FINDING A MASTER
8t is easy to kill someone $ith a slash o% a s$ord 8t is hard to be impossible %or others to cut do$n / .iyamoto .ushashi, >2he -ook o% Fi"e @ings
There are two methods used to find a true master willing to teach a Street Fighter. &ne is the %ath of :onor. 6asters on this path hold personal truth and enlightenment above all else. The other method is the %ath of lory. 6asters and students on this path value only the results and accomplishments. "hile many of them are great fighters, they have no inner harmony to speak of.
THE PATH OF HONOR The %ath of :onor re2uires that a fighter live by a strict code of ethics. 'f she maintains an honorable lifestyle and becomes known as a virtuous person, they might be accepted by a master. ! master following the %ath of :onor will only teach students who themselves are honorable and live up to the master#s strict codes of conduct, which, depending upon the master, can include) x The student does not kill. X The student does not let others suffer. X The student does not covet wealth. X The student seeks challenges in combat, not victory. X The student is 3udged by his peers as honorable. X The student is proficient in their chosen style. &nly if the fighter measures up to these guidelines will a master agree to teach her. Finding masters on the %ath of :onor is not easy. These elusive masters like to make themselves difficult to find. They feel that the 3ourney itself should be the first lesson. Asually a fighter will hear of a master from a fellow fighter who trained with the master. &f course, this is all part of the master#s ineffable plan. The student is sent out after being trained and allowed to send back honorable men and women who are in need of the master#s lessons. Traveling to the master#s retreat or secluded do3o usually involves encountering in3ustice or evil influences along the way. 6ost fighters take this in stride as the way the world works. This is not so. "hy is a master#s monastery built in an area fre2uented by bandits or in a small country suffering under the yoke of an oppressive ruleK This is because the master wills it. "hat better way to study the worth of a pupil than by regarding his reactions to the in3ustice around himK For this reason, the area around a master is fre2uently rife with crime and poverty. &ccasionally a master is forced to move when his students clean up an area, but this is always a happy occasion, even if the master is forced to vacate a thousand year old temple. &n rare occasions, a master will seek out a worthy student. 'n these instances, the master never reveals his actual identity, but will let the student learn over time. There is always a reason why a follower of the %ath of :onor leaves his home to seek a specific student. This may be to further his family or do3o#s teachings, to defeat some evil or simply to tutor his replacement. 'n any case, the master will set tasks or obstacles for the student to con2uer as he advances in training. There is always some higher purpose behind these which the teacher intends the student to learn, such as the importance of love and mercy, or that the fight, not winning is everything. 6any valuable lessons can be learned from
an honorable defeat. Students of the %ath of :onor are constantly bombarded by lessons of life and inscrutable riddles. Everything is a lesson to be learned. 7! fighter#s :onor bust be at least si and must always be higher than their lory @enown to be taught by a master of the %ath of :onor, though there are eceptions, such as Cen8.
THE PATH OF GLORY Jery few masters follow the %ath of lory. This group is very mercenary and will teach only the richest or most famous students. They are usually 2uite well known, being e-fighters themselves or descendants of a well known do3o. These masters have become old or infirm and wish to relive their past glories through their students. 't is easy to find these masters, as they tend to advertise their presence. Fighters must already have established a name for themselves before a glorious master will teach them. "inning is everything to these men and women. 'f a fighter drops in his standings or eperiences a losing streak, the master will be very angry. ! losing fighter reflects poorly on his master#s worth and cannot be tolerated. 'f the losing streak continues, the master will throw the student out of his do3o. Following the %ath of lory is very difficult. >osing status is the same as failing. 6ost students don#t fully comprehend the drives behind these masters, and few masters themselves understand it. The glare of television lights has blinded the master to the world around them. They live only to improve their skills and popularity, seeing it as a form of immortality. These masters are constantly in demand for their teaching skill, but little more than fighting can be learned from them. Few honorable fighters can study from this kind of master for very long, but may be able to stay around long enough to puck up an important move or two before the master#s attitude drives them away. 7! fighter#s lory @enown must be at least si to study from a master who is on the path of lory. Fighters with high :onor will probably find their ethics compromised by such a master8.
USING MASTERS IN CHRONICLES 6ost martial arts films revolve about the hero#s search for a sensei. ! Storyteller may add a lot to a chronicle by forcing her players to seek out a master to teach them the advanced moves in their particular style. !fter all, in real and reel life, you don#t see a fighter spontaneously developing new Techni2ues and 6aneuvers. 'magine the ecitement you can have as your players search the world for an elusive 6aster of "u Shu who has perfected The reat "all of 5hina.
LEARNING FROM MASTERS To learn a new Special 6aneuver, a player must first have ac2uired the move#s prere2uisites. &bviously, there
are no shortcuts. ! fighter has to learn the basics before advancing to the more sophisticated moves. 'f one of these prere2uisites consists of another Special 6aneuver, then the fighter will need to learn the prere2uisite Special 6aneuver first. Storytellers will have to use their discretion with this rule. Some moves and their prere2uisites are very similar. (ashing Appercut, which re2uires the (ashing %unch 6aneuver, can probably be learned by oneself without a master. @ekka Cen is a completely different matter. ! sensei#s hand should be re2uired to learn the 6aneuver. ! general guideline is if the Special 6aneuver costs 5hi or "illpower to perform, then it usually must be learned from either a sensei or a master. 't is entirely the Storyteller#s decision as to which Special 6aneuvers re2uire instruction. :owever, any time a character receives instruction for a new Special 6aneuver, she benefits by getting a reduction on that maneuver#s eperience point cost. "hen learning from a sensei 7or master8, the Storyteller rolls the sensei#s 5harisma = 'nstruction. ! success means that the sensei has epedited the student#s learning process and that the student receives the benefit of a reduced eperience point cost 7 the %ower %oint cost instead of + as normal8. Failure indicates that the student still learns the maneuver, but must pay the full eperience point cost. ! botch indicates that the sensei could not convey they maneuver, and the student learns nothing. They lose no eperience points because of this. The length of time the student spends studying is entirely up to the Storyteller. enerally, the more advanced the 6aneuver, the longer it should take to learn.
In addition to stable Traits such as Attributes, Abilities and Backgrounds, Street Fighter characters have variable Traits that regularly change. Some of these Traits, such as Chi and Willo!er, have both ermanent and temorary ratings, !ith temorary oints being sent during the course of adventure or tournament combat. "thers, such as #onor and $lory vary deending uon a character%s actions and influence ho! that character is erceived by others. Tournament rankings across fighter divisions is another statistic that is tracked and changes !ith every tournament battle a Street Fighter articiates in. Finally, in the course of adventure, a Street Fighter earns &'erience !hich can be sent to increase many of that character%s other Traits.
THE DISPOSABLES
Willpower Usage: Willo!er can be used in 4 !ays. X A character can send one Willo!er in a turn to ac+uire a $uaranteed Success in any test, in or out of combat. The success granted by this Willo!er is in addition to any others scored by rolling the test, ho!ever 5-6%s can not cancel the success granted by a Willo!er e'enditure. X Certain Secial 1aneuvers re+uire the e 'enditure of one or more Willo!er in order to activate them. X In Combat, if a character !ishes to change their action and instead e'ecute an Abort maneuver )such as 7um or Block*, one Willo!er must be e'ended to do so.
CHI
Street Fighter characters have three Traits that regularly change, esecially during combat. These are( Chi, Willo!er and #ealth. These statistics have t!o ratings( the ermanent ratings )the circles* and the temorary, or e'endable, ratings )the s+uares*. The temorary ratings of these Traits may never exceed the ermanent ratings although the temorary ratings often dro below the ermanent ratings as they are sent or lost. As temorary oints are used or lost, check off the aroriate bo'es on the character sheet. Temorary oints in Chi and Willo!er may be artially )or !holly* recovered after each combat if the character can make a successful #onor roll. #ealth is recovered through rest.
Chi is a mystic energy !ithin a character%s body. This energy can be used to fuel all sorts of suerhuman o!ers. Characters !ith high Chi ratings have learned to regulate and ta this internal energy through meditative breathing and other secial e'ercises. Chi must be sent to invoke many Secial 1aneuvers. 2ike Willo!er, it is artially regained !ith a successful #onor roll after combat and is fully restored at the end of a story. A beginning character%s Chi is determined by her chosen style. The ma'imum Chi rating is -. Characters may never have more than - Chi.
WILLPOWER
HEALTH
Willo!er reresents your character%s inner !ill, fortitude and resolve. The higher your character%s Willo!er, the less likely she is to be s!ayed from her ersonal code of morality. Characters !ith high Willo!er are marked by their fierce dedication to any goal they set for themselves. Willo!er ranges from - to -. "ne indicates a !eak/ !illed erson0 - indicates a erson !hose !ill is unshakable. Willo!er has t!o uroses. First, the ermanent rating acts as a constant statistic measuring a character%s ermanent mental fortitude. Secondly, oints from the temorary score can be e'ended to enable the character to erform certain secial actions. The maximum Willpower rating is 10. No character's Willpower may ever exceed this rating.
The #ealth Trait measures ho! much hysical and mental unishment a character can !ithstand before falling unconscious. All Street Fighter characters start !ith - dots of ermanent #ealth, and may gain more by sending freebie oints during character generation. All characters begin with 10 Health however! by spending "reebie points and experience points! a character may increase her Health Trait to a maximum o" #0.
RECOVERING HEALTH A character%s #ealth is lost !henever she suffers damage. 3amage is inflicted by a variety of sources. Another erson%s fist is robably the most common source of damage for a Street Fighter, but !arriors risk life and limb out of the ring as !ell.
A character can recover all lost #ealth after -8 minutes of rest, unless the character suffered more damage than she has #ealth 2evels remaining. 3amage suffered in e'cess of a character%s #ealth 2evels is called aggravated damage and takes more time to heal. Aggravated damage takes one day to heal for every 5negative6 #ealth 2evel suffered. For e'amle, $uile has already lost -9 #ealth 2evels )he starts !ith :, so he has three left*. Sagat hits him and $uile takes five additional #ealth 2evels of damage. Because he only had three #ealth left, the additional t!o oints become aggravated damage. 2ater, $uile slees off his !ounds and restores -; health 2evels. $uile%s layer marks <%s over t!o of the #ealth s+uares on $uile%s character sheet to sho! that he has suffered t!o #ealth 2evels of aggravated damage. This damage !ill take t!o days to heal )$uile !ill heal one aggravated !ould each day*. =ntil then, $uile only has -; #ealth 2evels he can afford to lose before he is once again at >ero #ealth.
EXPERIENCE 3uring a story, characters learn many things. While much of !hat they learn is ractical kno!ledge )not turning your back on an oonent, for e'amle* and cannot be recorded, certain things a character learns can be +uantified. As your !arrior continues to train and travel, he !ill imrove his many Traits and gain ne! ones. A character%s develoment is governed by a system of 5e'erience6 a!ards. At the end of each game session, the Storyteller assigns each character a certain number of e'erience oints. In many !ays, e'erience oints a re like money0 layers can 5bank6 their e'erience oints and send them to urchase better Traits, similar to the use of freebie oints during character creation. This section gives the Storyteller guidelines on a!arding e'erience, and also sho!s layers ho! oints can be sent.
AWARDING EXPERIENCE Assigning e'erience re+uires careful balance. It%s imortant that the layers feel as though their characters are imroving. At the same time, ho!ever, it%s also imortant that the characters don%t become too o!erful too fast. The guidelines belo! rovide a good frame!ork to guide the Storyteller. The Storyteller al!ays has the final !ord on e'erience. $nd o" $ach %hapter A!ard each character from one to five e'erience oints at the end of each chater )game session*. A character !ill al!ays get at least one e'erience oint regardless of !hether or not he succeeds or fails, simly for being there. "ne ?oint Automatic( A character al!ays gets one oint after each session. "ne ?oint 2earning Curve( If the character learned something from his e'eriences during the chater. Ask your layer to describe !hat his character learned before a!arding this oint. "ne ?oint Acting( The layer rolelayed !ell not only entertainingly but aroriately. A!ard for e'cetional rolelaying only0 your standards should get increasingly higher. In most cases, only a!ard this oint to the erson !ho rolelayed the best in the grou.
"ne ?oint Consistency( The character acted very aroriately for her concet, $lory and #onor. This re!ard should be given only to those characters !ho strove to better themselves !hile still being true to their character concet. "ne ?oint #eroism( When a character selflessly uts herself at risk )for e'amle, running into a burning building to save a child, even though the burns could inflict aggravated damage and thus lace her at a disadvantage during an ucoming tournament*, this deserves an e'erience oint. 3on%t let a layer take advantage of this, though. There is a fine line bet!een being heroic and being a foolish daredevil. $nd o" $ach &tory At the end of each story, the Storyteller can a!ard each layer !ith one to three additional e'erience oints. These oints are in addition to those already earned after each chater of a story. "ne ?oint Success( The grou succeeded in its mission or goal. It needn%t be a comlete success0 if the characters !orked hard enough, a marginal victory !ill do. "ne ?oint @esourcefulness( The layer )and thus the character* used her head to overcome roblems and did not try to ound her !ay through every situation. "ne ?oint Tournament( A character articiated in and did !ell in a tournament. The character must have increased either his $lory or his @ank in order to receive this e'erience oint re!ard.
SPENDING EXPERIENCE As a layer, you can send your character%s &'erience at any time. "ften, increasing a given Trait !ill re+uire that e'erience be saved over the course of several game sessions. Consult the chart belo! to determine the cost for imroving a certain Trait. For e'amle, Bill !ants to raise his character%s Strength from 4 to . Bill%s character !ould have to accumulate and send -: e'erience oints to increase the Trait )an Attribute is imroved by sending the current rating times four, so in this case 4 -:. Dot all ne! Abilities or ?o!ers are readily available. Instruction in ho! to do something must be sought out the character needs to find a teacher. Teachers can be common or rare. It all deends uon !hat the character !ants to learn. If your character is trying to learn ho! to oerate a comuter )you !ant to by the Comuter Eno!ledge for your character*, she need only aly to any of the hundreds of classes available. This training !ill be Trait De! Ability De! Background De! ?o!er De! Techni+ue Abilities Attribute Background Chi #ealth Techni+ue Willo!er
%ost 4 : ?o!er ?oint cost ' 4 current rating ': current rating ' current rating 'current rating er oint current rating '4 current rating
rather easily obtained. #o!ever, a character !ho !ants to learn ho! to oga Teleort may need to travel far to find a master !ho can teach him this secret. Indeed, finding such a master could be an adventure unto itself.
SUPERHUMAN TRAITS It is ossible, through intense training, to increase an Attribute, Ability or Techni+ue above human limits. These suerhuman levels are attained by only a rivileged and dedicated fe! )the World Warriors among them*. Indeed, fe! have the otential even to reach these heights. #o!ever, for those !ho do, the follo!ing e'erience costs aly. In any event, Attributes, Abilities and Techni+ues cannot, under any kno!n circumstances, be increased above ;. (ncreasing Traits above ) Ability Attribute Techni+ue
%ost
current rating ' current rating 'G current rating '8
PURCHASING BACKGROUNDS WITH EXPERIENCE
ermanent @eno!n. The @eno!n ?ool )the s+uares* indicate ho! many temorary oints a character has gained. =nlike Willo!er and Chi, a character%s @eno!n ?ool can e'ceed his @eno!n rating. When your character%s @eno!n ?ool reaches -, you must maintain that @eno!n level for an entire story. If you do so, you may then trade all of the temorary @eno!n for one ermanent @eno!n dot. For e'amle( At the end of her latest adventure, 7ade has t!o ermanent #onor and - temorary #onor. She is ready to advance to the third @ank of #onor. Before she can, ho!ever, she must undertake one more adventure and maintain her - temorary #onor. If she ends that adventure !ith fe!er than - temorary #onor dots, she may not advance.
HONOR #onor reresents your character%s morals both in and out of the ring. A character !ith high #onor is likely to be treated !ith resect and courtesy, !hile a character !ith lo! #onor !ill robably be scorned, ignored or feared, deending on ho! formidable the character is. #onor is al!ays a!arded by the Storyteller, !ho has final say on ho! much a character gains or loses. #o!ever, #onor may neither dro belo! >ero nor rise above -. #onor is essential to a Street Fighter. A character !ho hoes to become a World Warrior had best be honorable. The honorable World Warriors have had enough of dishonorable behavior in and out of a fight. They don%t !elcome ne!comers !ho fight !ithout honor.
$enerally, imroving an e'isting Background or urchasing a ne! one entirely is done largely through rolelaying. If the character rolelays e'tremely !ell, like BENEFITS OF HONOR saving a bear cub from a tra and nu rsing it back to health, #aving #onor brings corresonding inner eace, !hich the character may even gain a Background, such as offers a Street Fighter several advantages. The higher Animal Comanion, !ithout having to send any one%s #onor, the more harmoni>ed one%s body becomes. e'erience oints. =nder most circumstances though, the As a Street Fighter becomes more and more self/attuned character !ill still need to urchase the desired and harmoni>ed, her bodily rocesses become more Background. It generally costs : e'erience oints to efficient. This inner harmony allo!s a fighter to relenish urchase a ne! Background. Imroving an e'isting his Chi and Willo!er more +uickly. Background costs -' that Background%s current rating. #onor governs ho! +uickly a character recovers her Chi and Willo!er. At the end of each combat, a layer rolls her character%s ermanent #onor rating )difficulty G*. &ach success scored enables the character to recover one of A Street Fighter%s @eno!n is often vie!ed as the sum of her sent Chi or Willo!er oints )u to her character%s others% beliefs about him. It is more than that, though. @eno!n embodies the heart and soul of any !arrior. In the ma'imum rating*.
RENOWN
&treet ighter !orld, one can only accomlish the greatest deeds by being internally noble and ure as !ell. @eno!n is also a role/laying system. A character%s @eno!n ratings symboli>e ersonal and erceived esteem !ithin the fight circuit. It measures ho! !ell the character lives u to !hat is e'ected of him in and out of the arena. Street Fighters are e'ected to revere and resect other !arriors !ith higher @eno!n. Street Fighters !ho do not ay the resect they should might find themselves ostraci>ed from the circuit, !ith no home other than Shadoloo. There are t!o areas of @eno!n( #onor and $lory. #onor measures a Street Fighter%s sense of duty, her ethics and morals0 $lory measures a Street Fighter%s ro!ess, victories and daring. &ach @eno!n area is divided into t!o forms. The @eno!n rating )the dots* indicates the character%s
GLORY $lory reresents a character%s fame )or infamy* among her eers in the underground fighting community. This is based largely uon the character%s fighting record and skill, as !ell as any tales of the fighter%s heroics in or out of the ring.
BENEFITS OF GLORY $lory can benefit a character in a number of !ays. ?rimarily, a character%s $lory determines ho! other eole in the Street Fighter community treat the character. Will the ne! to/rated manager reresent youH Will the old master teach you his Secial 1aneuverH Characters !ith high $lory often find themselves secially invited to tournaments. In fact, some tournaments
!ill not allo! characters belo! a certain $lory rating to enter individual cometition )usually team vs. team cometition is still oen*. These high/$lory tournaments usually offer the richest a!ards. #o!ever, $lory is a t!o/edged s!ord. The more oular a fighter becomes, the more his oonents kno! about him. #e%ll begin facing oonents !ho already kno! his fighting style and secial moves. Also, young unks constantly try to rove themselves by challenging high/ $lory fighters.
GAINING RENOWN The follo!ing charts rovide some e'amles of ho! #onor and $lory are gained and lost. These actions are rough guidelines only0 the Storyteller is the final arbiter of ho! much @eno!n is gained or lost. In general, an audience must be resent in order for a character to gain or lose $lory. &ven if a character beats a higher/@anked oonent, if no one hears about it, the character doesn%t gain any $lory. #o!ever, #onor losses and gains re+uire no audience.
AT TOURNAMENTS Action x Dot striking a di>>ied oonent x Taking a turn to oseJsho! off x Striking a di>>ied oonent x Enocking a di>>ied oonent unconscious x Acceting a challenge from a higher/@anked Street Fighter x Challenging a higher/@anked Street Fighter x Challenging a lo!er/@anked Street Fighter x 3efeating a higher/@anked Street Fighter x 3efeating a significantly higher/@anked Street Fighter ) or more @anks* x $etting beaten by a lo!er/@anked Street Fighter x $etting beaten by a significantly lo!er/@anked Street Fighter ) @anks* x 3efeating an oonent in fe!er than three turns x Winning a 1atch x 2osing a 1atch x =sing a !eaon or animal against an unarmed oonent x =sing a Firearm x Striking an oonent held by someone else x ?erforming more than three Blocks in a ro! x 2osing because you fought honorably x Beating multile oonents )t!o or more on one* x =sing a maneuver to !hich your oonent has a vulnerability, in raid succession )such as multile leg s!ees* x 3efeating an oonent !ithout taking any damage
Honor //: / /: /- ?ermanent /
*lory : 4 /: /4 / /- ?ermanent / -/4
/
4
Honor //:
*lory /: 4 :
Honor /- ?ermanent /: -
*lory /- ?ermanent :
OUT OF TOURNAMENTS Action x Suffering inKury !hile rotecting an innocent x @unning from a challenge x ?utting a Shadoloo grou out of business x Ignoring someone in need of hel x 3efeating a much more o!erful foe
DUELISTS AND RENOWN Action x =sing a Firearm x =sing a !eaon against an unarmed oonent x Choosing to fight !eaonless and defeating a 3uelist x Fighting !eaonless and defeating a 3uelist x 2osing because you fought unarmed against a 3uelist x 3isarming an oonent x Allo!ing a disarmed oonent to retrieve her !eaon
occasionally emloy trained animals as !ell. This is the most lethal of the divisions0 mortalities are not unheard of. What tyes of bouts does your character fightH fightH The The 3uelist rules vary from tournament to tournament, but !arriors of the !orld are divided into many different often the only rule is a ban on firearms. divisions. A Street Fighter%s division describes the tye of These tournaments tournaments feature feature a bi>arre bi>arre variety variety of fighters !arrior she is and erhas defines a little bit of !hat she and an ever stranger variety of !eaons. 3uelists !age values. There are certainly more divisions than those listed their bloody cometitions throughout a circuit even more here, but these divisions are the most common. illusive than the Freestyle matches. A 3uelist tournament The troue troue should collectively collectively decide in !hich division division can also have ha ve a Traditional or Freestyle flavor to it. A their characters are going to f ight. 1ost Street Fighters Traditional Traditional match !ill in volve t!o !arriors using !eaons choose the Freestyle division, but interesting characters !hich their articular styles train them in )such as a and stories can be created by utili>ing elements of the fencing match*. "n the other hand, a Freestyle match other division. could it a man !ith a bull!hi and a trained tiger against a lunatic !ith a chainsa!. 3uelist tournaments vary vary more than any other, other, so there TRADITIONAL is no official rating system. =sually a 3uelist tournament is These !arriors !arriors use strictly traditional martial arts arts and sonsored by a rich entrereneur or by a grou of society rarely develo any secial o!ers or abilities. They see degenerates !ho are looking for e'citing dinner arty such o!ers as dishonorable and not true to the sirit. entertainment. #onor is a rare +uality in this division, and Traditionalists Traditionalists are the staunchest and most conservative of there are very fe! individuals !ho can make a career out all Street Fighters. of fighting in it, as casualties are very high. Traditional Traditional matches are the only only legal matches matches that may may be fought. Characters must have an #onor @eno!n of at FREESTYLE least 8 in order to enter this division. Conventional tournaments it teams teams or single fighters fighters 1any of the to Street Fighters have srung from this this from the same division against each other. other. There is a lot of division. Indeed, freestyle !arriors are some of the most diversity in these matches, and many different styles can versatile in the !orld. Secial skills and o!ers are evident be seen cometing against each other. other. If you !ish to ush here. Lery fe! !eaons are used, ho!ever, for they are the boundaries of your training, this is the sort of often considered breaches of #onor. tournament you%ll !ant to enter. enter. 1any fighters fighters like to combine moves learned from more more 1any of these tournaments tournaments are hosted by a single than one style of fighting. =sually these fighters !ill o!erful Street Fighter or sensei !ho !ishes to attract comete in the Freestyle division. Freestyle is usually the !orthy oonents. "thers are hosted by a school of 5catchall6 division, as many fighters have been kno!n to fighters !ho all study the same style. This second grou of s!itch from their old division into this one. )Although it is tournaments are usually larger than those hosted by a not unheard of for a fighter to leave the Freestyle 3ivision single individual, mainly because the grou !ill have more in favor of the Traditional or 3uelist 3ivisions rare, but funds to finance the tournament and the facilities not unheard of.* These fighters usually make the s!itch if necessary to hold it in. These tournaments are usually their standing in their revious division has been deely steeed in tradition and ceremony, though some irrearably damaged, usually by a long losing streak. are simly held in large gymnasiums. Fighters !ho s!itch divisions are generally looked do!n These tournaments tournaments are the best lace to to go if a fighter on by their ne! division%s members until they rove !ishes to ractice her more basic maneuvers and rely themselves in the ring. more heavily on a solid fighting strategy and skill. Focus/ A Freestyle tournament tournament is more more of a sectacle than a based maneuvers and !eaons are strictly rohibited, as Traditional Traditional event. The mi'ing of styles and training in any are Cyborgs, &lementals and #ybrids. Some tournaments one fighter can create surrising and sectacular moves. If !ill even go so far as to have certain limitations as to !hat a Traditional Traditional match emhasi>es the grace and beauty of tye of styles can articiate. cometition, a Freestyle match is a celebration of cutthroat All Traditional Traditional tournaments tournaments are rated on an A through through 3 bra!ling. It is rare for a single doKo to sonsor these alhabetical system, !ith 5A6 tournaments being the to/ events, and far more common for a country, organi>ation organi>ation rated events and 536 tournaments being oen to lo!er/ or even a manager to host them. level students and such. #onor reigns sureme here, and Freestyle tournaments are the roverbial bread/and/ a fighter must have a minimum rating of five before she butter matches for most Street Fighters. While there is no can comete. #o!ever some 3 and C rated tournaments official ranking system, a simle roll of Intelligence Arena have been kno!n to look the other !ay if their attendance !ill tell a character if the tournament is !orth attending or is lo!. not. There is an undercurrent of information at these tournaments, and many are used as fronts for nefarious Tourn ourname ament nt Ratin Rating g Minimu Minimum m Rank Rank to Compe Compete te activities. #o!ever, #o!ever, there e'ists a strong bond of A ; camaraderie among the honorable contenders in this B G division. C 4 3 -
DIVISION
MIXED TOURNAMENTS
DUELISTS These !arriors !arriors use any means at their disosal to to ensure victory. victory. They routinely use !eaons and
A very rare tye tye of tournament, tournament, but one that deserves deserves to be mentioned is the 1i'ed tournament. 1i'ed tournaments take all comers and are very similar to Freestyle matches
in this regard. #o!ever, there is a slightly !ider range of styles, obKects and allies allo!ed in a 1i'ed tournament. The rules for each 1i'ed tournament are uni+ue to that secific tournament, and there are only a handful of them in e'istence. The most oular )as !ell as the most elite* 1i'ed tournament is the World Warrior $rand Tournament.
WORLD WARRIOR The innacle of all divisions. divisions. World World Warriors Warriors are the absolute best at !hat they do. To To enter this division, a character must have attained at least @ank Dine in one of the other divisions. Alternatively, a Street Fighter !ho defeats a World Warrior in a match in any other division may become a World Warrior. Because fe! World Warriors fight outside this division, and because established World Warriors are such a!esome fighters, such a turn of events is rare. There is no ranking system system for this this division )see belo!*. belo!*. &ach World Warrior comes from another division, in !hich she holds @ank. &very four years, the World Warriors hold a grand tournament to determine the best among them.
RANK @ank determines determines ho! each fighter fighter is rated !ithin !ithin his resective division. @ank is scaled from one to -. "ne is the lo!est @ank a !arrior can hold in a division0 - is the highest. 1ore than one fighter can share the same @ank. @ank is determined by a character%s standing on the chart belo!. +an, -ne All ne! !arriors !arriors begin !ith !ith this @ank. All great !arriors !arriors start their careers here. A !arrior !arrior of @ank "ne is either a ne!comer or someone !ho used to be higher @ank and made a serious vocational error. @ank "ne !arriors have fe!er than one !in for every : losses. +an, Two At this oint a !arrior is Kust beginning to get his feet !et. !et. If a seasoned !arrior still has this @ank, he robably also has a art/time Kob to hel cover e'enses. @ank T!o !arriors have fe!er than one !in for every - losses. A !arrior may not attain @ank T!o until he has fought at least five matches. +an, Three A @ank Three Three !arrior is is either u/and/coming u/and/coming or on the !ay do!n, deending on !hether she is a rookie or a veteran !arrior. !arrior. @ank Three !arriors have at least one !in for every five losses. A !arrior !arrior is not considered @ank Three until she has fought at least - matches. +an, our Warriors !ho attain this @ank are by no means slouches. They have ut their time into the ring. A @ank Four !arrior is a cometent and skilled adversary. To attain @ank Four, a !arrior must have scored one !in for every three losses. A !arrior !arrior must have been been in at least -8 matches before he can be considered @ank Four. Four. +an, ive @ank Five Five !arriors are !orthy oonents indeed. These are seasoned !arriors. #o!ever, they are not e'cetional at least not yet. A @ank @ank Five !arrior !arrior must maintain maintain one !in for every loss. A !arrior must also have : matches under her belt before she can attain @ank Five. +an, &ix
Those !ho !ho reach @ank @ank Si' must be better than than average, even among Street Fighters. "ther!ise, they !ill not be able to hold this @ank for long. A @ank Si' !arrior needs to maintain a record of t!o !ins for every loss. If a @ank Si' !arrior ever accumulates more losses than he has !ins, he loses this @ank. A @ank Si' !arrior must also have fought at least :8 matches before he can attain this @ank. +an, &even These !arriors have a tough line to to!. To attain @ank Seven, one has to be good far better than average, and better than most of one%s oonents. A @ank Seven !arrior needs to maintain a record of three !ins for every one loss, and must have at least 4 matches under her belt. +an, $ight @ank &ight &ight !arriors !arriors are some of the toughest around. They comete on a regular basis and rarely face defeat. They are almost never caught off guard, and many of them have develoed highly advanced techni+ues and o!ers. To 5make the grade6 at @ank &ight, a !arrior needs to have accumulated five !ins for every loss and must have articiated in at least matches. +an, Nine @ank Dine !arriors !arriors are a select breed. A !arrior of this this @ank is a veritable master of her style. Lery fe! !arriors ever attain this @ank0 fe!er still hold onto it. A @ank Dine !arrior needs to have accumulated at least - !ins for every loss and must have articiated in at least 8 matches. +an, Ten These !arriors are the crème de la crème. These are the men and !omen !ho have honed their skills and abilities to suerhuman levels. They form an elite society all unto themselves. To To attain @ank -, a !arrior needs to ha ve accumulated at least : !ins for every loss and must have fought at least G matches.
BENEFITS OF RANK The most immediate benefit of of @ank is resect. @egardless of #onor and $lory, $lory, a high/@anking !arrior almost al!ays commands some level of resect. W hether this resect is based on fear or admiration deends on the articular !arrior. Another benefit benefit of @ank is seniority. seniority. If a Kudgment is needed at a tournament or cometition, the highest/ @anking !arrior is tyically called uon to make a decision. 1aking Kust and fair decisions at tournaments is a good !ay to maintain one%s #onor. Finally, Finally, !arriors !arriors often give one another referential referential treatment based uon @ank. Although this can be considered dishonorable, there is considerably more lee!ay given to !arriors of higher @ank. Blatantly giving )or declining* referential treatment based uon another%s @ank could result in a loss of honor.
A CLEAN SLATE @anks are limited by the division in in !hich a !arrior cometes. A !arrior might be @ank Si' in the Freestyle 3ivision, but only @ank Three in the Traditional 3ivision. @ank is not transferable. This is both an advantage and a limitation. While a character does not gain any benefits of @ank in an unfamiliar division, he !ill have the oortunity to gain a greater standing in a ne! division. This is esecially helful if the !arrior has really harmed his
standing in his old division. When a !arrior s!itches s!itches division, division, his standing is !ied clean. Wins, losses, and dra!s all reset to >ero. If your character ever returns to his old division, he has the otion of reclaiming his old @ank and standing or of starting over again.
STYLES I have taught you the secrets of Shotokan Karate, and you have become adequate warriors. You are now carriers of the living art of Shotokan Karate – for all martial arts are living arts; they grow and change and conform to the needs of each generation of Sensei and discile. !s with all living things, some generations can be stronger or weaker than their ancestors. You must ensure that the living art of Shotokan never becomes weak. "or our style to live on, you must one day share its secrets with others as I have shared them with you. "irst, however, you must rove yourselves fit to carry on my name and the style of Shotokan. #o into the world to test your knowledge by fire and by blood. Should you survive long enough for your own beards to gray with age, then you will know that your Shotokan Karate is strong; then you will know that you are worthy to teach the art. $ut if you should fall from the ath, do not disgrace me by teaching your weak version of the art. $etter that the style of Shotokan Karate should die than become a tree that aears great for its age but is rotten and weak inside. % #ouken, to his students Ken and &yu Nothing defines a Street Fighter warrior more than her style. A Street Fighter's style determines how she fights and what martial knowledge she has gained. Is the fighter a Western Kickboxer who uses mostly kicks or is she a Kabaddi master who uses mental !owers to defeat her o!!onents" #isted below are all of the styles of martial arts a$ailable to characters. %owe$er the Storyteller should restrict !layers from taking #er &rit or S!anish Ninitsu as a style since these two martial arts are only taught by (ison and )ega. *ach style is ex!lained in detail and the style's !articular s!ecial mo$es and !owers are listed. A beginning character's initial +hi and Will!ower scores are also listed with each style. As !layers decide on which s!ecial maneu$ers their characters will know or !lan to learn they should know that they are free to !urchase any s!ecial maneu$ers granted by their style ,that they otherwise meet the !rere-uisites for or any of the s!ecial maneu$ers listed as /+ommon 0aneu$ers1 with and /Any1 cost. 2he +ommon 0aneu$ers are listed at the end of this cha!ter. Some Street Fighters try to train in many different styles but such combatants rarely raise themsel$es to the ranks of World Warriors. 2he World Warriors ha$e found that only by !ursuing one style can they master that style's many s!ecial mo$es and !owers. Street Fighters who switch styles like chea! suits will ne$er attain the
awesome s!ecial !owers that allow World Warriors to hold their to! ranks.
AIKIDO
,SF+ !. 345
Although often often taught as a s!ort Aikido is also a !hiloso!hical disci!line and a fighting art. It is a !assi$e style based hea$ily on 6en !hiloso!hy and non7 resistance. If !ushed an Aikido !ractitioner mo$es with the !ush blending with her o !!onent's mo$ement and direction of !ower lea$ing him off balance and defenseless. Aikido Aikido is a fluid gentle art8 the final goal is not the defeat of o!!onents but the enlightenment of the !ractitioner's own s!irit Aikido em!hasi9es em!hasi9es oint7locking oint7locking and throwing and the culti$ation of the +hi rather than !unches and kicks. 0ost of its mo$ements are circular and relaxed as o!!osed to the hard angles and tense muscles of other aggressi$e styles. Schools: Aikido Schools: Aikido schools are found worldwide but :a!an and the ;.S. ha$e the most. 2he Aikido community is uncommonly o!en and su!!orti$e with many clubs and its own maga9ines. New students are always welcome. Members: :ust Members: :ust about anyone who wants to learn the art is acce!ted. Aikido is a !o!ular s!ort and courses can be found through community self7defense classes or college as well as formal Aikido schools. Study at a formal school is usually re-uired to become a black belt. When you attain the black belt you are considered a beginner< the study of Aikido is $iewed as a lifelong culti$ations of the s!irit. Concepts: =hiloso!hers Concepts: =hiloso!hers mystics working mothers athletes students Initial Chi: > Chi: > Initial Willpower: ? Willpower: ? Quote: '(ater flows and takes any shae or course, yet it is always consistent with its own nature. $e sensitive to the flow and movement of your body and you will achieve insight into your own fundamental nature.)
AIKIDO
Special Maneuvers Punch: &im 0ak ,@ Kick: Foot Swee! ,3 Slide Kick ,? S!inning Foot Foot Swee! ,3 Block: &eflecting =unch ,3 *nergy eflection ,B San %e ,B rab: Air 2hrow ,? (ack oll 2hrow ,3 Cra!!ling &efense ,B Im!ro$ed =in ,? ,? =in ,? !thletics: (reakfall ,3 &runken 0onkey oll oll ,? Focus: +hi Kung Kung %ealing %ealing ,B Fireball ,B Chost Form ,> 0ind eading ,B =sychokinetic +hanneling ,@ egeneration ,? Stunning Shout ,B 2ele!athy ,? 6en No No 0ind 0ind ,B
BARAQAH
,SF+ !. 34D
(ara-ah is a rare and little7known martial art with its origins in North Africa. It has tra$eled the globe !rimarily in the Near and 0iddle *ast following the !ath of Islamic ci$ili9ation. Its followers followers though rare may be found anywhere Islam has left its mark. 0asters of (ara-ah do not claim to be teaching a fighting style< the maneu$ers of (ara-ah are considered features of Islamic sacred science designed to culti$ate the grace of %ea$en and to !erfect !hysical health. %owe$er %owe$er in s!ite of such !rotestations these techni-ues are -uite ca!able when used as self7defense maneu$ers. (ara-ah's fighting fighting techni-ues are !racticed !racticed slowly slowly and gracefully gracefully but when a!!lied in combat are deli$ered with a di99ying s!eed. 0ost of (ara-ah's techni-ues deal with gra!!ling although some close7range striking is in$ol$ed< !rimarily low kicks to oints and !unches to !ressure !oints and sensiti$e s!ots. (ara-ah is rarely seen e$en in the Islamic Islamic world< world< its masters and students !ractice their art behind closed doors se!arated from the secular and the mundane. When used as a combat art in !ublic it is transformed into something more !lain and utilitarian its techni-ues watered down to their bare minimum. Schools: 0ost Schools: 0ost (ara-ah 0asters are Sufis E 0uslim mystics who culti$ate a dee!er communion with the di$ine. 2raining 2raining in (ara-ah traditionally includes the study of Islamic scri!tures calligra!hy calligra!hy and other o ther sacred arts as well as hours of ! rayer and meditation. (ara-ah halls are segregated by gender with men and women taught se!arately. (ara-ah is rarely taught taught outside the Islamic Islamic world. 2he best schools may be found in =ersia and Asia 0inor although a few are rumored to remain in S!ain. Members: Almost Members: Almost all (ara-ah stylists are 0uslims whether from Africa 0alaysia or the 0iddle *ast. nly the s!iritually minded and most disci!lined are allowed to ad$ance to the style's highest le$els. Concepts: Sufis Concepts: Sufis mystics der$ishes !ilgrims Initial Chi: @ Chi: @ Initial Willpower: B Willpower: B Quote: 'You must learn humility. $araqah does not come from us, but from *eaven. +nly by mastering our own ego and sense of self can $araqah flow through us.)
BARAQAH
Special Maneuvers Punch: *ar =o! ,? %undred %and %and Sla! Sla! ,> 0onkey Crab Crab =unch ,3 S!inning (ack (ack Fist ,3 S!inning Knuckle ,B Kick: Foot Swee! ,3 Wounded Knee ,? Block: &eflecting =unch ,3 *nergy eflection ,B 0aka Wara Wara ,B rab: (ack oll 2hrow ,3 &islocate #imb ,? ,? Cra!!ling &efense ,B Im!ro$ed =in ,? =in ,B Slee!er ,B !thletics: ,None Focus: (alance ,B +hi =ush ,> Chost Form ,> #e$itation ,B 0ind eading ,B =sychokinetic +hanneling ,@ egeneration ,3 2ele!athy ele!ath y ,? 6en No 0ind ,B ,B
BOXING
,+ore !. 3GG
2he origins origins of (oxing date back to ancient ci$ili9ations. ci$ili9ations. In America America boxing became famous in the early 3H44s when bare7knuckled brawlers would ste! into the ring and fight until only one man still stood. (oxing e$ol$ed into an incredibly !o!ular !rofessional s!ort with multimillion dollar fight !urses to be won for big !ay7!er7$iew tele$ised bouts. (oxing is is !eculiar on the Street Fighter circuit. circuit. 0any 0any boxers still adhere to rules better suited to a boxing ring that a Street Fighter arena. 0any boxers still wear their glo$es and $ery few e$en incor!orate kicks into their arsenals. (oxers often argue that they don't need to change. (oxers' incredible training !rograms hone their reflexes and !unching !ower until they become fighting machines. 2he incredible !ounding boxers withstand during training also makes them some of the toughest fighters on the circuit. Schools: 2here Schools: 2here are boxing gyms in e$ery maor city but serious boxers need to find !ersonal trainers and coaches. Members: (oxing Members: (oxing is a !redominantly male !rofessional s!ort but more women are oining the s!ort. 0any women who cannot find o!!ortunities in the !rofessional ring turn to the Street Fighter circuit for com!etition. 0any boxers come from !o$erty7stricken areas. Concepts: Street Concepts: Street tough Colden Clo$es cham! body builder Initial Chi: 3 Chi: 3 Initial Willpower: G Willpower: G Quote: 'You 'You think youre something secial with all those cho suey moves- ets see how you d o in the full% contact ring.)
BOXING
Special Maneuvers Punch: &ashing =unch ,@ ,@ &ashing ;!!ercut ,3 Fist Swee! ,? %ead (utt ,3 %eart =unch ,@ %y!er Fist ,@ #unging =unch ,? 2urn =unch ,@ ekka Ken ,> Kick: ,None Block: &eflecting =unch ,3 rab: (rain +racker ,3 %ead (ite ,3 %ead (utt (utt %old %old ,? !thletics: :um!ing Shoulder Shoulder (utt (utt ,3 Focus: 2oughskin oughski n ,B
CAPOEIRA
,+ore !. GD
+a!oeira started as a way for sla$es in South America to defend themsel$es. (ecause any sla$e caught learning to fight would be killed the sla$es learned to disguise their ability in their dances. +a!oeira remained a ! art of South American culture and was almost exclusi$ely taught there. It wasn't until recently after the World Warriors and Shadoloo saw (lanka in action that this style was e$er taken seriously. 2his beautiful and deadly style is now considered a threat. +a!oiera students see their art as more than a combat techni-ue. +a!oeira is a way to ex!ress their freedom and show their might. Students often com!ete amongst themsel$es to kee! themsel$es in the best !ossible form. +a!oeira fighters tend to be more aggressi$e than other martial artists but this hel!s them win fights through fear and intimidation. Students of +a!oeira use their dance7like mo$es to confuse and sur!rise their o!!onents. 2hey rely on s!eed and agility to make -uick attacks and !osition themsel$es for follow7u! attacks. At first those unfamiliar with this style may laugh at the way a student dances about E and then the +a!oeira stylist re$eals the fighting skills hidden in the dance knocking his unsus!ecting o!!onent senseless. Schools: +a!oeira has $ery few organi9ed schools. Some $illages in South America teach the fundamental dance mo$es to children as !art of formal schooling but these lessons often lack the fighting skills inherent to the dance. 2he style's !o!ularity has recently begun to grow but it is still $ery difficult to find a teacher o utside South America. A student who wishes to become a true +a!oeira warrior must seek out a master of +a!oeira. Cood +a!oeira stylists learn through informal study directly under a master. *$en so it is difficult to find a single +a!oeira master who knows all of the style's acrobatic mo$ements and s!ecial attacks. Members: 0ost +a!oeira stylists are from South America or the +aribbean Islands although some schools are rumored to by o!ening in Florida. While some new students hail from other cultures the $ast maority of +a!oeira !ractitioners hail f rom South America. Concepts: 2ribal warriors ex!lorers dancers Initial Chi: ? Initial Willpower: > Quote: '+ther eole try to master their styles. /ot we. (e seek to master the dance. 0ant you feel its rhythm and ower- Your heart kees the rhythm and lets the ower flow through the dance to strike at your oonent.)
CAPOIERA
Special Maneuvers Punch: %ead (utt ,3 S!inning +lothesline ,@ 2urbo S!inning +lothesline ,@ Kick: (ackfli! Kick ,? +artwheel Kick ,? &ouble7%it Knee ,3 Forward (ackfli! Kick ,3 Forward Fli! Knee ,? Block: ,None rab: (ack oll 2hrow ,3 &islocate #imb ,? %ead (ite ,? Knee (asher ,? !thletics: (ackfli! ,? (east oll ,B (reakfall ,3 &runken 0onkey oll ,? olling Attack ,B 2umbling Attack ,B )ertical olling Attack ,? Focus: (alance ,@ 0usical Accom!animent ,3
JEET KUNE DO
,SF+ !. 34H
:eet Kune &o ,or :K& is not a martial art !er se8 it is actually an all7encom!assing way of looking at the martial arts. =ioneered by the late (ruce #ee :eet Kune &o is a fast efficient and !owerful fighting style. :eet Kune &o takes what is best from many of the world's martial arts and brings them into a style that changes fro moment to moment and situation to situation. :eet Kune &o sees the weakness of different fighting styles and takes ad$antage of them. It is not a list of maneu$ers and stances but a !hiloso!hy of fighting E anyone claiming to know /the :eet Kune &o maneu$ers1 is trying to im!ress the ignorant. :K& is a no7nonsense style designed !rimarily for fighting8 the niceties of formal martial arts combat in a ring are not em!hasi9ed. 0ost maneu$ers are $ery -uick8 :eet Kune &o literally means /2he Way of the Interce!ting Fist1 and :K& fighters usually do not !erform !owerful7but7slow maneu$ers unless their o!!onent is di99ied or knocked down. Schools: While there are innumerable books and teachers claiming to teach /the secrets of :eet Kune &o1 there are only a few which are legitimate. 2his doesn't really matter howe$er< s!arring !ractice and (ruce #ee's book 1he 1ao of 2eet Kune 3o are the !rimary schools for this style and both are a$ailable all o$er the world. 2o learn maneu$ers that aren't in the regular :K& re!ertoire the character must ha$e a willing teacher or at least ha$e seen the maneu$er !erformed and train herself incredibly hard. Members: Anyone who fights can study :K&. Cenerally martial arts enthusiasts or kickboxers are the most likely to ha$e acti$ely studied the conce!ts of :eet Kune &o and !ut it into !ractice. Concepts: 0artial artists of all kinds (ruce #ee fans soldiers street toughs bodyguards. Initial Chi: 3 Initial Willpower: G Quote: '1o create a method of fighting is retty much like utting a gallon of water into wraing aer and shaing it.)
JEET KUNE DO AND SPECIAL MANEUVERS Some character may ha$e originally begun study in a traditional style choosing later to take u! the study of :eet Kune &o. In this case if a S!ecial 0aneu$er has a different cost for :K& than for his original style he !ays whiche$er cost is lower. For exam!le the Forward Fli! Knee maneu$er costs two =oints for Wu Shu and three for :eet Kune &o. If the :K& fighter had !re$iously studied Wu Shu he may buy the Forward Fli! Knee for only two =oints. :eet Kune &o !ractitioners can also learn S!ecial 0aneu$ers that are usually closed to outside styles. %owe$er it is $ery ex!ensi$e 2o learn a maneu$er that is /closed1 costs :eet Kune &o !ractitioners the maneu$er's most ex!ensi$e =ower =oint cost J3. For e xam!le the Whirlwind Kick is not !art of the regular :eet Kune &o regimen nor does it ha$e a cost listed for /any1 style. 2he most ex!ensi$e cost listed is fi$e !oints ,for Shotokan Karate. 2herefore if a :eet Kune &o !ractitioner wanted to learn the Whirlwind Kick it would cost six =ower =oints.
2he decision to study :K& should be made when the character is created. A character cannot be created /now studying :K& after many years of 0uay 2hai1 granting the character two !ools of S!ecial 0aneu$ers to choose from. If a character takes u! the study of :eet Kune &o later in the course of her career there has to be a !lot7dri$en reason for this Eshe cannot sim!ly say /I'm studying :eet Kune &o now1 and suddenly get the lower 0aneu$er costs
JEET KUNE DO Special Maneuvers Punch: &ragon =unch ,> *ar =o! ,? %undred %and Sla! ,> %y!er Fist ,> 0onkey Crab =unch ,3 Kick: (ackfli! Kick ,? Flying Knee 2hrust ,3 Foot Swee! ,3 Forward Fli! Knee ,B %urricane Kick ,> #ightning #eg ,@ Scissor Kick ,B Ste!!ing Front Kick ,B 2iger Knee ,> Block: &eflecting =unch ,3 0aka Wara ,B rab: Air 2hrow ,? Cra!!ling &efense ,@ =in ,B !thletics: (ackfli! ,? &runken 0onkey oll ,3 #ight Feet ,B Wall S!ring ,3 Focus: +hi Kung %ealing ,@ 6en No 0ind ,B
JIU JITSU
,SF+ !. 34H
riginally de$elo!ed in :a!an in the 3>th E 35th centuries :iu :itsu is a /soft1 martial art intended to subdue ,rather than inca!acitate an o!!onent by !inning them in !lace. It uses the o!!onent's own weight and momentum against him making it an elegant !acifist style. :iu :itsu students learn to use le$erage and the inherent strength of their leg and back muscles to easily lift and toss !eo!le three times their weight or more. :iu :itsu ! ractitioners don't ha$e to be !articularly muscular or tough although it hel!s8 many of the best stylists are somewhat flabby around the midsection yet still able to sen o!!onents flying across the room without breaking a sweat. Schools: :iu :itsu is taught all o$er the world usually in the s!orting form of :udo. 0any American soldiers stationed in :a!an after World War II learned the art and hel!ed !o!ulari9e it in the ;nited States and tra$eling :a!anese senseis are still s!reading knowledge of this art around the world. Members: Anyone can take classes. :udo is a !o!ular s!ort in :a!an and the ;.S. and it is often taught as a self7 defense techni-ue. Concepts: Femme fatales s!orts enthusiasts !olice Initial Chi: B Initial Willpower: @ Quote: '1he bigger they are, the harder they fall.)
JIU JITSU REQUIREMENTS :iu :itsu !ractitioners are re-uired to !urchase a minimum of Crab 00 and Athletics 00 but automatically ha$e (reakfall and 2hrow at no cost.
JIU JITSU Special Maneuvers Punch: *ar =o! ,? Kick: Foot Swee! ,3 S!inning Foot Swee! ,3 Block: &eflecting =unch ,3 *nergy eflection ,B 0aka Wara ,@ 0issile eflection ,3 San %e ,B rab: Air 2hrow ,? (ack (reaker ,? (ack oll 2hrow ,3 &islocate #imb ,B Cra!!ling &efense ,? %air 2hrow ,? Im!ro$ed =in ,? Neck +hoke ,3 =in ,? Stomach =um! ,B Su!lex ,3 2high =ress ,? 2hrow ,4 !thletics: (reakfall ,4 Focus: +hi Kung %ealing ,@ 2oughskin ,B 6en No 0ind ,B
KABADDI
,+ore !. 53
2he !owerful secrets of Kabaddi originated in the secluded corners of ancient India. 0onks who dedicated their li$es to meditation yoga and the mental !ractices of &hyana (uddhism ,called 6en in :a!an de$elo!ed extraordinary !hysical and mental !owers. 2hey were said to be able to walk through walls sto! their heartbeats for hours at a time and !erform many other su!erhuman feats. #uckily in order to master these abilities the monks had to achie$e such a state of mental tran-uility that they ne$er !ut their abilities to $iolent use E exce!t in self7defense. 2o defend themsel$es against bandits and other aggressors the ancient yoga masters de$elo!ed Kabaddi. Kabaddi is one of the hardest styles to master because of the strict mental disci!line and bodily control the student must de$elo!. While Kabaddi is less $iolent than most other styles it nonetheless assures $ictory for its !ractitioner through weird and unusual tactics. 0any Kabaddi masters through their miraculous body control are able to extend their $ery limbs to hit o!!onents from across the room. 2he su!reme master of this style &halsim can e$en mo$e his mortal frame to another location in s!ace E he can tele!ort. 2he Kabaddi student who as!ires to such feats must first learn to control e$ery molecule of her body. *$en more fascinating is certain !ractitioners' mental acuity. 2hey seem to be able to ignore all distractions and can often second7guess an o!!onent's action. 2he student's main !hiloso!hy is that if your o!!onent cannot strike you then he cannot harm you. 2o use Kabaddi to the fullest the student must be both mentally and !hysically fit. Kabaddi stylists often frustrate their o!!onents dri$ing them into an unreasoning rage while they calmly !ound away at them e$entually winning the fight through !atience and wise tactics. Schools: Schools can be found scattered all o$er the world but they usually admit only a select few. Kabaddi is one of the more strict and rigid styles. +lasses begin with a full hour of meditation. Kabaddi exercises test the limits of e$en the most dexterous fighters. Members: 2raditionally only those who ha$e already dis!layed a great deal of restraint and disci!line can take classes. 2his restriction has begun to disa!!ear from most modern schools but the best students are still the ones who dis!lay the most restraint and con centration. Concepts: 6en monks oga instructors New Agers Initial Chi: > Initial Willpower: ? Quote: 'You must learn to control your feelings and think of nothing but your oonent. +nly after the fight can you think of winning.)
KABADDI
Special Maneuvers Punch: %ead (utt ,3 Kick: Slide Kick ,? Block: *nergy eflection ,B San %e ,B rab: Air Su!lex ,? (rain +racker ,3 &islocate #imb ,B %ead (utt %old ,? !thletics: +annon &rill ,> Flying (ody S!ear ,? Focus: (alance ,B (lind ,> +hi Kung %ealing ,B +hi =ush ,> +obra +harm ,? *xtendible #imbs ,@ Fireball ,B Flying Fireball ,B Chost Form ,> Im!ro$ed Fireball ,> Inferno Strike ,> #eech ,B #e$itation ,B 0ind eading ,B =sychic )ise ,> egeneration ,3 2ele!athy ,? oga Flame ,B oga 2ele!ort ,>
KUNG FU
,+ore !. 5@
0artial arts scholars mark the beginning of +hinese martial arts as the year A.&. >?5 when an Indian monk named 2a70o came to the first Shao7#in tem!le in the %unan !ro$ince of +hina. 2a70o found the monks at the oung Forest tem!le to be so !hysically weak they could not e$en meditate without falling aslee!. %e began a conditioning !ractice among the monks8 this e$entually led to the !ractice of martial arts. $er the centuries the !ractice of Kung Fu s!read to many different tem!les families and dynasties within +hina and beyond to kinawa and :a!an. 0any tem!les and Kung Fu fighters de$elo!ed their own uni-ue styles of Kung Fu. Some tem!les concentrated on animal styles de$elo!ing fighting arts that mimicked the fighting styles of animals such as white cranes tigers snakes !raying mantises monkeys and e$en mythical creatures like dragons. ther Kung Fu styles concentrated on the internal +hi energy within the body using this energy to !roduce de$astatingly !owerful !unches and kicks. Still others !racticed exclusi$ely with wea!ons becoming masters of the sword s!ear or more exotic wea!ons. 2his abundance of styles has made Kung Fu a com!lex and beautiful martial art. 2o know that an o!!onent !ractices Kung Fu does not offer much insight into how the martial artist actually fights. She might !ractice Wing +hun Kung Fu and use flurries of direct !unches or !ractice Snake Kung Fu and focus her +hi into a few select strikes to $ital !oints. Any Street Fighter who !ractices Kung Fu has a wide $ariety of techni-ues and !owers o!en to her. In the last cou!le of decades Kung Fu has become !o!ular around the world %ollywood has begun using more martial arts stars in action films and this has led to more schools o!ening u! in North America and *uro!e. Schools: 2here are Kung Fu schools around the world in almost any big city but the student should beware. 2here are $ery few true masters of Kung Fu8 many schools are run by imitators trying to make a -uick dollar off of the !o!ularity of the style. +ertainly anyone who ho!es to sur$i$e in the ring of the Street Fighters must ha$e taken lessons from a true Kung Fu master. 0any of the best schools and masters still li$e in the Far *ast and while discrimination has decreased in the last decade many +hinese teachers will still only teach +hinese students. 0ost Kung Fu teachers are called Sifu not Sensei which is a :a!anese word. Concepts: As!iring action7mo$ie star health nut !hiloso!her Initial Chi: @ Initial Willpower: B Quote: '2ust because one has found eace with oneself doesnt mean one is at eace with others.)
KUNG FU Special Maneuvers Punch: &im 0ak ,@ &ragon =unch ,> %eart =unch ,@ %undred %and Sla! ,> Knife %and Strike ,B 0onkey Crab =unch ,3 ekka Ken ,@ Kick: Air %urricane Kick ,3 Ax Kick ,@ (ackfli! Kick ,B &ouble &read Kick ,@ &ouble7%it Kick ,3 &ragon Kick ,> Forward (ackfli! Kick ,? Forward Fli! Knee ,B %urricane Kick ,> #ightning #eg ,@ Ste!!ing Front Kick ,B Block: &eflecting =unch ,3 0aka Wara ,B San %e ,B rab: Cra!!ling &efense ,@ %air 2hrow ,? Im!ro$ed =in ,B =in ,B ising Storm +row ,@ !thletics: &runken 0onkey oll ,3 Focus: (alance ,B +hi Kung %ealing ,B +hi =ush ,> Fireball ,@ Flying Fireball ,B Im!ro$ed Fireball ,> #eech ,@ #e$itation ,@ egeneration ,? 6en No 0ind ,B
LER DRIT
,SoS !. 3D
#er &rit is 0. (ison's own uni-ue fighting style one that combines So$iet assassination techni-ues !owerful um!ing mo$ements and (ison's own dark !sychic !owers. #er &rit is ne$er taught to anyone outside of (ison's organi9ation. Its effecti$eness is without dis!ute. %owe$er learning this style is no easy task. Its tolls on the body and mind are enormous. +asualties in class are not uncommon. Students who can't handle #er &rit's !hysical training usually die and those whose minds sna! under the strain of the !sychic training turn into soulless e$enants. 0. (ison has been !racticing and de$elo!ing #er &rit for nearly 3> years now. %e is continually im!ro$ing the style and adding new techni-ues. 2his is yet another reason for his in$ol$ement in the World Warrior circuit. %e must !ractice his s!ecial maneu$ers against the $ery best in the world. nly then will his style become refined. Strength confidence and ruthlessness are the hallmarks of #er &rit and 0. (ison teaches his students those -ualities. (y harnessing the !ower of the mind and de$elo!ing the body to f rightening le$els of !hysical !erfection the #er &rit stylist seeks the !o wer to crush his o!!onent under foot. #ittle is known in the outside world about the history of the style its brutal training methods or its stylists' source of !sychic !ower. It is surmised that many of the more basic maneu$ers were techni-ues (ison learned in his youth while undergoing S!ecial Forces training with So$iet commandos. 2he true origin of the style's S!ecial 0aneu$ers confound e$en the wisest of sensei. (ison's ability to channel so much energy into maneu$ers like the =sycho +rusher astounds the fighting community. New Street Fighters show u! with this style occasionally and usually clean u! at 2ournaments. %owe$er #er &rit is still uncommon. Anyone !ossessing knowledge of it is almost always assumed to be working for 0. (ison. Schools: 2he only known !lace to study #er &rit is 0riganka 0. (ison's island country. Members: +om!rised entirely of Shadoloo o!erati$es #er &rit is taxing and costly. 0embers of both genders ha$e learned the style8 howe$er no one but 0. (ison has truly mastered it. Concepts: Shadoloo Street Fighters criminal dictators megalomaniacal $erlords Initial Chi: > Initial Willpower: ? Quote: 'Show your oonent no weaknesses and he will always fail to find yours)
LER DRIT Special Maneuvers Punch: &ucking Fierce ,3 %y!er Fist ,> S!inning Knuckle ,B Kick: &ouble &read Kick ,@ Flying Knee 2hrust ,3 Forward Fli! Knee ,B Forward Slide Kick ,? Scissor Kick ,B Slide Kick ,? Ste!!ing Front Kick ,@ Block: San %e ,B rab: Cra!!ling &efense ,@ Iron +law ,> !thletics: Flying (ody S!ear ,B Flying %eel Stom! ,B Flying =unch ,B Focus: (lind ,B +obra +harm ,B 0ind +ontrol ,> 0ind eading ,B =sychic age ,B =sychic )ise ,@ =sycho +rusher ,> =sychokinetic +hanneling ,B egeneration ,? Stunning Shout ,B 2ele!athy ,?
LUA
,SF+ !. 334
%awaii is commonly known for many things but not for a nati$e martial art. %owe$er as more warriors trained in #ua make their mark in the Street Fighter circuit this nati$e %awaiian style is becoming better a!!reciated. nce belie$ed to ha$e been a /lost1 martial art it is now recogni9ed that #ua went underground after being re!ressed by authorities in the early 3D44s. #ua E or /bone7breaking1 E is a dangerous combination of gra!!ling and striking relying u!on the !ractitioner's knowledge of human anatomy !articularly musculature and the ner$ous system. Street Fighters who use #ua can be -uite menacing in the ring< although con$ersant in medium7range techni-ues their true thread emerges in close7range combat. A Street Fighter in a match with a #ua stylist had best kee! him at a distance or within moments she will find herself on the found and unable to mo$e. 2he dance7like motions that can accom!any #ua can be -uite unner$ing8 many #ua warriors fight along with the tones of a mele to a soothing and sonorous melody that can distract an o!!onent or e$en cause him to let his guard down E this is the moment that a #ua warrior strikes. As #ua becomes better known darker elements of its !ast are emerging as well. In the !ast it was not uncommon for students to lie in wait for lone tra$elers and ambush them< within a matter of moments the $ictim's limbs would be com!letely disointed and dislocated. Ideally the students were su!!osed to rehabilitate and restore the target's body but too often he was left to die. Schools: Schools can be found only in %awaii. A teacher of #ua is called a kahuna which E much like a standard sensei E is a combination warrior !riest and medicine man. #ua has a strong !hiloso!hical and s!iritual as!ect which unfortunately is not often studied by its !ractitioners. )ariants of #ua are belie$ed to be found throughout =olynesia but they ha$e not been confirmed. Members: In s!ite of its dark !ast #ua is studied by many honorable warriors. Almost e$ery #ua !ractitioner is =olynesian. It is rare for a non7=olynesian to be taught the form and such cases are truly exce!tions. Students of #ua are !hysically conditioned at the same time they learn the intricacies of the human body E to hurt and to heal. Concepts: =riest medicine7man h ealer assassin Initial Chi: B Initial Willpower: @ Quote: '0ome closer, come... certainly I am not a threat to you...)
LUA
Special Maneuvers Punch: &im 0ak ,@ Kick: (ackfli! Kick ,B &ouble7%it Knee ,3 Wounded Knee ,? Block: *nergy eflection ,B rab: +hoke 2hrow ,? &isengage ,? &islocate #imb ,? *ye ake ,3 Cra!!ling &efense ,B %ead (ite ,? Im!ro$ed =in ,? Iron +law ,@ Neck +hoke ,? =in ,? Slee!er ,B !thletics: #ight Feet ,B Focus: (alance ,B +hi Kung %ealing ,B +hi =ush ,> Fireball ,@ Chost Form ,> #eech ,B #e$itation ,@ 0ind eading ,B 0usical Accom!animent ,3 egeneration ,? 2oughskin ,B
MAJESTIC CROW KUNG FU
,=W !. >H
A relati$ely unknown $ariant of Kung Fu 0aestic +row is an external style E i.e. it relies more u!on muscle !ower and !hysical !rowess than on internal !sychology and s!iritual de$elo!ment. Its stances are somewhat similar to the 2ibetan White +rane style although it is more rough7 and7tumble with many grabs and throws. 2he history of the art is obscure at best8 its only known li$ing master 0aster Laodo attributes the art to a +hinese shih ,essentially a !rofessional do7gooder who li$ed sometime around A.&. G44. 2he shih was a master of -uite a few different forms of Kung Fu but was not satisfied with any of them8 he retired to the hills outside of a small $illage to contem!late the !roblem. 2here the story goes he ha!!ened u!on a crow caught by a snare fighting with a fox that was trying to make a meal of him. 2he crow held down by the snare and unable to esca!e fought bitterly against his much larger o!!onent. 2he shih watched in fascination as the crow launched into a $icious flurry of beating wings and scratching talons whene$er the fox would get close. 2he fox for its !art re!eatedly attacked and retreated a!!arently attem!ting to exhaust the crow into submission. Ins!ired by this drama the shih released the crow ,annoying the fox which according to legend harassed him from that day forward and set out to design a new fighting style which he called /the 0aestic +row1. 2he style is based on a yin%yang !attern of alternating between kee!ing still or mo$ing slowly and launching into a blinding flurry of attacks using all limbs at once. It in$ol$es many high7lea!ing forward kicks and claw7hand strikes resembling the crow's raking talons as well as ra!id o!en7hand sla!s resembling the furious beating of wings. ising Storm +row a uni-ue S!ecial 0aneu$er is one of the hallmarks of the 0aestic +row8 it is hinted howe$er that this is but the ti! of the iceberg and a host of other e$en more !o werful techni-ues exist their secrets hidden in the Sifu's mind. Schools: In older times there were a fair number of 0aestic +row schools in mainland +hina but o$er the generations they gradually disa!!eared. Now only one Sifu is known to remain< 0aster Laudo who is too old to teach full7time. %e also has many enemies ,most notably Shadoloo which he's crossed many times so he tries to kee! his location a secret. %e takes but a handful of students at a time and then only instructs the best of those with the style's ad$anced techni-ues. Members: Anyone can oin who is dedicated enough to find 0aster Laudo and im!ress him. %owe$er he is $ery !articular about whom he will teach and will dismiss anyone he feels is not u! to the challenge. Concepts: &ie7hard Kung Fu student student of the esoteric wandering do7gooder Initial Chi: B Initial Willpower: @ Quote: '1he crow is imassive and aloof, but can attack with incredible ferocity if rovoked.)
MAJESTIC CROW KUNG FU Special Maneuvers Punch: &im 0ak ,> &ragon =unch ,> %undred %and Sla! ,@ 0onkey Crab =unch ,3 ekka Ken ,> 2ri!le Strike ,3 Kick: Air %urricane Kick ,3 (ackfli! Kick ,B &ouble &read Kick ,B &ouble7%it Kick ,3 Flash Kick ,@ Flying 2hrust Kick ,@ Creat Wall of +hina ,> %urricane Kick ,> #ightning #eg ,@ Ste!!ing Front Kick ,B Whirlwind Kick ,> Block: San %e ,@ rab: Air 2hrow ,? Cra!!ling &efense ,@ %air 2hrow ,? Iron +law ,@ ising Storm +row ,@ !thletics: Air Smash ,3 +annon &rill ,> &runken 0onkey oll ,? Flying (ody S!ear ,B Flying %eel Stom! ,B olling Attack ,@ Wall S!ring ,3 Focus: +hi Kung %ealing ,@ Fireball ,@ Flying Fireball ,B Im!ro$ed Fireball ,> Stunning Shout ,B
NATIVE AMERICAN WRESTLING
,+ore !. 55
Nati$e American Wrestling began as entertainment among bra$es. 2hey used it to de$elo! endurance and agility. 2. %awk combined this style with ancient mystical teachings about mental strength and the s!irits of the totems. 2he result was a style of deadly throws crushing strikes and the in$ocation of totem s!irits to !erform mysterious attacks. Nati$e American Wrestling has become one of the fastest7rising styles in the circuits. Nati$e American wrestlers are some of the most $ersatile fighters. 2heir style re-uires them to think fast in order to negate an attack with an instant counter. 2his mindset lets them ada!t almost instantly to any situation. 0ost o!!onents ne$er reali9e that they ha$e ust set themsel$es u! for a fall until they ha$e been !inned. Flexibility s!eed and cunning make Nati$e American wrestlers the fiercest of com!etitors. Nati$e American Wrestling consist of attacks and counter7attacks. Wrestlers ha$e a wide $ariety of combinations that allow them to re$erse any situation. ne of their best wea!ons is their ability to s!ot a flaw in their o!!onents and use it against them. 2his !uts most fighters on their guard from the start of the match until its end. 2he style's only real weakness is that many fighters ne$er learn the mental and mystical !art to its fullest. 2hey sto! after mastering a few -uick tricks but nothing that could really make them more !otent. Not so with the newcomer 2. %awk. %e used only a !ortion of the mo$es in his arsenal to win his first match but it was enough to make a lasting im!ression on the other com!etitors. ther wrestlers claim 2. %awk's fame is only the beginning for this style. Schools: It is rather easy to find a school but these schools only teach the basics. 2he best schools are on the Nati$e American reser$ations but it is $ery difficult to attend these classes. 2eachers are $ery sus!icious of anyone of non7nati$e descent. 2his style first teaches the main techni-ues and then shows their counters. A student is ex!ected to be able to learn to react to any gi$en situation. 2rainers kee! their students constantly on their toes with new holds and esca!es. Members: 2his style has a $ery di$erse membershi!. Nati$e American wrestlers come in all sha!es si9es and races. Nati$e American Wrestling trainers can find ability in almost anyone. Concepts: Wrestling fan lym!ic athlete student shaman Initial Chi: B Initial Willpower: @ Quote: 'I am not a fighter but a warrior. I harness my strength from myself and the sirits of the ancient totems 1his is why I shall never lose.)
NATIVE AMERICAN WRESTLING Special Maneuvers Punch: (uffalo =unch ,3 *ar =o! ,? %eart =unch ,? Shockwa$e ,B S!inning +lothesline ,@ Kick: Wounded Knee ,? Block: ,None rab: Air 2hrow ,? (ack (reaker ,? (ear %ug ,3 (rain +racker ,3 &isengage ,? &islocate #imb ,B Face Slam ,? Cra!!ling &efense ,B Iron +law ,@ Neck +hoke ,3 =ile &ri$er ,B Slee!er ,B S!inning =ile &ri$er ,> Stomach =um! ,B Storm %ammer ,> Su!lex ,3 2high =ress ,? !thletics: Air Smash ,3 &i$ing %awk ,@ Cround Fighting ,B 2hunderstrike ,3 Focus: +hi Kung %ealing ,@ +hi =ush ,> Chost Form ,> egeneration ,? 2hundercla! ,@
NINJITSU
,=C !. 3D
...3aisuke studied long and hard a new art of combat, new ways to use the body and sirit, a new vision. "rom this mystic teaching he learned to move freely without being erceived, and how to work his will without action. – an ancient tale concerning the origin of /in4itsu Ancient :a!anese legend states that the Nina clans descended from a creature called the 2engu a half7man half7crow hybrid with the !ower to alter nature and the minds of men. Whate$er their actual o rigin Nina ha$e gained great notoriety as s!ies assassins and warriors. Few reali9e that Nina are more than sim!le assassins. Ninitsu is in fact a $ery s!iritual way of life em!hasi9ing nature and the inner being. It also em!hasi9es the martial life both for the !rotection of their sacred 0ikkyo tem!les and for the !rofit of their family. Nina clan members begin their training at the age of fi$e. (y the time they reach their late teens they ha$e become accom!lished warriors and s!ies. 2hroughout their history Nina ha$e been su!erstitiously feared by common and noble :a!anese alike. 2his is not only because of their talent for stealth and infiltration but also because of their mystical abilities. Kui7in ,+hi7 focusing hand !ositions and Saiminutsu ,hy!notism allow Nina to influence the natural world and the minds of their o!!onents. 2hese abilities are the greatest of all their secrets and a Nina will die before re$ealing them to an enemy. 2he hand !ositions are ne$er taught to a student who is not a member of one of the clans. ;nlike Karate Ninitsu does not train a fighter to take down an o!!onent with one !owerful !unch. A Nina will often work at an enemy until he becomes fatigued and ex!oses himself to a telling blow. 2his doesn't mean that Nina don't ha$e !owerful mo$es8 they merely sa$e them for the final stroke. Nina like to baffle and confuse their targets by disa!!earing before their o!!onents' eyes. Stealthy mo$ements the use of shadows and a !enchant for dark clothing often make it hard to focus on a Nina e$en in the midst of battle. Fighters ha$e been known to turn their backs on a Nina during a match and ne$er catch sight of her again though they notice e$ery blow the Nina lands on them. Wea!on training forms a large !art of Ninitsu skills and Nina fre-uently fight as &uelists. A wea!on is regarded as an extension of the Nina's will. A large $ariety of arms usually concealed ones are used by Nina. +hief among these are the nina7to ,a straight short sword and the shuriken ,throwing star. 0odern wea!ons are not commonly used by Nina unless a !articular situation re-uires them like attacking an air!lane in flight ,shuriken ust isn't as effecti$e as a Stinger missile. Wea!ons are ne$er used during matches unless wea!ons are !ermitted and agreed u!on by both o!!onents. +ontrary to !o!ular films Nina are -uite honorable although there ha$e been exce!tions. +lassical Ninitsu also trains a student in the ways of es!ionage. 0any ancient shogun and samurai were brought down by Nina infiltrators. Nina clan organi9ation follows a three7tiered system. 2he :onin or Mhigh manM maintains the disci!line of the clan and controls the entire s!y network. (elow the :onin are the +hunin or Mmiddle men.M 0any +hunin may be controlled by a single :onin yet remain unaware of the
other +hunin. 2his !rotects the other +hunin from being ex!osed if one of their number is ca!tured. It also !rotects the :onin from being gi$en false information if he has more than one agent !ursuing a single mission. 2he bottom rank of the clan com!rises the Cenin or Mlow menM< these are the foot soldiers of the clan. 2he Nina reali9e the im!ortance of women not ust as s!ies but also as warriors. All members of a Nina clan are trained in the Ninitsu style. Female Nina are called Kunoichi and are e$ery bit as dangerous as their male counter!arts. 2he ancient Nina clans ha$e decided to make their !resence known in recent years but not to the !ublic at large. It ser$es the !ur!oses of the clans to allow the MwesternM Nina to !er!etuate the stereoty!ical Nina of the mo$ies and to educate those interested few in the mystical !hiloso!hies of the style. At the same time the clans send out re!resentati$es and s!ies to increase their !ower and wealth by working for $arious clients. ecently the clans ha$e disco$ered the Street Fighter circuit. 2hey ha$e begun to !artici!ate in its battles seeing the circuit as a way to ad$ertise their ser$ices to !owerful s!onsors. Developing Ninja 2his section gi$es rules for using (ackgrounds in a uni-ue manner. 2he !layer and Storyteller must decide if these rules are a!!ro!riate to any gi$en chronicle. &e$elo!ing a character as a true Nina will in$ol$e the fighter's intimate in$ol$ement with the clan of ado!tion. 2his will naturally influence the chronicle8 in fact a chronicle can become !reoccu!ied with the !olitics and e$eryday life of the clan. If a character s!ends ex!erience on the +lan %eritage (ackground the Storyteller must work this into the chronicle. A character studying the Ninitsu doctrine will first ha$e to find a clan which is a story in itself. Next the character must !ro$e herself honorable and worthy enough to be acce!ted into the clan doo. 2his is no sim!le task8 you may ha$e to change the sco!e of your chronicle to let the character,s seek out a Nina clan. In any e$ent there should be an initiation rite for each (ackground dot the character accumulates. =erha!s the character could be forced to sur$i$e in the woods fend off multi!le assailants steal a trinket from a museum and return it without being caught or deci!her a difficult riddle. Whate$er the rite there should be some sort of test to acknowledge the fact that the character is becoming acce!ted as a true member of the clan regardless of nationality gender or race of the new member.
TRUE NINJA (OPTIONAL RULES) 2o be a Nina with Saiminutsu !owers the character must take the (ackground of +lan %eritage. 2his reflects the years of study in a clan's doo. egardless of the character's original nationality he must ha$e this (ackground to learn the +hi7focusing hand magic of the true Nina. nly a Nina with a (ackground of @ or greater will be taught the hand magic. An established character may ac-uire this (ackground through role!laying and by using amassed ex!erience to buy it. 2his might e$en re-uire a s!ecial ad$enture in which the character !ro$es his $alue to a Nina clan and is
subse-uently ado!ted by the clan. Any of the Ninitsu skills may be learned so long as the student has at least one dot in the +lan %eritage (ackground. %owe$er the mystical skills are only taught to the Ninitsu students who best !ersonify the s!irit of the Nina.
COMMON ABILITIES !lertness" Interrogation" Insight" Streetwise" Subter#uge" Blin$ Fighting" Securit%" Stealth" Survival" Investigation" St%le &ore
CLAN RANKS +lan ranks are determined by a number of criteria. A Nina's !rowess in combat and infiltration are as im!ortant as her social standing within the clan. It is im!ortant that a fighter be skilled in all as!ects of the Nina way of life to ad$ance in rank. Genin A Nina character must ha$e at least one dot in all of the common Abilities to -ualify as a Nina of the Cenin title. Chunin A Nina character must ha$e at least three dots in fi$e of the common Abilities to -ualify as a Nina of +hunin rank. Jonin A Nina character must ha$e at least fi$e dots in no fewer than fi$e of the common Abilities as well as three dots in the remaining Abilities to become a :onin. At this rank a Nina may start his own clan8 if he is a master he may also teach students the way of Ninitsu. Schools: Schools of Ninitsu are rare but fairly easy to find and the basics of Ninitsu are taught to anyone. 2o learn the mystical !owers of Saiminutsu one must be acce!ted by a Nina clan's doo and ado!ter by that family. Few gai4in ,foreigners can actually locate the reclusi$e clans and fewer still are acce!ted. Members: Anyone may take lessons at a commercial Nina doo but the truly great Nina are all descended from the clans in :a!an. Concepts: Nina are masters of illusion and es!ionage. Nina can mas-uerade as any other !rofession. Initial Chi: > Initial Willpower: ? Quote: 'Karate and Kendo fighters comete to score oints. ! true /in4a fights for life – his own or his oonents.)
NINJITSU Special Maneuvers Punch: (oshi7ken ,? *ar =o! ,? %ead (utt ,3 ekka Ken ,> Shikan7ken ,B Shuto ,? Kick: (ackfli! Kick ,? +artwheel Kick ,? &ouble7%it Kick ,3 &ouble7%it Knee ,3 Flying 2hrust Kick ,@ %andstand Kick ,3 %eel Stam! ,3 Block: &eflecting =unch ,3 0aka Wara ,B rab: Air 2hrow ,? (ack oll 2hrow ,3 &isengage ,3 &islocate #imb ,? *ye ake ,3 %air 2hrow ,? !thletics: &runken 0onkey oll ,? Flying %eel Stom! ,B olling Attack ,B )ertical olling Attack ,? Wall S!ring ,3 Focus: (alance ,? &eath's )isage ,B *ntrancing +obra ,@ #eech ,B Sakki ,B Shrouded 0oon ,? S!eed of the 0ongoose ,B 6en No 0ind ,B
PANKRATION
,SF+ !. 333
ne of the least known fighting styles in the world the =ankration is arguably one of the oldest fighting styles in existence. 2he Creeks belie$ed that it was created by the hero 2heseus who combined wrestling with boxing to defeat the minotaur in the labyrinth. 2he =ankration was fought in the earliest days of the original lym!ics alongside (oxing and Wrestling. 2he =ankration is many forms of fighting rolled together into one< !unching kicking gra!!ling biting E almost anything was allowed. Although $arious techni-ues were not gi$en the !oetic names common to +hinese martial arts it was not unusual to find maneu$ers com!ared to animal attacks. When the armies of Alexander the Creat marched across the known world they set u! tents for demonstrations of a $ariety of s!orts including the =ankration. Some allege that when these armies crossed the %imalayas in the @th century (.+. the =ankratists set the stage for the de$elo!ment of Kung Fu. It was commonly belie$ed that the =ankration died as a martial art after the oman *m!ire. Seeing the diminution of their art howe$er =ankration masters elected instead to teach their art in secret to only the most worthy of candidates. (ut with the entry of =ankratiasts into Street Fighting has the style rea!!eared in !ublic. When fighting a master of the =ankration one should be !re!ared for anything< where one !ankratiast might fa$or !unching another might !refer kicking or gra!!ling. 0uch like :eet Kune &o the =ankration is a $ery !ersonal fighting style lacking the formal styles commonly studied in the *ast. 2he =ankration is also one of the most brutal of the martial arts8 in cannot be found anywhere taught as ust a /com!etition1 or /demonstration1 s!ort. Schools: 2raditionally a =ankration school was called a korykeion strongly resembling modern (oxing schools. =resent day =ankratiasts howe$er study in the homes of their masters. With the rise in the style's !o!ularity there has been some talk of reestablishing the korykeion as a !referred method of formal instruction. 2eachers of the =ankration may be found almost anywhere but the maority of them are in small $illages in Creece. 2raining in this style is brutal and efficient and instructors are not known for their mercy. Members: nly serious7minded indi$iduals ca!able of enduring much !unishment learn the =ankration. While many youngsters may begin studying under a master the rigors of the style tend to discourage all but the most dedicated. Concepts: Wrestling fan Ama9on $illage cham!ion Initial Chi: 3 Initial Willpower: G Quote: 'I am the embodiment of over 5,666 years of tradition. 7y style may seem simle, but it is ure in its simlicity.)
PANKRATION Special Maneuvers Punch: (uffalo =unch ,3 &ucking Fierce ,3 *ar =o! ,? Fist Swee! ,? %ead (utt ,3 S!inning (ack Fist ,3 Kick: &ouble7%it Knee ,3 Flying Knee 2hrust ,3 Foot Swee! ,3 Slide Kick ,? Wounded Knee ,? Block: 0aka Wara ,B rab: Air 2hrow ,? (ack (reaker ,? (ear %ug ,3 (rain +racker ,3 +hoke 2hrow ,? &isengage ,? &islocate #imb ,? Cra!!ling &efense ,B %ead (ite ,? Im!ro$ed =in ,B Knee (asher ,? Neck +hoke ,? =in ,? Stomach =um! ,B Su!lex ,3 !thletics: Air Smash ,3 (reakfall ,3 Flying %eel Stom! ,B Cround Fighting ,? 2hunderstrike ,3 Focus: 2oughskin ,?
SANBO
,+ore !. D4
Sanbo is a ussian form of wrestling originally used to test contestants' strength and amuse the +9ars. It remained a !art of ussian culture e$en after the +ommunists took o$er. 2he students of Sanbo belie$e their style !ro$es who is the strongest among men. It tests not only one's strength but also one's will and students sometimes go to extremes to !ro$e their strength. Sanbo students usually resemble the giants of legend and myth. 2hey take !ride in their huge si9e and will do anything to become the largest in their $illage. ;nlike most styles Sanbo relies almost entirely on strength. 2o !ro$e their might students may !ull wagons loaded with hay across a snow7co$ered field or fight bears bare7handed in a snowstorm. It is hard to determine what is truth and what is tall tale amongst their stories but most students will be more than ha!!y to demonstrate their strength to any doubters. Sanbo uses little flash and e$en less s!eed. Wrestlers concentrate on stunning grabs and ama9ing throws. !!onents assuming that a Sanbo student is clumsy often make the mistake of getting too close E that is when the wrestler !iledri$es his o!!onent's face into the ground. Wrestlers do not always rely on throws8 they can execute lethal strikes with e-ually deadly results. 2heir strikes ha$e been known to cri!!le an o!!onent with one hit. Interest in Sanbo has recently increased. Sanbo students ha$e a!!eared in the latest lym!ics and com!eted in both the !o wer7lifting and wrestling e$ents. 2hey ha$e demonstrated their strength and stamina b y besting some of the best athletes in the world. Schools: ;nfortunately few schools teach Sanbo and those schools are almost always in ussia. (ecause of the recent reform schools are beginning to a!!ear around the world and the ussian schools are now o!en to all. It is still difficult to track down these schools but students say the gain is worth the effort. Sanbo has little organi9ation. Students are taught the basics and then are ex!ected to learn through ex!erience. 2his is su!!osed to strengthen the student8 it seems to ha$e worked so far. Members: Anyone can take classes but Sanbo students are !rimarily big strong men. &on't be fooled though8 there are women Sanbo wrestlers but they are as big and intimidating as the men. 0ost students train for about six months and then begin to learn the rest by ex!erience. Sanbo students are trained in the harshest en$ironments in ussia in order to strengthen the fighters. Concepts: +ircus strongmen blue7collar workers giants Initial Chi: 3 Initial Willpower: G Quote: '+nly the strong win battles.)
SANBO Special Maneuvers Punch: *ar =o! ,? %eart =unch ,? %undred %and Sla! ,> S!inning +lothesline ,B 2urbo S!inning +lothesline ,? Kick: &ouble7%it Kick ,3 Block: ,None rab: Air 2hrow ,? (ack (reaker ,? (ear %ug ,3 (rain +racker ,3 &isengage ,? &islocate #imb ,B Face Slam ,B Cra!!ling &efense ,B %ead (ite ,? Iron +law ,@ Neck +hoke ,? =ile &ri$er ,? Siberian (ear +rusher ,> Siberian Su!lex ,B Slee!er ,B S!inning =ile &ri$er ,@ Stomach =um! ,B Su!lex ,3 2high =ress ,? Cround Fighting ,B !thletics: Air Smash ,3 Focus: ,None
SAVATE
,=C !. 3@
2he art of French kick fighting was de$elo!ed in the 3Dth century and bears similarities to boxing and karate. ;nlike boxing Sa$ate em!loys um! kicks and highly acrobatic techni-ues. A confrontation between two Sa$ate fighters reminds one of a bare7knuckles fight and in many res!ects is exactly that exce!t for the inclusion of kicks. Sa$ate is deri$ed from the kick fighting of French mariners and is go$erned by rules of conduct similar to those the 0ar-uis of ueensbury de$elo!ed for boxing. 2he style is characteri9ed by a bounding gait ,which makes the fighter difficult to hit and a uni-ue method of deli$ering kicks. Kicks studied in this style are unlike those of any other martial art. When deli$ering a kick the fighter leans away from the direction of the kick stretching one arm back like a fencer to balance himself. 2his allows the torso to !i$ot away from any counterattack. 2he toe rather than the heel or the ball of the foot is used to inflict damage. For this reason the fighter wears soft shoes with reinforced toes. Sa$ate kicks are usually !robing thrusts with the toes or shims E attacks designed to sli! between the o!!onent's blocking hands. Schools: 0ost fighters who study this style are of French descent though anyone may learn. A Sa$ate school is called a salle and the best are located in 0arseilles or =aris. 2his style is not so well known as others and a salle may be difficult to find. Any fighter of e$en limited renown may o!en his own salle with little chance of com!eting with an e stablished school. f course the rarity of salle also makes locating a Sa$ate master extremely difficult. Members: Sa$ate salle are o!en to anyone who wishes to learn the style. 2he training is less grueling than more com!lex styles but the !hysical !unishment in$ol$ed in sim!le s!arring deters those unsuited to the style. 0any Street Fighters begin in this styles and then add other maneu$ers to di$ersify their re!ertoire. Concepts: French aristocrat street tough boxer seaman Initial Chi: ? Initial Willpower: > Quote: '$o8ing- /on, mon ami. Savate is nothing like $o8ing. 0ome, let me show you how.)
SAVATE ADDITIONAL ABILITIES While kicking the fighter leans back much farther than other styles allow or ex!ect. 2his gi$es the fighter an additional J3 to his Soak roll !ro$ided the fighter is struck by an o!!onent who uses her su!erior S!eed ad$antage to interru!t a Sa$ate kick attack. Any other mo$e that is interru!ted will not gi$e this Soak bonus nor will Aerial 0aneu$ers ,like the Ax Kick um!s or blocks. 2his Soak modifier also does not a!!ly to any ty!es of leg swee!s or similar crouching maneu$ers. In fact a Sa$ate fighter takes a 73 Soak !enalty when interru!ted by a swee!ing maneu$er. When kicking a Sa$ate Street Fighter gains a J3 damage modifier. 2his simulates the hardened toeca! of the Sa$ate footwear and the fact that most Sa$ate kicks are thrusting kicks designed to strike a !articular !oint on the body rather than swee!ing blows to an entire limb.
ther fighters ha$e difficulty blocking Sa$ate kicks because the kicks are so different from the methods they are trained to block.
SAVATE Special Maneuvers Punch: &ashing =unch ,@ &ashing ;!!ercut ,3 S!inning (ack Fist ,3 S!inning Knuckle ,B 2urn =unch ,@ Kick: Ax Kick ,? &ouble7%it Kick ,3 Flying 2hrust Kick ,@ #ightning #eg ,> e$erse Frontal Kick ,3 Slide Kick ,? Block: &eflecting =unch ,3 rab: ,None !thletics: &is!lacement ,? *s-ui$es ,? Focus: ,None
SHOTOKAN KARATE
,+ore !. DB
Shotokan Karate originated around ?444 years ago. 2he style was used by an order of +hinese monks as a form of defense. It has been !assed through the generations to those who ha$e !ro$ed themsel$es worthy cham!ions. 2hough not a widely used style Shotokan Karate has !ro$ed itself throughout the many years it has been taught. Students of Shotokan Karate are usually hand!icked from !eo!le who ha$e !etitioned a Sensei. Students ty!ically dis!lay a strong sense of honor and self7worth and usually !ush themsel$es to their limits on a regular basis. 2hey are ne$er satisfied with winning8 it is the fight they seek not the !ri9es. Shotokan Karate takes Karate and adds !owers summoned forth from the fighter's own energy. Shotokan maneu$ers are often mind7blowing in their com!lexity. Skilled students may defy the $ery laws of nature for a short time. Shotokan students normal attacks are no less im!ressi$e. With but a !unch they can change the outcome of an entire fight. Shotokan Karate became the most famous style of Street Fighting when yu beat the former World Warrior +ham!ion Sagat with his $icious &ragon =unch. Since then many new fighters ha$e tried to seek out the renowned Shotokan Sensei Couken but he h as ne$er acce!ted a new student. Still there are other masters throughout the world who will !erha!s train an ambitious young fighter. Schools: 2here are many schools for this style but few masters. 0ost Shotokan schools are located in :a!an but one is in the western ;nited States. 2he structure of this style is somewhat sim!listic in design. 2he students start by learning the basics and then ad$ance by learning the com!lex !owers and maneu$ers of this style. Students are considered to ha$e com!leted their training when they ha$e truly mastered the &ragon =unch. 0any students s!end years ust trying to learn this. Members: (efore you can e$en ho!e of getting in a class you must ha$e some training in Karate. 2hen the Sensei gathers all the students and holds a small class to weed out the undesirables. 2he lucky few who remain are acce!ted for training. Concepts: Karate masters fighters health instructors rich children Initial Chi: B Initial Willpower: @ Quote: '(e fight not for wealth or ower, but for the fight itself. (hat care I for trohies- 1he thrill of victory and the thought of my ne8t oonent are enough.)
SHOTOKAN KARATE Special Maneuvers Punch: &ragon =unch ,@ Flaming &ragon =unch ,@ Knife %and Strike ,B #unging =unch ,? Kick: Air %urricane Kick ,3 Ax Kick ,@ &ouble &read Kick ,@ Foot Swee! ,3 %urricane Kick ,@ Whirlwind Kick ,> Block: *nergy eflection ,B 0aka Wara ,B San %e ,@ rab: (ack oll 2hrow ,3 =in ,B !thletics: ,None Focus: (alance ,@ +hi Kung %ealing ,@ Fireball ,B Flying Fireball ,? Im!ro$ed Fireball ,B Inferno Strike ,> #e$itation ,@ Stunning Shout ,?
SILAT ,SF+ !. 33? Silat is an Indonesian martial art. #ike the +hinese style Kung Fu it is a catch7all style co$ering a number of $ariants. Some styles are more graceful and flowing while others are direct and hard. Some estimates calculate that there are o$er >44 forms of Silat. Silat maneu$ers fre-uently resemble those of other styles from the leg swee!s of :udo to the deflect7and7 !unch combinations of Wing +hun Kung Fu. A Silat stylist must be su!!le and focused8 she learns how to use her entire body as a wea!on. She also learns where to direct her attacks on an o!!onent's body and how to read his body language to determine his mental and !hysical fitness. Silat stylists also learn how to fight on a $ariety of terrains from rocky outcro!!ings to swam!s. Silat is a multitude of styles in one< flowery but lightning7fast gentle but lethal. 2he final !hase of Silat training in$ol$es a great deal of s!iritual training and mental disci!line8 many Silat masters ha$e been !ercei$ed as sorcerers with their innate ability to heal or harm from a distance through tele!athy and clair$oyance. Silat has been fairly well known among martial artists for a while now but as Silat stylists start to a!!ear in the Street Fighting circuit the art is becoming more !o!ular. Its dece!ti$ely beautiful maneu$ers designed to lull an o!!onent and lower her guard ha$e won many a match. Schools: Schools are now found all o$er the world but the best and most traditional ones are still belie$ed to be fund in 0alaysia and Indonesia. Silat masters called !andekars are demanding< they re-uire their students to study six days a week three hours a day. 2raining can go on for years. Members: Anyone who is dedicated enough to !ersist in the study of Silat is acce!ted. Although Silat stylists tend to be Indonesian !andekars are not as restricti$e in choosing students and many Westerners ha$e been acce!ted as well. Concepts: =hiloso!hers itinerant mystics sorcerer's a!!rentices Initial Chi: @ Initial Willpower: B Quote: '0ome my friend, let us dance a little...)
THE KRIS ;ni-ue to Silat is the kris a wa$y7bladed dagger or short sword with an angled /!istol7gri!1. 2he kris has as im!ortant a cultural significance in 0alaysia as the katana or samurai sword does in :a!an. 2he kris is both wea!on and magical talisman< each kris is said to !ossess hantu ,s!irit. 2here are many legends about the kris including the claim that it will rattle in its sheath to warn its owner of im!ending danger. %owe$er many belie$e that the secrets of the kris ha$e been lost to time. 2raditionally e$ery male in 0alaysia was !resented a kris by his father u!on reaching !uberty. lder $ariants of the wea!on used to be made with a blend of nickel and now7exhausted meteoric iron.
SILAT Special Maneuvers Punch: &im 0ak ,@ &ragon =unch ,> %undred %and Sla! ,> 0onkey Crab =unch ,3 Kick: &ouble7%it Kick ,3 &ragon Kick ,> #ightning #eg ,@ Ste!!ing Front Kick ,B Block: &eflecting =unch ,3 *nergy eflection ,B 0aka Wara ,B San %e ,B rab: &islocate #imb ,B Cra!!ling &efense ,@ %air 2hrow ,? Im!ro$ed =in ,B Iron +law ,@ =in ,B !thletics: &runken 0onkey oll ,? Focus: (alance ,B +hi Kung %ealing ,B +hi =ush ,> *xtendible #imbs ,> Fireball ,@ Im!ro$ed Fireball ,> #e$itation ,@ 0ind eading ,B =sychokinetic +hanneling ,@ egeneration ,? Sonic (oom ,B Stunning Shout ,? oga Flame ,B 6en No 0ind ,B
SPANISH NINJITSU
,SoS !. ?3
2his uni-ue blend of *uro!ean and :a!anese fighting styles was in$ented by )ega. S!anish Ninitsu combines the *uro!ean fighting art of Sa$ate with the :a!anese art of Ninitsu. Sa$ate lends the style lots of fast !owerful kicks while Ninitsu gi$es the style a $ariety of skills useful in combat such as acrobatics climbing and gra!!ling. 0any S!anish Ninitsu stylists also borrow other skills from :a!an's shadow warriors such as stealth and sur$i$al training. Finally since most of the men and women )ega trains in his art are former matadors S!anish nina are $ery elusi$e fighters with -uick footwork learned after years of bull fighting in the arenas of S!ain. )ega's ser$ants scout the bullfights of S!ain to find !ros!ecti$e candidates for training in S!anish Ninitsu. ecruits are gradually introduced to the criminal side of )ega's o!eration to weed out those who /don't ha$e the stomach for assassination work1. *$ery S!anish nina ends u! working for )ega fulfilling assassination and es!ionage missions around the globe on behalf of anyone willing to !ay )ega's fees es!ecially Shadoloo. 2raining in S!anish Ninitsu is extremely dangerous. )ega has little !atience for cowards es!ecially unattracti$e ones. ecruits are thrown into !astures with mad bulls and must !ractice e$asion and tree climbing to a$oid being gored by a bull's horns. In the end the training !roduces some of the fastest most agile fighters in the world. Schools: Students must be recruited to one of )ega's training cam!s in S!ain. Members: 0ost members come from !rior criminal backgrounds or the bullfighting circuit. Concepts: 0atador assassin thief Initial Chi: ? Initial Willpower: > Quote: '"ighting isnt always fair – why should the fighter be-)
WEAPONS In addition to their deadly em!ty7hand fighting skills many S!anish Nina fre-uently use wea!ons in combat. While they will usually obey the rules of any gi$en tournament they ha$e no -ualms about using their wea!ons whene$er !ossible. S!anish Nina only use wea!ons that )ega deems elegant enough for his style such as thin ra!iers darts shuriken and other exotic wea!ons. +rude wea!ons like clubs are strictly forbidden. A few exce!tional students are taught )ega's claw techni-ues. 0odifiers for wea!ons can be found in +ha!ter Se$en.
SPANISH NINJITSU Special Maneuvers Punch: *ar =o! ,? 0onkey Crab =unch ,3 Kick: (ackfli! Kick ,? Forward (ackfli! Kick ,3 Forward Fli! Knee ,B Forward Slide Kick ,B %andstand Kick ,3 Scissor Kick ,@ Slide Kick ,? Block: ,None rab: Air 2hrow ,? Air Su!lex ,3 (ack oll 2hrow ,3 +hoke 2hrow ,3 &isengage ,? Su!lex ,3 !thletics: (ackfli! ,? &is!lacement ,B &i$ing %awk ,@ Flying %eel Stom! ,B #ight Feet ,B 2umbling Attack ,B Wall S!ring ,3 Focus: ,None
SPECIAL FORCES ,+ore !. DD :ust after World War II many nations began to im!lement S!ecial Forces 2raining for certain elite units in their militaries. 2hese units were nothing new but the onset of the +old War made co$ert o!erations much more im!ortant. Furthermore the increase in terrorism created the need for military and !olice units s!ecially trained to handle terrorists. Some of the world's better7known S!ecial Forces units include< 'nite$ States ( Creen (erets Na$y S*A#s Airborne angers &elta Force SWA2 units F(I )ussia ( S!etsna9 KC( *nglan$ ( (ritish S!ecial Agency ,+ammy's organi9ation SAS ,S!ecial Air Ser$ices oyal 0arine 073? Korea ( ock Soldiers Israel ( 0ossad erman% ( CSC7H ,anti7terrorist !olice commandos France ( French Foreign #egion S!ecial Forces soldiers ha$e a mindset of duty and honor. 2hey are fanatically loyal to their country and their branch of the ser$ice. Some after they lea$e the armed forces oin the underground fighting circuit. 2hey are usually -uite disci!lined and can follow any routine gi$en by their trainer no matter how rigorous. 2heir sense of duty to their team usually unner$es most fighters in their stable. S!ecial Forces 2raining fuses (oxing :udo :iuitsu and 2ae Kwon &o into a swift and deadly hybrid. 2he style usually relies on the -uickest and deadliest method of winning a fight. 2he fighter learns to use any techni-ue in his arsenal to win and will often strike $ital locations to take down an o!!onent. If a S!ecial Forces fighter s!ots a weakness in an o!!onent he will try to ex!loit it as much as !ossible. 0ost nations are ex!anding military o!erations to counter the growing threat of Shadoloo. While S!ecial Forces fighters are a!!earing more often they are not the most !o!ular com!etitors in the underground circuit because of their tactics. 0ost other styles refuse to train with a S!ecial Forces fighter8 some won't e$en allow them on their teams. S!ecial Forces commandos blame this on the other styles' fear and $anity. Schools: 2here are four ty!es of schools< the Army Na$y Air Force and 0arines. *ach country has an elite military force. 2o enroll ust $isit a recruiter. 2his style usually takes away all of the fighters' freedom. S!ecial Forces agents are u! by dawn and in by dusk. 2here is little time for any kind of fun8 e$en when out of the military fighters usually maintain this grueling schedule. 2hey are a trainer's dream and a manager's greatest asset. Members: 2he a$erage member is someone who oined the military to learn disci!line or better himself. S!ecial Forces commandos usually become Street Fighters because after they lea$e the military they find it hard to find obs as trained killers. Concepts: S!ecial !s military !ersonnel SWA2 agent retired military ! ersonnel sur$i$alist Initial Chi: 3
Initial Willpower: G Quote: 'Yeah, I fight brutal. $ut, hey, its him or me. You know what I mean-)
SPECIAL FORCES Special Maneuvers Punch: %eart =unch ,B %y!er Fist ,> Knife %and Strike ,@ S!inning (ack Fist ,3 S!inning +lothesline ,> S!inning Knuckle ,? 2urbo S!inning +lothesline ,@ Kick: Ax Kick ,B (ackfli! Kick ,B &ouble &read Kick ,@ Flash Kick ,@ Flying Knee 2hrust ,3 Flying 2hrust Kick ,B Foot Swee! ,3 Forward (ackfli! Kick ,? Forward Fli! Knee ,B %andstand Kick ,3 #ightning #eg ,> S!inning Foot Swee! ,3 2iger Knee ,> Block: ,None rab: Air 2hrow ,? &islocate #imb ,B %air 2hrow ,? Im!ro$ed =in ,B Knee (asher ,? Neck +hoke ,3 =ile &ri$er ,B =in ,@ Slee!er ,@ Su!lex ,3 2high =ress ,? !thletics: +annon &rill ,@ Cround Fighting ,@ Focus: ,None
SUMO
,+ore !. HB
Sumo Wrestling has been a !art of :a!anese culture since there was a :a!an. Sumotori ,wrestlers ha$e been re$ered as great warriors and their strength is legendary. 2he !eo!le treat Sumo fighters like kings and the yoko9una ,cham!ion like a god. Sumo is a !art of history that the :a!anese !eo!le treat with the utmost res!ect. Sumo wrestlers combine massi$e si9e strength and disci!line. 2hey are trained to res!ect themsel$es their o!!onents and their s!ort. 2hey show great restraint as they enter a match and begin by bowing to their o!!onents. 2his ritualistic attitude often makes other fighters uneasy but is is all !art of long7standing sumo tradition. *ach Sumo wrestler feels that he re!resents not only his s!ort but his family. 2he style itself is rather sim!le. 2he fighter uses his body to inure the o!!onent. 2hey style em!loys a number of !unches kicks and blocks but the basic !rinci!le is to flatten the o!!onent. Sumo fighters use a number of flying tackles that other fighters ha$e nicknamed /2he &eath from Abo$e1. 2hose unfortunates who ha$e ex!erienced this attack can $erify its strength. In recent years Sumo Wrestling has undergone some changes. 2he Americans had the best Sumo wrestler until he was beaten by *. %onda. 2he American cham!ion himself signified that Sumo Wrestling was gaining notable recognition from around the world. Now Sumo wrestlers routinely enter Street Fighter tournaments in an attem!t to !ro$e their !rowess. Schools: 0ost schools are located in :a!an. 2hese are the best but not the only schools. 2here are three schools located in %awaii. ne of these schools did !roduce a cham!ion. Sumo is organi9ed by a com!lex ranking system. Fighters are ranked in two ways< by weight and by number of tests com!leted. 2he weight !ortion is to ensure that smaller fighters aren't outclassed. 2he tests combine strict mental disci!line and rigorous !hysical challenges. 2hese challenges range from carrying large amounts of weight o$er long distances to fighting se$eral Sumo at once. 2his tests the fighter's strength as well as his will. Members: Sumo Wrestling is !urely dominated by large men. 2he larger the wrestler the greater res!ect he will generally get but this is not always the case. Concepts: :a!anese traditionalists large men Initial Chi: ? Initial Willpower: > Quote: '7y si9e is my greatest weaon. You may be small and agile, but that wont sto me from crushing you.)
SUMO Special Maneuvers Punch: *ar =o! ,? %ead (utt ,3 %eart =unch ,B %undred %and Sla! ,@ Kick: &ouble7%it Kick ,3 Foot Swee! ,3 S!inning Foot Swee! ,3 Block: 0aka Wara ,B San %e ,B rab: (ear %ug ,3 Face Slam ,? %ead (utt %old ,? Knee (asher ,? Slee!er ,@ !thletics: Air Smash ,3 Flying %ead (utt ,? :um!ing Shoulder (utt ,3 Focus: Stunning Shout ,? 2oughskin ,?
TAI CHI CHUAN
,SF+ !. 33?
Is it a martial art" Is it a dance" Is it meditation" 2ai +hi +huan is all of these at once while being none of them exclusi$ely. 2ai +hi +huan the /su!reme ultimate fist1 is a 2aoist form of Kung Fu designed to culti$ate inner harmony and the !ractitioner's +hi. It is studied as a $ery slow and relaxed series of ste!s and mo$es !racticed daily by many +hinese since the 0ing dynasty. 2he origins of 2ai +hi are mysterious. ne claim is that it was de$elo!ed by a Shaolin monk who saw a snake and a bird fighting and admired their constant hard7soft action7inaction flux. Another legend states that it was taught by a celestial being. 2he 2ai +hi +huan !ractitioner understands cycles of mo$ement and rhythm and the harmony that exists between o!!osites E where the o!!onent is strong ,throwing a !unch for exam!le the artist is /weak1 mo$ing away from the blow or deflecting it away. Where the o!!onent is weak ,an o!ening that !uts them off balance the artist will be strong using a gentle !ush to to!!le them. 2ai +hi is a gentle and -uiet E almost meek E art but it is $ery effecti$e. Schools: 2here are schools worldwide but they are most common in +hina and the ;nited States. 2he basic forms are widely a$ailable on $ideota!e but these generally teach it as a form of exercise rather than any martial a!!lication. Members: 2ai +hi +huan may be studied by anyone of any age E training in its earliest stages is more relaxing than rigorous and many students can benefit at this le$el. It is more commonly studied as ust a /mo$ing meditation1 for stress relief and limbering exercises. Concepts: +hinese immigrants world tra$elers !hiloso!hy students Initial Chi: G Initial Willpower: 3 Quote: 'If one wishes to be contracted, one must first be stretched. In order to become weak, one must first be strong. $efore one can disense, one must roser. 1he sage conquers what is hard, and the weak overcomes the strong.)
TAI CHI CHUAN Special Maneuvers Punch: &im 0ak ,@ 0onkey Crab =unch ,3 Kick: Foot Swee! ,3 Slide Kick ,? S!inning Foot Swee! ,3 Block: &eflecting =unch ,3 *nergy eflection ,? 0issile eflection ,3 San %e ,? rab: Air 2hrow ,? (ack oll 2hrow ,3 &isengage ,B &islocate #imb ,B Cra!!ling &efense ,B Im!ro$ed =in ,B =in ,? !thletics: ,None Focus: (alance ,? +hi Kung %ealing ,? +hi =ush ,> Chost Form ,> #e$itation ,@ Stunning Shout ,B 2ele!athy ,? 6en No 0ind ,?
THAI KICKBOXING
,SoS !. ?@
0artial Arts in 2hailand originated as an offshoot of $arious +hinese war arts such as Kung Fu. %owe$er the style of 2hai Kickboxing called 0uay 2hai ,/0oo 2ie1 in 2hailand itself de$elo!ed inde!endently of +hinese influences and became a $ery distinct fighting style. 2he fighting style was used by the !eo!le of 2hailand ,then known as Siam to defend itself against its many neighboring enemy nations. 2he 2hai !eo!le de$elo!ed a !roud history of remaining inde!endent des!ite constant war with their neighbors and the ! ower of 2hailand's fighting arts became legendary. As 2hailand's fighting arts de$elo!ed they became a com!etiti$e s!ort that still contained the brutality of their founding war arts. 2hai Kickboxing became the official style of the country and schools were -uite common in all !arts of 2hailand. Kids throughout 2hailand ! ractice kickboxing ust as children in other countries !ractice soccer or basketball. 2hai Kickboxing com!etitions are incredibly !o!ular e$ents in 2hailand and are growing in !o!ularity in other countries as well. ;nfortunately the s!ort's success has led to a great deal of gambling and the in$ol$ement of organi9ed crime. 2hai Kickboxers are a strange mix of disci!line and iron will. 0uay 2hai fighters are renowned and often feared by fighters of other styles because of the brutal and intense training the 2hai Kickboxer endures to !erfect his art. A 0uay 2hai fighter shows an aura of confidence throughout a fight and will ne$er show a sign of weakness to his o!!onent. 2his makes some belie$e that they a re im!er$ious to !ain. 2he actual fighting style of 2hai Kickboxing is one of the most brutal e$er seen. 2he fighter uses e$ery !art of her arms and legs in a fight. She constantly kicks elbows !unches and knees her o!!onent in a relentless race to bring him down in the fastest and harshest way !ossible. A fighter will target her o!!onent's oints and head. 2his has !ro$en to be the end of some fighters' careers. 2heir training techni-ue is no less brutal. Fighters strengthen their arms and legs by re!eatedly striking trees walls and other hard and seemingly immobile obects. 2his training ser$es not only to strengthen a target area but deadens it a s well. 2his is what !ossibly gi$es them the inhuman resistance to !ain for which they are famous. With the defeat of Sagat at the hands of yu many warriors in the Street Fighter circuit began to belie$e that the su!eriority of 0uay 2hai fighters was ust hy!e. 2his is a belief that has cost many fighters more than ust a match. 2he maority of seasoned fighters remember the beating they recei$ed from 2hai Kickboxers and will tell you not to get too cocky with them E you may find yourself going down for the count. Schools: Schools can be found all o$er the world but few offer the -uality of training of those in 2hailand. 2he schools in 2hailand are where some of the best kickboxers and teachers can be found. 2hai Kickboxers build lifelong associations with their chosen school re!resenting the school in the ring. Members: 2hai Kickboxers are chosen from the most !romising young students and train night and day from childhood to be fighters. 0any !rofessional 2hai Kickboxers know of no other o ccu!ation.
Concepts: Kickboxers gym trainers ex7cham!ions Initial Chi: ? Initial Willpower: > Quote: '1rain hard, fight hard and honor your school with victory.)
THAI KICKBOXING Special Maneuvers Punch: &ragon =unch ,> *lbow Smash ,3 Flaming &ragon =unch ,@ S!inning (ack Fist ,3 2urn =unch ,@ Kick: &ouble &read Kick ,B &ouble7%it Kick ,3 &ouble7%it Knee ,3 Flying Knee 2hrust ,3 Foot Swee! ,3 #ightning #eg ,@ 2iger Knee ,@ Wounded Knee ,? Block: 0aka Wara ,B rab: (rain +racker ,3 %ead (utt %old ,? Knee (asher ,? !thletics: :um!ing Shoulder (utt ,3 Focus: +hi Kung %ealing ,@ Fireball ,@ 2oughskin ,B 6en No 0ind ,B
WESTERN KICKBOXING
,+ore !. HG
Western Kickboxing began as an attem!t to make the martial arts more a!!ealing to American s!ectators. It combined Karate Kung Fu (oxing and 2hai Kickboxing. It made somewhat of a s!lash when it first became a s!ort and aired on national 2.). but Americans soon became bored when they saw it did not ha$e the same flash as the other martial arts. Nonetheless it h as its share of !ractitioners. Kickboxing tries to be a more thought7out $ersion of (oxing and its students !ro$e it. 2hey try to blend the showmanshi! of boxing with the disci!line of the martial arts. 2hey take some of martial arts' sim!ler mo$es and s!ice them u! with s!ins and um!s. 2his may occasionally a!!ear to be a waste of time but more than one fighter has lost his tem!er and the match to a skilled Kickboxer. Western Kickboxing borrows many of its kicks from both 2hai Kickboxing and Karate and gets its !unches from (oxing. In fact most good Western Kickboxers started their careers as amateur boxers. ecently Kickboxing has returned to the s!otlight. Se$eral new mo$ies based on this s!ort ha$e been released and matches ha$e a!!eared on tele$ision. 2he :amaican7born fighter &ee :ay has both ama9ed and entertained the world by adding his own kind of magic to this s!ort. With the right guidance Western Kickboxing could !ro$e to be a stunning new style. Schools: Schools for Kickboxing can be found in e$ery maor city. 2he schools found in =hiladel!hia New ork and Washington &.+. are usually the best because of the cities' dee! boxing background. 2his doesn't mean that schools in other cities are bad but the good schools are harder to find. Kickboxing is one of the most organi9ed styles. It follows the normal training and !ublicity format that made boxing a success. 2he training itself is ust as hard as boxing sometimes more so. 0anagers and trainers normally kee! fighters on a strict schedule that takes away much of the boxers' free time and liberties. 2his may seem bothersome but most trainers will gladly show the door to rebellious or disobedient students. Members: Anyone can train to be a Kickboxer but few actually become fighters. 0ost gi$e u!8 others ust don't ha$e what it takes. 0ost of the best fighters are kids off the street who ha$e something to !ro$e. Concepts: Street tough gang member boxer athlete Initial Chi: ? Initial Willpower: > Quote: 'Ive been fighting all my life to get off the streets, and Kickbo8ing showed me how. I owe it my life.)
WESTERN KICKBOXING Special Maneuvers Punch: &ashing =unch ,> &ashing ;!!ercut ,? Fist Swee! ,? %eart =unch ,@ %y!er Fist ,@ #unging =unch ,? ekka Ken ,> S!inning (ack Fist ,3 S!inning Knuckle ,B 2urn =unch ,> Kick: Ax Kick ,B &ouble &read Kick ,B &ouble7%it Kick ,3 Flying Knee 2hrust ,3 e$erse Frontal Kick ,3 Slide Kick ,? Ste!!ing Front Kick ,@ 2iger Knee ,> Wounded Knee ,? Block: &eflecting =unch ,3 rab: (ack oll 2hrow ,3 (rain +racker ,3 Knee (asher ,? !thletics: ,None Focus: ,None
WRESTLING ,SF+ !. 33B Wrestling is a catch7all term referring to a multitude of fighting styles that focus on gra!!les holds and throws. 2echnically Sanbo Sumo and Nati$e American Wrestling fall under this rubric but these styles differ somewhat from the basic Western Wrestling style. 2his is a style with a long history. French ca$e drawings o$er 3>444 years old illustrate wrestling and $ariants can be found on !aintings and car$ings from *gy!t =ersia and Sumer. It is well known as a s!ort in +lassical Creece and ome !erformed during the lym!ics and in gladiatorial contests. In the 0iddle Ages Wrestling was considered a knightly skill. Wrestling relies on s!eed coordination and strength. Abo$e all it re-uires a knowledge of le$erage which allows a smaller lighter stylist to defeat a larger hea$ier o!!onent. As a com!etiti$e s!ort it tends to ha$e strict rules such as !rohibitions against twisting an o!!onent's oints or fingers or elbowing him the abdomen or back. As a Street Fighting style howe$er all such holds are dro!!ed and the true effecti$eness of the style emerges. Schools: (asic Wrestling instruction is easily found from schools to amateur clubs to the 0+A. 0any Wrestlers begin their instruction in elementary and high schools. )arious clubs or organi9ations will teach a !articular Wrestling $ariant8 it is unusual to find it taught in all its forms by any one school. Members: Anyone who wants to learn the s!ort and enoys ha$ing his body contorted and tossed to the ground is welcome. #ike all other styles it re-uires much stamina and disci!line and many students discontinue early in the !rogram. Concepts: Athletes college students !rofessional wrestlers Initial Chi: 3 Initial Willpower: G Quote: 'I dont like your attitude. :erhas it is time for your face to meet the floor.)
WRESTLING VARIANTS Wrestling has a number of $ariants in addition to those already re!resented by Sumo Nati$e American Wrestling or Sanbo. 2he basic Wrestling $ariants include< Catch+as+Catch+Can: 2his $ariant E also called Freestyle Wrestling E is the true inheritor to classical Creek and oman wrestling. It is the most !o!ular s!orting style taught in the ;nited States and +anada. Although it !rohibits striking kicking and strangling it also has a wide $ariety of body7contact skills. 0atches $ary in length and regulations on !inning and holds $ary. reco+)oman: 2his $ariant mostly !o!ular in *uro!e was de$elo!ed in 3Hth century France. It !rohibits tri!!ing and !ins on or with the legs. ,Folklore- St%les: 2hese are s!ecial $ariants ty!ically not found outside a certain country or region. 2echnically Sanbo and Sumo Wrestling fit into this category. ther $ariants include< x .agli ures traditional 2urkish grease7wrestling E the =ehli$an class is the cham!ionshi! di$ision. 2hese wrestlers are cultural cham!ions in 2urkey the style going back to the ttoman *m!ire.
Cornish Wrestling !racticed in +ornwall for o$er 3> centuries. x limae Icelandic wrestling which relies on a leather waist belt that must be gras!ed throughout a match Pro#essional: 2his is the most common and !o!ularly known Wrestling $ariant. It is a theatrical s!ort relying u!on great dramatics and gaudy costumes. A number of =rofessional Wrestlers ha$e entered Street Fighting only to find that their !osturing and !erformance are of little a$ail in the ring. =rofessional Wrestling is not considered a legitimate com!etiti$e s!ort. /o+0ol$s+Barre$: 2his is the style most often engaged in by Street Fighters who do not like E or need E the restrictions im!osed by other $ariants. It is essentially /+atch7as7+atch7+an1 without any formal regulations. Some schools teach this Wrestling $ariant8 other wrestlers learn one of the formal models and then -uickly ada!t in the ring. x
WRESTLING Special Maneuvers Punch: *ar =o! ,? Kick: ,None Block: ,None rab: Air 2hrow ,? (ack (reaker ,? (ear %ug ,3 (rain +racker ,3 &isengage ,? &islocate #imb ,B Cra!!ling &efense ,B Im!ro$ed =in ,? Iron +law ,@ Knee (asher ,? Neck +hoke ,3 =ile &ri$er ,B =in ,? S!inning =ile &ri$er ,B Stomach =um! ,B Storm %ammer ,> Su!lex ,3 2high =ress ,? !thletics: Air Smash ,3 (reakfall ,3 Cround Fighting ,B Focus: ,None
WU SHU
,+ore !. HH
2he words Wu Shu mean /art of war1 in +hinese. %owe$er Wu Shu actually originated as a more !eaceful way of !racticing +hinese King Fu. When the +ommunist go$ernment took control of +hina they abolished the wides!read !ractice of Kung Fu and re!laced it with the go$ernment7s!onsored system of Wu Shu. Wu Shu was meant to be a more acrobatic !erformance7oriented art form that !reser$ed the +hinese cultural as!ects of Kung Fu but did not include too much study of fighting. 2he go$ernment feared that wides!read !ractice of Kung Fu could lead to trained fighters who might o!!ose the go$ernment. 2his has left many !eo!le in doubt as to whether Wu Shu is a $alid fighting style or ust a bunch of !retty mo$es. No one doubts that the style is incredibly demanding on its !ractitioners re-uiring leg strength and flexibility not found in any other style. ecently +hun #i and other fighters ha$e emerged from +hina to show the Street Fighter circuit that the flashy acrobatic mo$es of Wu Shu are indeed effecti$e combat maneu$ers. Wu Shu students begin $ery young when their !arents enroll them into Wu Shu schools to begin their training for the +hinese Wu Shu lym!ics. 2he training continues throughout the child's youth em!hasi9ing s!eed and extreme flexibility. Students of Wu Shu exem!lify !oise and grace. 2hey are disci!lined and d emonstrate a constant willingness to better themsel$es. Wu Shu combines the fighter's natural acrobatic ability with ad$anced fighting techni-ues. 2his usually makes Wu Shu !ractitioners among the -uickest combatants. 2heir strikes are -uick and right on target but beautiful to watch with a stunning grace. Schools: 2here are Wu Shu schools in nearly e$ery country although the best are in +hina. 2hey are usually found in areas with many gymnastics or acrobatics schools. 2eachers of Wu Shu are nearly as strict as drill instructors. 2hey ex!ect students to !erform well beyond their !otential. Students who fail to !ull their own weight are usually asked to sto! attending classes. Members: Wu Shu has more female !ractitioners than males but this is usually because of the larger number of women in acrobatics. 0en can a lso learn Wu Shu. Concepts: +ircus acrobat gymnast dancer !erformer in the =eking +ircus Initial Chi: B Initial Willpower: @ Quote: 'I am not 4ust a fighter; I am also an artist. It is imortant that my attacks be erfect; one error, and my oonent has won.)
WU SHU Special Maneuvers Punch: ekka Ken ,> S!inning Knuckle ,B Kick: Air %urricane Kick ,3 Ax Kick ,@ (ackfli! Kick ,? +artwheel Kick ,? &ouble7%it Kick ,3 Flying 2hrust Kick ,@ Forward (ackfli! Kick ,3 Forward Fli! Knee ,? Creat Wall of +hina ,> %andstand Kick ,3 %urricane Kick ,> #ightning #eg ,B e$erse Frontal Kick ,? Scissor Kick ,@ Ste!!ing Front Kick ,@ Whirlwind Kick ,@ Block: 0aka Wara ,@ San %e ,B rab: Air 2hrow ,? (ack oll 2hrow ,3 Im!ro$ed =in ,B =in ,B !thletics: (ackfli! ,B +annon &rill ,> &is!lacement ,@ &runken 0onkey oll ,? Flying %eel Stom! ,B olling Attack ,B )ertical olling Attack ,? Wall S!ring ,3 Focus: (alance ,? +hi Kung %ealing ,@ Fireball ,@ Flying Fireball ,? Im!ro$ed Fireball ,> #e$itation ,@
COMMON MOVES
,+ore !. 34B
0any mo$es can be learned by any style E although certain styles may learn some of these mo$es for fewer !oints than the costs listed below. If your style doesn't ha$e one of the mo$es listed here don't worry. ou can still learn it E it will ust cost you a few more !oints. 0any of these common mo$es are sim!ly new !unches kicks or blocks. %owe$er some are the freakish and unex!ected su!ernatural !owers demonstrated by many of the World Warriors. If your character wishes to !urchase one of these !owers you need to make certain that you ha$e a good reason for it ,like Cuile's sonic accident. 0any of these so7called /su!er !o wers1 are what gi$e otherwise a$erage Street Fighters the edge they need in combat. (elow is a list of those S!ecial 0aneu$ers that are a$ailable to anyone.
COMMON MOVES Special Maneuvers Punch: (uffalo =unch ,? &ucking Fierce ,? *ar =o! ,B *lbow Smash ,? %aymaker ,? %ead (utt ,? Knife %and Strike ,> #unging =unch ,B 0onkey Crab =unch ,? =ower ;!!ercut ,3 Shockwa$e ,@ S!inning (ack Fist ,? S!inning Knuckle ,@ 2ri!le Strike ,? Widowmaker ,3 Kick: (ackfli! Kick ,@ +artwheel Kick ,B &ouble7%it Kick ,? &ouble7%it Knee ,? Flash Kick ,> Flying Knee 2hrust ,? Flying 2hrust Kick ,> Foot Swee! ,? Forward (ackfli! Kick ,B Forward Fli! Knee ,@ %andstand Kick ,? %eel Stam! ,B e$erse Frontal Kick ,B Slide Kick ,B S!inning Foot Swee! ,? Wounded Knee ,B Block: &eflecting =unch ,? *nergy eflection ,@ Kick &efense ,3 0aka Wara ,>
COMMON MOVES 0issile eflection ,? =unch &efense ,3 rab: Air 2hrow ,B Air Su!lex ,B (ack oll 2hrow ,? (ear %ug ,B (rain +racker ,? +hoke 2hrow ,B &isengage ,@ *ye ake ,? Face Slam ,> Flying 2ackle ,? Cra!!ling &efense ,> %air 2hrow ,B %ead (ite ,B %ead (utt %old ,B Im!ro$ed =in ,@ Knee (asher ,B Neck +hoke ,B =ile &ri$er ,@ =in ,> Slee!er ,> Su!lex ,? 2high =ress ,B 2hrow ,3 !thletics: Air Smash ,? (ackfli! ,@ (reakfall ,? Flying (ody S!ear ,@ Flying %ead (utt ,B Flying %eel Stom! ,@ :um! ,3 :um!ing Shoulder (utt ,? Ki!!u! ,3 #ight Feet ,> olling Attack ,> 2umbling Attack ,> )ertical olling Attack ,@ Wall S!ring ,? Focus: Acid (reath ,@ +obra +harm ,@ Fireball ,> Ice (last ,@ 0ind eading ,@ 0usical Accom!animent ,? =sychokinetic +hanneling ,> egeneration ,B e!eating Fireball ,@ Shock 2reatment ,@ Sonic (oom ,@ Stunning Shout ,@ 2ele!athy ,B 2oughskin ,@ 6en No 0ind ,@
(CONT.)
Street Fighters live in a dangerous world filled with nearly constant turmoil and strife. The warriors who enter the dangerous world of underground tournaments run the risk of losing their health, their wealth, and sometimes their lives. Arena fighting in the world of Street Fighter is only for the best of the best, because every fighter knows in her heart that the only thing one can trust in the middle of an arena is oneself. Street Fighters use combat as a very formal way to resolve their disputes and determine who among them is the very best at what they do. Different characters have different motivations for entering combat, but no honorable Street Fighter espouses violence for violence's sake. Through the ritual of tournament combat, Street Fighters seek to perfect themselves outside the ring Street Fighters put their martial prowess to the test to correct cruelty or in!ustice. This chapter concentrates solely on the rules for combat. "t e#plains how to use the $ombat $ard, maps, and figures to simulate the fast%paced action of a Street Fighter duel.
TYPES OF COMBAT &hether a Street Fighter voluntarily enters a tournament fight or suddenly finds herself forced into a back%alley brawl, the same game rules are used to govern combat. The rules of the fight within the story, however, can vary a great deal. Tournament fights are ritualied events, with groups of spectators, a panel of !udges or referees, starting bells, and timers. There is a nearly infinite variety of tournament settings, from temples in "ndia where gongs signal the onset of combat, to warehouses in (astern (urope where the referee's yell to start can barely be heard over the chants of the bloodthirsty crowd. (ach tournament will make its rules known to the fighters and e#pect combatants to adhere to them )although not all do*. That doesn't mean that tournaments can't be rigged. Fighters who own an arena don't mind giving themselves a +home court+ advantage now and then. For e#ample, a big, slow wrestler might make the floor of his arena one big mud pit, so that everyone moves slower and the acrobatic fighters will have a hard time !umping out of the wrestler's reach. n the street, or in a Shadoloo hideout, there are no rules. Thugs will gladly draw all sorts of weapons, including guns, to deal with unwanted Street Fighters. This chapter covers all the items that a character's enemy may bring to bear in a no%holds%barred fight outside the ring.
TOURNAMENT FIGHTS Tournament combat is rigid, formal, and stylish. This is the type of combat that the World Warriors consistently use against one another. A typical one-on-one tournament fight begins with the two combatants standing three hexes apart from one another. The fight lasts for 10 combat turns, or one round of combat. Once the round begins, the two characters try to noc one another unconscious. !f, at the end of 10 turns, both fighters are still standing, then the character who has taen the least amount of damage "as a fraction of #ealth $e%els& wins. Team-%ersus-team tournament fights are %ery similar. Teams typically start at opposite ends of the arena grounds, in whate%er formation they desire. Often, team fights are not restricted to one round. The fight either continues until one team is unconscious, or for a longer time limit lie 1' or (0 turns. !f the time limit is called, then the team that has collecti%ely suffered the least amount of damage wins. )ome tournaments progress round after round, with the winner of each round staying in the tournament and ad%ancing to the next stage. These tournaments are %ery grueling on the warriors, because they must fight again before they ha%e had a chance to rest and restore their health. A few *rand Tournaments run each stage on consecuti%e days, thereby gi%ing fighters a chance to reco%er.
-y now, you've probably gotten some idea of the sheer variety of Traits available to a Street Fighter character. ou might be asking yourself, +/ow do " keep track of all this0+ "t's simple, really. ou'll create a number of -asic and Special 1aneuver cards. These cards are called $ombat $ards, and they're the key to making Street Fighter combats fast and full of strategy. (ach $ombat $ard represents one maneuver that a character can use in a combat turn. -efore you fight your first combat, you should fill out a $ombat $ard for each of your character's maneuvers. This should give you a deck of somewhere around nine to fifteen cards. During combat, hold your deck of $ombat $ards in your hand each turn, select one of your $ombat $ard as the maneuver your character will e#ecute that turn.
(ach character should have nine -asic 1aneuver $ombat $ards representing the nine -asic 1aneuvers that all warriors know. These -asic 1aneuvers are listed right after this discussion of $ombat $ards. The other $ombat $ards denote your character's Special 1aneuvers. ou'll want to fill out one of these Special 1aneuver $ombat $ards for each Special 1aneuver your character is capable of using during a combat turn.
FILLING OUT THE COMBAT CARDS (ach card lists three therms these terms define any maneuver in Street Fighter . They are2 Speed, Damage, and 1ove. &hen you fill out a $ombat $ard, fill in the circles ne#t to Speed, Damage, and 1ove to show that maneuver's rating in each category. Special 1aneuver $ombat $ards also have several blank lines so you can !ot down notes about that maneuver, such as its $hi or &illpower cost and any special conditions or effects of the move. Filling out $ombat $ards takes a little e#tra time during character creation, but it's worth it. nce you do the preparation work of filling out the cards, combat is sped up immensely. ou won't have to stop in the middle of your Dragon 3unch to add up any numbers or consult any tables everything you need is on the card. &e'll walk through an e#ample of filling out a $ombat $ard, and also e#plain a bit about Speed, Damage, and 1ove. To do so, we'll use one of the nine -asic 1aneuvers, the 4ab 3unch. The 4ab 3unch has maneuver modifiers of 56 Speed, %7 Damage, and 58 1ove.
SPEED Speed is a calculated statistic that determines which character acts first during a combat turn. Speed can vary from one turn to the ne#t, depending upon what maneuver your character attempts. )For e#ample, your character's 4ab 3unch will always be 9uicker than your character's Fierce 3unch.* ther circumstances can also affect Speed, but those are discussed later in this chapter. Speed is determined by adding your character's Dexterity to the maneuver modifier. For e#ample2 :aura is filling out a $ombat $ard for her character 4ade's 4ab 1aneuver. :aura begins by determining the Speed of that maneuver. 4ade has a De#terity of ;, so :aura fills in five dots of Speed on the card.
DAMAGE Boards don't hit back. > -ruce :ee, Enter the Dragon The Damage statistic determines !ust how much harm your maneuver inflicts upon your opponent. "t's all fine and good to be first to the punch, but if your punch hits with the force of a raindrop, what's the point of being fast0 Damage is determined by adding your character's Strength, Technique rating (the number of dots that she has in whatever Technique she's empoying!, and maneuver
modifier.
MOVE 1ove determines how much distance your character can cover while performing a maneuver. (ach maneuver has a 1ove modifier. Some maneuvers allow farther movement than others indeed, some maneuvers allow no movement at all. 1ove is determined by adding your character's Athletics Techni9ue to the maneuver modifier. :aura calculates the 1ove of 4ade's 4ab. This is how far she can move and still e#ecute a 4ab 3unch. She takes her Athletics rating of ? and adds the 1ove modifier of the 4ab maneuver. "n this case the 4ab's modifier is 58, so :aura fills in three dots of 1ove on 4ade's 4ab card. 4ade's 4ab ends up having a Speed of =, a Damage of ?, and a 1ove of ?. "t is an e#tremely fast, light punch.
MOVING ON THE ARENA MAPS 1aps are divided into si#%sided spaces called he#es. These he#es are the key units of movement in Street Fighter combat. &hile combat does not have to be fought on a he# map, it helps avoid confusion over what
character is where and who's close to whom. Also useful are cardboard figures or tokens you can use. These figures can be placed on the he# map to provide a better view of the action as it progresses in combat. (ach dot of 1ove listed on your $ombat $ard allows your character to move one he# on the map. $haracters can never move off the map unless the Storyteller specifically says it's all right to do so. A character can never move more he#es than her 1ove allows, although she can always choose to stop moving before she uses up her full 1ove. Sometimes fighters will stand toe%to%toe and not 1ove at all during combat. The only restriction on moving, besides not running through walls or over obstacles, is that one character can never move through another character on the map. $haracters can enter the same he# as another character, but they cannot move into another character's he# and continue straight through it. $ertain Special 1aneuvers, such as 4ump, allow characters to ignore this rule, because they're sailing over the other character instead of moving past him.
OBSTACLES IN THE ARENA )3& p.67*
impassable obstacles adds four dice of damage. /owever, this should re9uire the e#penditure of a &illpower point and a Strength test with a difficulty of = for normal materials )such as wood or plaster*, and for very hard materials )like brick*. "f the roll succeeds, the target takes the e#tra damage and smashes through otherwise he takes normal damage from the attack and the character is out a &illpower point. Street Fighters who end a fight by sending someone smashing through an obstacle gain an e#tra point of temporary Clory. Don't let players go cray with thisE "t's not terribly honorable to be deliberately smashing people through walls right and left. "t can be e#cused from time to time, but you should start deducting temporary /onor if they try to use it on anyone and everyone that annoys them.
BASIC MANEUVERS There are nine -asic 1aneuvers that every warrior knows. These maneuvers are the building blocks for all Special 1aneuvers. The Speed, Damage, and 1ove modifiers for each maneuver are listed below.
PUNCHES A key element of Street Fighter is that fights are often x 4ab > 56 Speed, %7 Damage, 58 1ove staged in impromptu arenas2 whatever space seems good x Strong > 58 Speed, 57 Damage, 58 1ove at the time. Thus, there's often stuff in the way, such as x Fierce > %7 Speed, 5? Damage, %7 1ove crates, barrels, flaming oil drums, signs, fences, piles of lumber, cars or whatever, and when a character smashes KICKS into one of these obstacles, it is usually demolished in a x Short > 57 Speed, 58 Damage, 58 1ove spectacular crash. )/ow many of those signs has Byu had x Forward > 58 Speed, 56 Damage, %7 1ove to replace on the roof of his do!o0 ou'd think he'd stop x Boundhouse > %6 Speed, 5 Damage, %7 1ove putting them up there*. The Storyteller should determine where these obstacles are )a few randomly scattered about every battlefield OTHER MANEUVERS makes fighting tactics more interesting*, and how big each x -lock > 5 Speed, no Damage, no 1ove )Special2 is. bstacles should be given a Sie rating between 7 and See description below* ?. (ach point the obstacle has makes it larger2 x 1ovement > 5? Speed, no Damage, 5? 1ove )This is $ating Si%e a straight%out movement card, played when a character 7 Small $rate !ust wants to move across the battlefield 9uickly* 6 il Drum x Crab > 58 Speed, 58 Damage, ne 1ove )See ? 3arked $ar description below* (ach point of Sie has two effects2 x bstacles impair movement. For each point of an BLOCKS obstacle's Sie, any characters passing through the he# on Wax — on. Wax — off. or near the ground must spend an e#tra 1ove point. Thus, > 1r. 1iyagi, The Karate Kid to walk through a he# with a Sie 6 crate takes ? points of 1ove instead of the usual one. Aerial characters are not The -lock maneuver is the basic defensive action for a affected by obstacles of Sie 7 or 6 )they !ust !ump over* character. &henever a character uses -lock, he adds his but they must spend one e#tra 1ove point if the obstacle is rating in his -lock Techni9ue to his Stamina for the Sie ? )they have to land on top and then !ump off of it purpose of calculating Soak. /owever, some attacks, such onto the other side*. as Crab maneuvers, ignore -locks. Damage from those X bstacles add to the pre%Soak damage total that maneuvers must be Soaked only with the character's characters take if they are thrown into that he#. Thus, if Stamina. Byu performs a 7?%die Throw on Cuile and sends him -locks also have a couple of other advantages. The turn flying through a Sie 6 crate, the crate shatters and Cuile after a character uses a -lock, he can add 56 Speed to his actually takes 7; dice )pre%Soak*. An obstacle that is maneuver for the new turn. Also, -locks prevent a shattered may either become so small that it is irrelevant character from suffering a nockdown from any attack that or become an obstacle one Sie rating smaller, whichever would normally cause one, e#cept nockdowns caused by the Storyteller prefers. attacks which ignore -locks, such as Crab maneuvers. The highest Sie rating an obstacle can have is ? any Finally, -lock can be played as an Abort 1aneuver obstacle with a Sie of or higher )like a wall, for e#ample* )e#plained later in this chapter*. effectively makes the he# impassable. The Storyteller may A -lock is a high%Speed maneuver, but even with its 5 rule that sending characters through walls or other
Speed modifier, slow characters may not be able to e#ecute the -lock before another character hits with a 9uick attack. "f an attack has a higher Speed and interrupts the -lock, then the blocking character does not get the benefit of the -lock against the attack. /owever, if a character uses -lock two turns in a row, then the character is assumed to be continuously blocking and will receive the -lock benefits against any attack in the second turn.
by a faster character, who then begins to move and is interrupted by an even higher%Speed character. 4ust remember > always resolve the action in order of the highest% to lowest%Speed characters whenever there are multiple interrupts. nce the interrupting character with the highest Speed character has completed her turn, proceed to the ne#t%highest Speed character who interrupted p lay, and so on down the line until the original, slow character gets to finish her action. ! "ttac#ing nce a character has finished her GRABS movement )attacks always occur after a character has Crab maneuvers are something special. Fighters finished moving, unless the action in 9uestion is a Special e#ecuting Crab maneuvers must brave an opponent's 1aneuver that allows movement after an attack*, the punches and kicks and move into the same he# as the player puts down her $ombat $ard to show the maneuver opponent in order to e#ecute the Crab )including all Crab she is playing. "f the character played a maneuver that can Special 1aneuvers*. cause damage, and she is within range to attack an The advantage of Crab maneuvers is that they ignore opponent )unless otherwise stated, a character must be in -locks when figuring out the Crab's Damage rating. the same or an ad!acent he# to attack an opponent*, she can declare her attack on any target within range. The character then proceeds with the damage roll against her chosen target. no &! Seect ards (ach player selects a card for his damage is rolled. character. The cards are kept secret until all players -! The ext haracter /oes nce the first involved in the combat have made their selections. nce everyone has picked out the $ombat $ard he wants to use character has completed her movement and attack, the character with the ne#t%lowest Speed begins at Step Three this turn, go to Step Two. )! Decare Speed All players announce the Speed of with his own movement. This process repeats until all characters have used their maneuvers, either through the maneuver they've selected. Two characters who have interrupting lower%Speed characters or waiting for their the same Speed compare & its. &hoever has higher &its turns and using their maneuvers in order of Speed. is considered to have a higher Speed. "f the characters 0! 1repare for the ext Turn "f this is a have e9ual &its ratings, then they compare 3erception. "f tournament combat, the Storyteller will want to record the that's also the same, each character rolls one die the fact that a turn has passed )remember, most tournament highest roller has the higher Speed for the current turn. *! +ovement 3lay begins with the character who has combats have 78%turn time limits*. Also, any Special 1aneuvers that have effects in between turns should be the lowest Speed. The character first uses any movement resolved now, and tests for characters in Sustained /olds she wants, up to the maneuver's 1ove rating. nce the should be performed now. character is done moving, she can go on to the ne#t step nce everything is ready, return to Step ne and select of Attacking. $ombat $ards for the new turn. At any point during a fighter's movement, a character with a higher%Speed maneuver can interrupt a slower opponent. The player simply shouts +"nterruptE+ and indicates at what point during the slower character's lost. /e A sufficiently slow character may suffer through several plays no $ombat $ard and can only stand there, confused, successive interrupts. A slow character may be interrupted stunned, and unable to act, while his opponent gets a free
ORDER OF PLAY
FEELING (BLACK-AND-BLUE)
turn. $haracters cannot be diied two turns in a row, no matter how much damage they take. For e#ample, if a character with a Stamina rating of ? takes four /ealth :evels of d amage from a single attack, that character is diied. /e is unable to act during the ne#t turn. $ertain $ombo 1aneuvers can diy an opponent after multiple hits. &hen using a Diy $ombo 1aneuver, the damage is considered cumulative for the pu rposes of determining if an opponent is diied.
UNCONSCIOUSNESS There are two ways you can leave this here establishent — on your feet or on your back. > The -artender, +
actually dove out of the car before it went over the cliff and crashed on the rocks hundreds of feet below. This sort of escape from death can also be used as a story device to prevent the death of important characters like the &orld &arriors.
BOTCHES A character who botches a damage roll has suffered a serious mishap right in the middle of combat. The character has overe#tended herself, is off%balance and vulnerable. As a result, a character who botches has a %6 Speed penalty to her maneuver ne#t turn.
MANEUVER ADVANTAGES
$ertain maneuvers, especially Special 1aneuvers, have e#tra 9ualities beyond their ability to cause d amage. These A character who is reduced to ero or fewer /ealth :evels falls unconscious. The character will remain advantages are designed to reflect the Street Fighter unconscious until the Storyteller decides that he has world as closely as possible by adding another level of awakened. This usually lasts until the end of the scene, but strategy to combat. The advantages are as follows2 can last much longer depending on the story. "bort +aneuver > Any maneuver that can be used Storytellers are advised not to take advantage of this as an Abort 1aneuver has a potent and life%saving rule. The character should remain unconscious for only as advantage. -asically, you can change any other action into long as it benefits the story. For e#ample, if it would benefit an Abort 1aneuver at any point during the combat turn. the story for the characters to be imprisoned, the ou immediately replace your previous maneuver with the Storyteller might not have them come to u ntil they are $ombat $ard of the maneuver to which you are aborting. already in prison or on the way to prison. Any time you change to an Abort 1aneuver, you must The thing to avoid is having one character remain spend a &illpower point. The new Abort 1aneuver unconscious for a long period of time while the rest of the becomes your action for that combat turn, allowing you to characters are still playing. This will make the player bored interrupt another character's action if your new maneuver and lose interest in the game. Bemember > the idea is to has a higher Speed. have a good time. Try to keep all players involved as much For e#ample, /ugo is attacking 4ade with a Fierce as possible. 3unch. /owever, 4ade interrupts his attack with a higher% Speed Forward ick. /ugo has only a few /ealth left and DEATH doesn't think he'll be able to survive 4ade's Forward ick, so he spends a point of & illpower and plays -lock, which !" a the #ist of the $orth %tar&! is an Abort 1aneuver. /ugo replaces his Fierce 3unch !f course( you reali)e( you are already dead.! $ombat $ard with -lock. 4ade's ick is Speed ;. /ugo's > the (nglish%dubbed version of #ist of the $orth %tar -lock is Speed @, so /ugo now interrupts 4ade's Forward ick to get his -lock in place before 4ade's attack lands. Fighting is a dangerous business. &hen Street Fighters can smash bricks with their bare fists, it becomes all too "eria +aneuver > Aerial 1aneuvers are e#ecuted easy to kill another warrior. (ven two friends fighting above the ground. The fighter may not be affected by honorably could accidentally land an accidental killing sweeps or $rouching 1aneuvers until after the fighter has blow, and of course Shadoloo assassins actively try to kill finished e#ecuting the Aerial 1aneuver. their intended victims by whatever means possible. ombo +aneuver > Any two or three maneuvers There is no game rule to govern when a character dies. can be linked into a $ombo 1aneuver, which greatly Death is such a tragic event that the Storyteller should increases the effectiveness of these maneuvers when decide when an in!ury's effects are terminal. The death of played in succession. The basic $ombo maneuver adds even a minor character should be a dramatic event in a 56 Speed to the second maneuver, but only when it is story. performed directly after the first maneuver. A Diy $ombo There are two dramatic devices Storyteller can use )!ust 1aneuver combines the damage of its component don't overuse them* concerning death. ne is the classic maneuvers for the purpose of determining whether an death trap. "f the characters are captured by Shadoloo, opponent is diied. $ombos are e #plained in detail near they may find themselves in some biarre death trap with the end of $hapter (ight. no apparent escape. The master villain shows up to mock rouching +aneuver > These maneuvers are the characters one final time, possibly even revealing his performed very close to the ground. Fighters employing master plan to the soon%to%die characters. (ventually the $rouching 1aneuvers cannot be affected by Aerial villain leaves, satisfied that the characters will shortly die 1aneuvers )unless the Aerial 1aneuver specifically affects hideously in the trap. /eroically, the characters manage to $rouching 1aneuvers*. escape and must track down the villain to stop his plans. 2noc#down > This effect allows you to knock your The other dramatic device is the false death. :ike 4ason opponent to the ground. 1any different fighting styles have returning for yet another #riday the *+th se9uel, some sweeps, throws, and other takedown maneuvers which villains refuse to stay dead.
knocked down, you subtract two Speed from your maneuver ne#t turn as you regain your footing. "f you suffer a nockdown before your attack in the current combat turn, you do not suffer the %6 Speed penalty ne#t turn. "nstead, you forfeit your action in the current turn as you regain your feet. A nockdown only takes effect if the nockdown actually scores at least one /ealth :evel of damage. The only e#ception to this is if your opponent blocks. A blocking opponent cannot be knocked down, unless the nockdown attack is a Crab or some other attack that ignores -locks. +utipe34it +aneuver > Some Special 1aneuvers score more than one damage test against opponents. 1oves like the /urricane ick or Flaming Dragon 3unch allow the attacker to roll multiple times for damage when the attack lands. 1ultiple%/it 1aneuvers do not combine the damage of their individual strikes to diy the opponent, unless the 1ultiple%/it 1aneuver is part of a Diy $ombo 1aneuver. Sustained 4od > Some Crab 1aneuvers allow the attacking wrestler to tie up his opponent in a hold. The wrestler will continue to inflict damage upon his helpless victim each turn until the victim can escape. "f a wrestler e#ecuting a Sustained /old scores at least one /ealth :evel of damage, he has tied up his opponent. The opponent can do nothing until she escapes from the hold. The victim is allowed one escape attempt !ust after the end of the combat turn, before the new turn begins. The victim must defeat the wrestler in a contested roll of Strength versus Strength. "f the victim does not break free, she loses her action ne#t turn. The wrestler can choose to play the same $ombat $ard ne#t turn and automatically gets to inflict damage on his held opponent whenever his Speed allows him to act during the turn. The wrestler may also decide to drop the hold and play a different $ombat $ard the following turn. The Sustained /old continues until either the victim breaks free at the end of a turn, the wrestler drops the hold and uses a different maneuver, or a number of combat turns e9ual to the wrestler's Crab Techni9ue have passed. The Sustained /old also ends if the victim falls unconscious, or if a third person hits the wrestler and either diies him or knocks him unconscious.
EXAMPLE OF PLAY The following e#ample of combat between 4ade and /ugo, two beginning Street Fighter characters, should give you a good idea of how combat flows. Turn & /ugo and 4ade s9uare off. They are eight he#es apart. The round begins. FightE 4ade attempts a Spinning nuckle 3unch, while /ugo plays a -lock maneuver. The players compare Speeds. The Speed of 4ade's maneuver is 6. /ugo's -lock Speed is @. 3lay begins with 4ade. 4ade's Spinning nuckle 3unch has a 1ove of @. 4ade moves forward si# he#es, but is still two he#es away from /ugo, so she can't land her Spinning nuckle. She decides not to e#ecute the attack, this saving herself the &illpower point that the move normally costs. /ugo plays his -lock. /e has a ero 1ove, so he stands in his he# blocking. /ugo and 4ade are now two he#es away. The Storyteller
marks off the first turn of combat. Turn ) The players select their characters' new $ombat $ards. /ugo's player, -ill, knows that /ugo can't block some of 4ade's 9uicker shots, so he chooses a slower maneuver that he hopes will inflict damage. /e decides to play a Boundhouse ick 1aneuver. 4ade plays her Spinning nuckle again. The players declare Speed. 4ade is Speed 6 /ugo is Speed ero. -ecause /ugo has a lower Speed, he begins his action first. /is Boundhouse ick has a 1ove of 6, so he closes the distance between him and 4ade. /is movement is now done. -ill reveals /ugo's $ombat $ard and announces that /ugo is kicking 4ade. 4ade decides to interrupt with her higher%Speed Spinning nuckle 3unch. She decides to skip movement, since /ugo is already ne#t to her, and attacks. 4ade's Spinning nuckle 3unch has a Damage rating of . 4ade subtracts /ugo's Stamina of ? and rolls five dice. 4ade rolls , 78, ?, , and G. Any dice with numbers of @ or higher count as successes thus, 4ade has scored three successes. /ugo takes three /ealth :evels of damage, dropping him from 78 to seven. /ugo has a Stamina of ?, so he is not diied. The Spinning nuckle is a 1ultiple%/it 1aneuver, so 4ade now rolls for its second and final hit. She rolls five dice for damage again and scores 7, 7, ?, @, and 78. /er 7's cancel out her successes, leaving her with no damage. 4ade spends a point of &illpower for e#ecuting the Spinning nuckle.
She decides to try her Suple# maneuver. "f successful, she'll knock him down and cancel his ne#t action. "n the meantime, /ugo plays his Fierce 3unch maneuver. They compare Speeds. 4ade's Suple# is Speed ? /ugo's Fierce 3unch is Speed 7. /ugo, deciding not to move, declares his Fierce 3unch attack on 4ade. 4ade interrupts his attack with her Suple#. She grabs /ugo and, using his own weight against him, flips him backward onto his head. 4ade's Suple# has a Damage rating of =. :aura subtracts /ugo's Stamina of ? from 4ade's Damage and rolls four dice. She scores three successes. 1ore important than her damage successes, however, is her Suple#'s special effect of causing a nockdown. /ugo is sent onto the ground in an ad!acent he#. -ecause he suffered a nockdown, he forfeits his Fierce 3unch attack while he gets back to his feet. At this point /ugo has taken a total of si# /ealth :evels and has four left. "t's shaping up to be a pretty even match. The Storyteller marks off another turn of combat. Turn - 4ade and /ugo are still in ad!acent he#es. 4ade knows that if she doesn't knock /ugo unconscious, he'll certainly get her. 4ade selects he r Fierce 3unch. /owever, /ugo, fearing another Suple#, plays his 1ove $ard. They declare Speed. 4ade's maneuver is Speed 6 /ugo's Speed ;. This time, 4ade's Speed is lower, so she begins her move. She declares no movement and reveals her Fierce 3unch card, announcing her attack on /ugo. -efore she can punch, though, /ugo interrupts with his move. /e moves back two he#es, leaving 4ade swinging at empty air.
COMBAT WITH THUGS 4ints for the Storyteer on how to #eep it
simpe. ften, a Storyteller doesn't have time to write up stats for basic thugs who are !ust there to rough up the characters a bit. Stats for such characters can be found in various supplements, though you may en!oy creating some stock thugs that can be reused throughout your $hronicle. (ach thug, henchman, agent, minion, or other minor nuisance should have his combat maneuvers listed on his sheet or in his write%up. &hen using these thugs in combat against the characters, simply use generic maneuver cards you don't need to fill out $ombat $ards for each thug. "f a thug throws a Fierce 3unch, !ust play a generic Fierce 3unch card and look at the thug's Fierce 3unch statistics to determine Speed, Damage, and 1ove. Thus, a few cards will work for all your thugs, because the actual details for the thugs' maneuvers are written on their sheets. Alternatively, you can make things even simpler and play the combat fast and loose by using the narrative system suggested later in this chapter.
USING WEAPONS The ,riary thing when you take a sword in your hands is your intention to cut the eney( whatever the eans. Whenever you ,arry( hit( s,ring( strike or touch the eney's cutting sword( you ust cut the eney in the sae oveent. "t is essential to attain this. "f you think only of hitting( s,ringing( striking or touching the eney( you will not be able actually to cut hi. -ore than anything( you ust be thinking of carrying your oveent through to cutting hi. > 1iyamoto 1usashi, The Book of #ive ings ccasionally )especially during Duelist tournaments*, weapons are used in combat.
WEAPONS AND UNARMED COMBAT &eapons use often precludes other types of attacks. A Duelist using weapons will find his unarmed attacks restricted. 1unches "f using one%handed weapons, the Duelist may alternate between weapon and open%hand attacks. "f using two%handed weapons, then she may not 3unch. 2ic#s &eapon%wielding Street Fighters are not generally prohibited from kicks, although more acrobatic kicks may be restricted. Jse common sense2 attempting a -ackflip ick while holding a spear is not very practical H even for a Street Fighter.
5oc#s Armed Street Fighters may block with a free hand or their weapon, and most blocks are not restricted by weapons use. /rabs Street Fighters cannot attempt Crab maneuvers while holding a weapon.
WEAPONS MANEUVERS Fighting with weapons is slightly different than unarmed fighting, and re9uires a different set of basic maneuvers. Any fighter trained in any &eapons Techni9ues has the following &eapons -asic 1aneuvers
ATTACKS 4ab Strike2 56 Speed, %7 Damage, 58 1ove x Strong Strike2 58 Speed, 57 Damage, 58 1ove x Fierce Strike2 %7 Speed, 5? Damage, %7 1ove x -erserk Attack2 %6 Speed, 5 Damage, %? 1ove )cost2 one &illpower*
DISARMS Disarms only work against armed opponents, knocking the weapon out of the target's hand and away. The combatant rolls his Strength 5 appropriate Disarm Techni9ue H &eapon, 3unch, or ick. Successes rolled determine distance in he#es while the direction the weapon flies is the player's choice.
MOVEMENT 1ovement is treated the same in armed and unarmed combat.
GRAB
x
OTHER MANEUVERS x 3arry2 5 Speed, no Damage, no 1ove )Special2 see description below* x Disarm2 %7 Speed, no Damage, %6 1ove )Special2 see description below* x 1ovement2 as unarmed fighting x Crab2 see description below 3layers should complete eight combat cards for each &eapons Techni9ue H one card per -asic 1aneuver.
ATTACKS These are the basic attack maneuvers. The first three correspond with the 4ab, Strong and Fierce 3unch 1aneuvers in unarmed combat. The fourth, -erserk Attack, is an all%out, do%or%die attack, usually used in desperation or rage. 3layers should use this 1aneuver only when the Story calls for it H as the climactic blow of a ma!or duel, for e#ample. "f used successfully, this 1aneuver should have a dramatic effect )such as smashing through the target's blocking weapon or pinning the target to the wall behind them, etc.*, and will gain the character one point of temporary Clory. $haracters who routinely go -erserk run the risk of being perceived as unstable and dangerous.
PARRIES 3arrying with weapons is similar to the unarmed -lock 1aneuver. &hen a character 3arries, he adds the 5 Speed 1odifier to his De#terity, and adds his &eapons Techni9ue to his Stamina for the purposes of calculating Soak. &hen 3arrying with a weapon, a character can add 56 to her ne#t maneuver )the following turn* if she uses the weapon. 3arries, like -locks, can be used to avoid some nockdowns and as Abort 1aneuvers.
Kery few weapons can be used to Crab the opponent H generally such weapons must be fle#ible, like a chain or whip. This is determined on a weapon%by%weapon basis and by Storyteller discretion.
THE WAY OF THE WARRIOR: DUELISTS Wea,ons are tools of violence/ all decent en detest the. Wea,ons are the tools of fear/ a decent an will avoid the exce,t in the direst necessity and( if co,elled( will use the only with the u tost restraint. 0 1ao T)u( Tao Te 2hing The use of weapons in Street Fighting is stained with dishonor H an unusual fact considering that many honorable martial arts are almost e#clusively oriented towards weapon training. For instance, yu!itsu and yudo focus on archer while en!itsu and endo on swordplay both, however, are respected 4apanese martial arts. /owever, with few e#ceptions, honorable Street Fighters avoid the use of weapons in the ring2 Street Fighting is a contest of skill against skill, not simply a gauge of who has better hardware. This attitude is often carried outside the ring, and the most honorable Street Fighters will avoid using weapons whenever possible. There are, of course, occasions when armed combat may be acceptable. For instance, characters may be challenged to a weapons%duel and refusing could be a stain on their reputation. Furthermore, if an opponent resorts to using weapons, Street Fighters don't lose h onor for fighting back in kind H but they do gain e#tra Clory if they are victorious without resorting to weapons use. Duelists, however, are a special breed of Street Fighter2 they attach no dishonor to the use of weapons in or out of the ring. Duelists study the same martial arts as most other Street Fighters, only their instruction focused on weapons% use. Duelists who fight e#clusively in a Duelist tournament, or who use weapons only against other Duelists, do not lose Benown merely for weapons use. /owever, there are still conventions of LhonorableM behavior associated with Duelist matches, which must be followed lest /onor or Clory be lost. Duelists who fight unarmed combatants do face a potential loss of Benown, while their opponents may gain Benown. ote $ombatants who fight with Animal $ompanions are not considered unarmed.
STYLES AND WEAPONS TRAINING &eapon use is often integral to the upper%level training of many martial arts styles H thus, even if the Street Fighter never uses the weapon, she many still have trained e#tensively with it. A number of styles represented in Street Fighter are listed below, along with some appropriate weapons that might be studied. "i#ido Staff -okken
-aton -roadsword Spear Staff
WEAPON DESCRIPTIONS 3ou choice of wea,ons does not ake uch difference if you understand their nature. 0 -iyaoto -usashi( The Book of #ive ings The following weapons can be found used by Duelists and other Street Fighters, as well as Shadoloo thugs and other dishonorable folk. 5agh a#h H This weapon, a.k.a. LTiger's $lawsM, consists of a crossbar held in the palm of the hand, with long, sharp LclawsM protruding from between the user's fingers H somewhat like a set of spiked brass knuckles. 5aisong H This is a small, switchblade%like knife which has a @M blade concealed in a lock%open handle. "t is popularly called a Lbutterfly knifeM. 5aton : This is a simple club, typically used in law enforcement. 5o##en6Shinai H A bokken is a wooden katana, used in en!itsu practice. A shinai is a long bamboo sword used in the sport of endo. Since armor is usually worn while using these weapons, there is normally little chance of in!ury during practice with these weapons. /owever, even wooden swords can be deadly in the hands of a master. 5rass 2nuc#es H This item, popular among thugs, is simply a clump of metal rings which the user slips her fingers through to give her fist more LpunchM. These do not use a &eapon Techni9ue, but are instead used in con!unction with 3unch maneuvers. 5roadsword H This is a standard double%bladed straight sword found across the globe. 5utterfy 2nife (true! H This short, broad%bladed sword, very often used in pairs, is popular among ung Fu practitioners. estus H This heavy gauntlet, often worn in pairs, has spikes or knobs protruding from it at all angles. :ike -rass nuckles, a $estus does not use a &eapon Techni9ue, but is instead used in con!unction with the three basic 3unch maneuvers. hain H This is a 6' H ' length of heavy chain. :ike brass knuckles, it is a weapon favored by thugs, but is a bit more fle#ible and sophisticated in use. "f the chain is weighted at either end, however, it uses the stats listed for a usari )see below*. ha#ram H This South Asian weapon is basically a raor%edged frisbee, a sharpened metal ring which is deadly when thrown. /arrote H This is anything used to strangle someone. 1ost garrotes are simply rope or lengths of cloth, and is a favorite weapon of assassins. "f the target of the attack is taken by surprise or takes five or more health levels from the initial attack, he is considered to be choking and does not get to Soak the damage from subse9uent Turns in the /oldE nce he is unconscious, the victim can take up to his /ealth again in aggravated damage before he asphy#iates. A particularly nasty variant on the garrote is a thin wire garrote, which cuts into the target's flesh, severing their
8eapon
Technique
Speed
Damage
+ove
Specia
-alisong -agh
nife nife -lunt Sword 3unch
56 57 57 57 58
57 57 58 5? 57
58 57 57 58 58
(asily concealed
-ow :ong -ow x Short -ow x umi -roadsword -utterfly nife )true* $estus
Archery Archery Archery Sword Sword 3unch
57 56 58 %7 58 58
56 57 5 5 56 56
58 58
$hain $hakram $lub $ombat nife Carrote
$hainN&hip Thrown -lunt nife Crab
58 57 58 58 %?
56 57 56 5? 5
%6 %? 58 58
/ook Sword atana atar
Sword Sword nife, 3unch
58 57 56
5? 5? 5?
58 58 58
nife ris usari
nife nife $hainN&hip
56 56 58
57 56 56
58 58 %7
$hainN&hip Spear Sword Flail Sword Sword nife Sword Sword nife
58 58 57 57 %6 56 56 57 57 57
5? 5 56 56 5? 57 56 5? 57 58
%6 58 57 58 58 57 58 58 57 58
Staff Spear Sword A#e 3unch
58 57 57 57 58
57 56 5? 56 57
56 57 58 58 58
Thrown
56
%6
58
nife Spear Staff $hainN&hip
58 58 58 %7
5? 5? 56 5?
58 57 57
nife Thrown -lunt, 3unch nife $hainN&hip
56 58 58 57 %7
56 58 57 56 56
58 58 58 58
x
usarigama
Shikomi%Oue x shaft x blade Shinai Short A#e Shuko Shuriken Sickle Spear Staff Steel &hip
Switchblade Throwing nife Tonfa &akiashi &hip
1ust be combined with a 3unch 1aneuver Bange2 768 yards Bange2 G8 yards Bange2 7;8 yards
1ust be combined with a 3unch 1aneuver, 57 to Soak if -locking Bange2 6 he#es
Sustained /old, may not be able to Soak )see description* 56 Dice to Disarm 57 to Soak against bladed weapons when -locking
Bange2 6 he#es, can be used to Crab for ero damage, 57 die to Disarm As above
56 to Soak if -locking
57 to Soak if -locking 57 to Soak if -locking, 56 dice to Disarm
$an be thrown 1ust be combined with a 3unch 1aneuver $an throw multiple )see description*
Bange2 ? he#es, 56 dice to Disarm, can be used to Crab for one die of damage
57 to Soak when -locking Bange2 @ he#es, 56 dice to Disarm, can be used to Crab for one die of damage.
$arotid Artery and possibly even decapitating them. )"ckE* 4oo# Sword H A popular ung Fu weapon, the hook sword consists of a long rod with the tip curved into a large sharpened hook and a small ace%like blade e#tending perpendicularly from the handle. They are usually used in pairs, and can be used to Disarm or trip opponents )$haracters who know the 1onkey Crab 3unch maneuver and have Sword xxx or higher may use the 1onkey Crab 3unch with a pair of hook swords*. 2atana H The katana is often the weapon of choice for the modern samurai. Slightly curved with a single e dge, the best katanas are e#cellent e#amples of craftsmanship and design. 2atar (1unch Dagger! H This South Asian weapon consists of a crossbar handle and a broad, triangular blade which protrudes from the wielder's fist along the plane of the arm. "t inflicts a very wide wound. -ecause of the structure of the weapon surrounding the wielder's hand, it can be used as a gauntlet for blocking blade attacks. 2ris H A long dagger with a wavy blade, this kris cuts easily and deeply. "t is the traditional weapon of the Silat system. 2usari H This is a length of chain with a weighted end, usually a large metal ring. "t can be used like a chain, but it can also be used to trip opponents, snare their weapons, etc. A variant design, the kusarigama, has a sickle at one end of the chain. 7ongbow H This si#%foot%long bow is a standard western weapon. aginata H The naginata is a 4apanese polearm with a broad, curved blade at the end. "t was often used by samurai. in9ato H This resembles the samurai's katana, but its blade is straight and shorter. "ts hilt and scabbard often contain numerous small secret compartments to carry wire, darts, etc. uncha#u H
weapon as a camp instrument. Short 5ow H Although the range of the short bow is not that of the long bow, it is more easily concealed or transported. "t is a common
FIREARMS Firearms are an unfortunate reality in both the Street Fighter world and our own. For the most part, gunplay is left to minions and e#tras > it is neither honorable nor in keeping with the genre for Street Fighters to pick up guns and start blasting people. 3layers should rely on their other skills to deal with gun%toting opponents. For the sake of playability, guns in Street Fighter are considered far simpler and less lethal than they actually are. "t's no fun to have (. /onda wasted by a bunch of wise guys with automatic weapons, and it really isn't in keeping with the style of classic martial arts adventure films. All the same, players should feel somewhat intimidated by a small army of Ji%wielding thugs. Cuns, therefore, can do a lot of damage if they hit, but are somewhat clumsy to use. A good Street Fighter can avoid
getting shot, provided she is wise enough to scat when the bullets start flying. Again, it bears repeating that this feature is for game playability only > people only dodge bullets in comics and the movies. Firearms should be put on a $ombat $ard like any other maneuver. The Firearm is played in the order of its speed. Cuns can be very 9uick it's best to avoid them if at all possible. A gun does not fire on the first round that it's played. "t fires on the ne#t round, and every round thereafter. This is because the thug must first draw the gun. "f a thug enters into a fight with his gun drawn, the Storyteller should !ust place the card on the table to indicate that the thug is wielding a firearm.
FIREARMS Firearms calculate their Speed by using the gun's Speed modifier plus the thug's &its. Firearms Damage is calculated by adding the thug's Firearms Techni9ue )this is added to the character sheet below any other Techni9ues the character might have* to the gun's Damage modifier.
HEAVY WEAPONS "f someone pulls out a grenade, dive for coverE (ven Street Fighters aren't immune to e#plosives. Jnfortunately, soldiers and some agents pack heavy weapons in combat. For Storytellers who want some sort of guidelines for heavy weapons, we present the following statistics, although we don't advise tossing grenades at -lanka as a regular activity > it tends to make the green guy mad. Speed and Damage for /eavy &eapons are calculated !ust like Firearms. $haracters must have a separate /eavy &eapons Techni9ue.
HEAVY WEAPONS 8eapon /and Crenade
Speed 58
Bocket :auncher
%
T
%@
FIREARMS 8eapon 3istol Bifle Scattergun -laster 3istol -laster Bifle
Speed 56 58 57 56 57
Damage 5? 5; 56 )1ake 6 tests* 5 5@
“LIGHTKNIFE” EXPERIMENTAL LASER Shaped roughly like a smooth black flashlight mounted with a pistol grip, this gun is practically silent when fired it makes a 9uiet electronic s9ueal that sounds roughly like a camera flash recharging. "t is also very painful2 it emits a cutting beam which burns for five dice of aggravated damage and lasts for up to si# turns, like a Sustained /old )the firer !ust keeps pointing the laser at the target*. After si# turns worth of firing, the power source in the laser burns out. The attacker does not have to fire all si# turns' worth consecutively, however H releasing the trigger turns the beam off. 3utting something between the firer and the target stops the damage until the firer gets around the ob!ect, the power source burns out, or the laser burns through the target, whichever comes first. Speed 56
All /eavy &eapons have no 1ove.
GADGETS
All Firearms have no 1ove.
8eapon :ightknife
Damage @ )affects a three% he# radius H all within take damage* 76 )affects a five% he# radius H all within take damage* G )affects a si#% he# radius H all within take damage*
Damage ; )aggravated*
1any agents use high%tech toys or secret weapons. Such gadgets range from bulletproof vests to cigarette lighters filled with napalm to watches that spray sleep gas. 1any gadgets can be simulated by Special 1aneuvers focused through devices, or by simple common sense )+/is cane has a swing line in it. /e fires the line between the roofs and swings to safety.+*. A few gadgets are featured below to give you some ideas2
GADGETS Seep3/as apsues Boll seven dice )difficulty @*. "f your successes e#ceed your opponent's Stamina, the opponent is knocked unconscious. Sharpened Throwing 4at A sharpened hat that is thrown like a frisbee. -ase Techni9ue2 Athletics 56 )peed 5? +amage 57 o%e )pecial $an be thrown up to twice the thrower's Strength in he#es. The owner must retrieve the hat before he can use it again. 8rist omputer Jp to five dots of nowledge Abilities can be stored in this computer. The character can access this knowledge and use it by successfully rolling &its 5 $omputer )difficulty @*.
For#ifts (SoS p.=! A forklift can move up to eight he#es per turn. Turning a forklift can be difficult. A thirty% degree turn )one he# side* in combat re9uires a roll of De#terity 5 Drive and one success turning two he#% sides re9uires two successes turning three he#%sides re9uires three successes. A charging forklift will do two dice of damage for each he# it moves in a straight line before ramming an opponent, up to a ma#imum of 7@ dice of damage.
NET TRAP )SoS p.=6* A hidden net is dropped from above, covering a range of he#es. Jnless characters can move out of the area before it falls, they will suffer a %? penalty to Speed for all maneuvers until they can escape. "n addition, Damage is %7 due to the constricting net, and 1ovement for all maneuvers cannot be more than 7. Three successes on a Strength roll are re9uired to break free of a new )ripping the net around the character*. Alternatively, the character can slowly over to the edge of the net and slip out.
FIGHTING UNDERWATER )SoS p.*
the situation.
NO CARDS Another option is not using any cards at all. $haracter can combine Attributes with Techni9ues to determine their degree of success, much the same as Attributes combine with Abilities. "f a character wishes to punch someone, the Storyteller can have the player roll the character's De#terity 5 3unch Techni9ue to see if the character connects with his opponent. The player can then roll Strength 5 3unch Techni9ue )minus his opponent's Stamina* to determine how much damage is inflicted. This system promotes e#tremely fast%and%loose combat, with more emphasis on narrative, flashy actions and less detail on how far a character moves and e#actly how 9uickly a character reacts. "f you want detailed action, we suggest you stick with the basic combat system.
Fighting underwater is not easy. There is considerably more resistance when a fighter is trying to move through water H unless he has the right e9uipment. All characters will be at %7 to Speed and Damage while fighting in the water. Additionally, characters without scuba gear will be %7 to 1ovement for all techni9ues. The Storyteller must decide which Special 1aneuvers can still function underwater. Fireballs are obviously useless, while 3owers like &hirlwind ick might take on new effects underwater. A character can hold her breath for a number of turns A character's /ealth is lost whenever she suffers e9ual to her Stamina. She can add two turns to this for damage. Damage is inflicted by a variety of sources. each &illpower point spent. After that, she will lose one Another person's fist is probably the most common source /ealth :evel each turn as she begins to drown. A knife attack made against scuba e9uipment is resolved of damage for a Street Fighter, but warriors risk life and limb out of the ring as well. as a normal attack, but using the opponent's De#terity, not This section provides guidelines for arbitrating damage a Stamina to Soak. "f the attack is successful, the attacker character might sustain from sources other than combat, must then beat his opponent in a resisted roll of their namely falling and fire. De#terity. "f the attacker is successful, the opponent's Faing scuba gear is ruined )a hose is cut, a face mask shattered, ccasionally, characters will fall. This could happen etc.*. when one of the villains cuts a character's rappelling line, or when a character doesn't 9uite grab onto the ledge, or under any other appropriate circumstances. $onsult the Sometimes you !ust want to keep things very simple. ou chart below to determine the damage a character suffers. want to run a bang%up combat with a couple of thugs and not worry too much about complications. -elow are a few Distance >n9ury suggestions that can be used with or without $ombat $ards. ne Story ne /ealth :evel
OTHER SOURCES OF DAMAGE
NARRATIVE COMBAT
STUNT CARD A Stunt $ard is an additional $ombat $ard that we recommend every player add to her deck of maneuvers. "t can be played !ust like any other maneuver. Jnlike most other maneuvers, the Stunt $ard depends entirely upon
Two Stories Three Stories Four Stories
Two /ealth :evels Four /ealth :evels (ight /ealth :evels
Each additional story above four adds one 4ealth 1evel of daage.
A character can try to roll with the fall. The character tries to tumble when he hits the ground, thus reducing the amount of damage he suffers from the fall. The roll is made with De#terity 5 Athletics )difficulty @*. (ach success reduces the damage inflicted from the fall by one /ealth :evel of damage. Fire
Damage
Fireplace, torch ne /ealth :evel Two /ealth :evels x -onfire Three /ealth :evels x Baging "nferno, (#ploding il Drums x
HEALING DAMAGE A character can recover all lost /ealth after 7; minutes of rest, unless the character suffered more damage that she had /ealth :evels remaining. Damage sufered in e#cess of a character's /ealth :evels is called aggravated damage and takes more time to heal. Aggravated damage takes one day to heal for every LnegativeM /ealth :evel suffered. For e#ample, Cuile has already lost 7= /ealth :evels )he starts with 68, so he has three left*. Sagat hits him and Cuile takes five additional /ealth :evels of Damage. -ecause he only had three /ealth left, the additional two points become aggravated damage. :ater, Cuile sleeps off his wounds and restores 7 /ealth :evels. Cuile's player marks P's over t wo of the /ealth s9uares on Cuile's character sheet to show that he has suffered to /ealth :evels of ag gravated damage. This damage will take two days to heal )Cuile will heal one aggravated wound each day*. Jntil then, Cuile only has 7 /ealth :evels he can afford to lose before he is once again at ero /ealth.
Almost anyone can study the basics of martial arts, but most people don't have the patience or discipline to advance to the higher levels of their style. Only a rare individual has the mental discipline, physical ability and fighting spirit to become a master of her chosen art. Only these few masters ever perfect what others call special powers of the martial arts. These superhuman abilities often distinguish the winners from the losers on the Street Fighter circuit. Many Street Fighters distinguish themselves by their mastery of Special Maneuvers. These moves display such impressive martial prowess that they become recogniable trademar!s of the wielder. A warrior is identified by and remembered for his special moves. "veryone !nows that if you stay within arm's reach of #onda, you'll have a hundred bruises to show for it. $n most cases, a Special Maneuver is the result of talent and training. %y practicing a move countless times, a Street Fighter can hone the maneuver to superhuman levels. #owever, in some cases a Special Maneuver is actually a manifestation of a superhuman ability. The rigors of training, the focus of meditation and the sacrifice of dedication evo!e these latent powers in a true Street Fighter.
prere1uisites each move has -prere1uisites are eplained below/. 2emember to choose your powers carefully. Special powers are difficult to master and ta!e a long time to learn with eperience. 0our character had better be able to survive, in and out of the ring, with the powers you select.
WHAT DO THE NUMBERS MEAN? “You cannot define the spirit of the dragon! When I kick, the dragon spirit is unleashed within me. It lifts me into flight and I feel my chi rush to my kicking feet until the very air explodes in the dragon's fiery anger. "ei #ong, in an interview for $ung "u World %aga&ine. The description of each Special Maneuver includes numbers and information that define how the move is learned and used in combat. All these numbers are eplained below.
PREREQUISITES
“You have to walk efore you can run (ld adage 0ou don't see many beginning Street Fighters roc!eting 34 feet into the air and busting loose with a Flaming 5ragon *unch. 6en certainly didn't 7ust wa!e up one day with the ability to perform it. #e learned the techni1ue over $f you plan on using one of the &orld &arriors for your many years by first mastering other techni1ues along the character, your special moves and powers are already way. First 8ou!en taught him an uppercut punch, then a listed with the &orld &arrior's stats. ust loo! up the descriptions of your &orld &arrior's powers in this chapter 7umping uppercut, then a true 5ragon *unch, and finally 6en went on to perfect his Flaming 5ragon *unch. so you'll !now what you're unleashing when you cut loose The same progression holds true for any Street Fighter with one of the special moves. who wishes to master a special power, especially the most $f you're designing your own character, you've got one last stage of character creation to complete( selecting your powerful maneuvers. Therefore, each special power description includes a list of prere1uisites. %efore a Special Maneuvers. &hen you designed your basic character can buy that special power, he must meet all of character, you had a certain number of points to spend on different Traits. )ow you have a number of *ower *oints to the prere1uisite re1uirements. There are two types of prere1uisites( Techni1ue level spend of Special Maneuvers and +ombo Maneuvers. For and mastery of other special powers. Techni1ue level a starting Street Fighter character, you have seven prere1uisites are simple 9 if a power has a prere1uisite of Power Points with which to buy Special Maneuvers. $f *unch xxx, then a Street Fighter must have three dots in you want another move or two, you can get an e tra his *unch Techni1ue before he can learn that power. *ower *oint or two by spending freebie points. Four The other type of prere1uisite is that the character must freebie points buy one additional *ower *oint -see have mastered a basic special power before she can +hapter ( +haracter +reation/. purchase a more advanced version of it. For eample, a "ach of the special powers described in this chapter has character must have already purchased 5ragon *unch a *ower *oint cost associated with it. Sometimes this cost with *ower *oints or through eperience before she can differs for different styles of martial arts, and some moves spend *ower *oints or eperience on Flaming 5ragon are available only to Street Fighters who practice a certain *unch. style. 0ou can spend your *ower *oints on nearly any Many special powers will have both types of Special Maneuver you choose, but watch out for the
CHOOSING YOUR POWERS
*rere1uisites. For eample, both *unch xxxxx and 5ragon *unch are needed before a character can buy Flaming 5ragon *unch.
POWER POINTS “)ure, some days I'd ask myself if it was worth it. *very day, ustin' my head on the tarmac 'cause I didn't flip all the way around in the "lash $ick. I'd kick up over my head, and then gravity would gra me like I was pullin' a + clim in a "- and slam me headfirst on the concrete. %y uddies would laugh, ut I /ust got up and practiced it again, and again, and again. %y uddies don't laugh now, except at the fooloys who come to the airase thinkin' they can take me on 0 take me and my "lash $ick on, that is. uile, in an interview for "ortune )oldier %aga&ine Mastering Special Maneuvers ta!es uncommon determination from a Street Fighter. Moves must be practiced endlessly to achieve true mastery. The Street Fighter must not only be able to perform a techni1ue, it must be a natural part of the fighter's arsenal, allowing the Street Fighter to perform the special power refleively in response to an opponent's move. "ach Special Maneuver has a *ower *oint cost listed for it. The cost to buy a move depends on a character's style, as shown under each move. For eample, the *ower *oint cost for a move might say :&u Shu ; Any<, which means that a &u Shu stylist can buy the power for three *ower *oints, and any other style must spend four points to buy the power. #owever, some moves are only available to certain styles. =nless a power lists :Any< under its *ower *oint +ost, then only certain styles can buy that move. For eample, a Special Maneuver might have a *ower *oint cost that reads :Shoto!an 6arate 3; &u Shu, 6ung Fu <. This means that only Shoto!an 6arate, &u Shu, and 6ung Fu stylists can learn that maneuver, and characters of those three styles would purchase the maneuver at a cost of two or three points depending on their style. .
DESCRIPTION AND SYSTEM "ach Special Maneuver also has a short eplanation of what the power is, what it loo!s li!e when it's eecuted, and how the power was developed or how martial artists train to perfect the move. All the gritty rules information is listed under the System header for each power. A lot of the rules might not ma!e sense until you read the chapter on combat, but you can as! your Storyteller about them.
CHI AND WILLPOWER COST Many moves re1uire a Street Fighter to spend one or more points of +hi and>or & illpower before he can eecute the move. +hi and &illpower costs are listed where applicable. $f a character doesn't have enough +hi or &illpower to pay for the move, then he cannot perform it. $f the fighter is interrupted and cannot perform his special move -victim moves out of range, fighter gets !noc!ed
down, etc./ he can always choose not to perform the special move and save his +hi and &illpower. Only when the move is actually performed does he have to spend that power's +hi and &illpower cost.
MODIFIERS "ach combat maneuver in the basic version of Street Fighter has three modifiers( the Speed modifier, the 5amage modifier, and the Move modifier. "very character has certain basic maneuvers li!e a ab *unch or a 2oundhouse 6ic!. The modifiers for these basic maneuvers are given in +hapter Seven( +ombat. All of the special moves and powers in this chapter also have these three modifiers, which describe the maneuver in terms of the game rules. For eample, a maneuver's Speed modifier determines how 1uic!ly a fighter can eecute this move. Some moves ta!e longer to eecute than others. For eample, #onda's #undred #and Slap is slower than Fei ?ong's blindingly fast 2e!!a 6en punches. This is shown by the #undred #and Slap power having a lower Speed modifier than 2e!!a 6en. Similarly, a special power's 5amage modifier determines how hard the power hits, and the Move modifier determines how far the character can move while eecuting the maneuver. #ow modifiers add up is fully eplained in +hapter Seven. For now, !eep in mind that the higher the number, the better. Also, you'll see two different !inds of modifier numbers listed for special powers. $f a number has a plus sign -@/ or minus sign -/ in front of it, you will add or subtract this number to another number. $f the number is written out, then the number is set and nothing gets added or subtracted to it. For instance, : Speed: Two< means that the total Speed for this Special Maneuver is two. $t doesn't matter what the character's 5eterity is; any time she uses this move her Speed is 3. #owever, a modifier of :Speed: @3< means that a character's Speed while using this move increases by two -so a character with a 5eterity of who uses this move will have a Speed of B in that combat turn/. Similarly :Damage: @4< means that the maneuver doesn't add any dice to its 5amage roll, :Speed: C< means that one is subtracted from the character's Speed, and :Move: )one< means that the character cannot move out of her he that turn.
LEARNING NEW MOVES -*& p.3D/ $n real life, training in martial arts is a lifelong process; it ta!es months or even years to learn, let alone master, a new techni1ue. #owever, the Street Fighter world is a little more forgiving( Street Fighters who are dedicated and study hard can learn new maneuvers much faster. $n terms of game mechanics, if a 6ung Fu practitioner has CD free eperience points, she can theoretically learn the 2ising Storm +row immediately. %ut this doesn't really ma!e for a very satisfying story 9 if it was so easy a move to master, everyone would !now itE $t is recommended that Storytellers re1uire a character to train for a long time before he can automatically succeed at performing a new maneuver. A good length of time is one month of tough training for every two eperience points that the maneuver costs to buy. Thus, in the case of
the 2ising Storm +row, eight months of dedicated practice would ma!e the character a master of the maneuver. 5uring the intervening period, the character can attempt the maneuver at any time. This re1uires two tests. The first is to determine how capable the character is of performing the maneuver. 2oll &its plus the most difficult Techni1ue the maneuver is based on -Athletics or 8rab in the case of the 2ising Storm +row/, with a difficulty e1ual to the number of months remaining; the minimum difficulty must be . $f the first test succeeds, the character is then able to attempt the maneuver normally with a second test; if the first test is failed, the maneuver's Speed, Move, and 5amage of a successful second test are all halved. $f either test is botched, the maneuver fails spectacularly, leaving the character in a vulnerable -and embarrassing/ position. This method can also be used to simulate characters learning of maneuver that they are saving up eperience points for. $f a character has si points and is saving up for a C3point maneuver, the Storyteller may allow her to start learning it. #owever, all of the character's free eperience must go towards that maneuver until it is completely paid off, and the character can only learn one new maneuver at a time this way
SPECIAL MANEUVERS #ere they are 9 the descriptions of the specific Special Maneuvers. The powers are grouped in si categories -*unch, 6ic!, %loc!, 8rab, Athletics, and Focus/ according to the Techni1ue on which they mainly rely. For eample, you'll find 6en's 5ragon *unch under *unch and %lan!a's 2olling Attac! under Athletics.
PUNCH This category of special moves includes all the variety of ways martial artists have found for using their hands in combat. The category also includes elbows and e ven head butts.
Boshi-ken (Thumb Drive)
-*8 p. /
Prerequisites: *unch 000, Shi!an!en Power Points: )in7itsu 3 The thumbdrive fist, or %oshi!en, is li!e a regular punch, ecept that the thumb protrudes along the front of the fist and is used for stri!ing the opponent. Typically, the force of the punch is directed at the nerve clusters of an enemy's muscles for maimum effectiveness. Sstem: An opponent struc! with this punch will suffer numbness during the following round. $f any damage is inflicted, the opponent suffers a C to Move during the net round. $f no damage was scored by the )in7a, it is assumed that the stri!e missed the targeted nerve cluster and doesn't slow the target appreciably. !ost: )one Speed: C Damage: @3 Move: @4
Bu""a#o Pun$h
-+ore p. C4D/
Prerequisites: *unch 00 Power Points: )ative American &restling, *an!ration C; Any 3 The fighter clenches both hands together into one big fist above his head and swings both arms down on his opponent's head. $t is said that some )ative Americans could stun a fullgrown buffalo with this slow but powerful punch. Sstem: =se the modifiers below. !ost: )one Speed: 3 Damage: @B Move: One
Dashing Pun$h
-+ore p. CDD/
Prerequisites: *unch 0000, Athletics 0 Power Points: %oing, Savate G; &estern 6ic!boing B This eplosive move was practically invented by %alrog -although some people say one of his trainers actually developed it/. &hen the starting bell rang for %alrog's boing matches, he would dash across the ring and blast his opponent with a !noc!out punch before the opponent realied the fight had begun. The move was considered by many to be a typical %alrog cheap shot, but it won him lots of matches. )ow %alrog uses his 5ashing *unch to crush his Street Fighter competitors. Many Street Fighter boers ha ve added the move to their own repertoires. Sstem: =se the modifiers below. !ost: C &illpower Speed: @4 Damage: @G Move: @3
Dashing %pper$ut
-+ore p. CDD/
Prerequisites: 5ashing *unch Power Points: %oing C; Savate, &estern 6ic!boing 3 This move is a slight adaptation of the 5ashing *unch. The difference is that the fighter delivers an uppercut punch instead of a straight punch at the end of the dash. Sstem: The 5ashing =ppercut can hit opponents eecuting Aerial Maneuvers. Against such opponents, it scores a 6noc!down in addition to damage. !ost: C &illpower Speed: @4 Damage: @G Move: @3
Dim Mak
-+ore p. C4H/
Prerequisites: *unch 0000, Focus 000, +hi 6ung #ealing Power Points: Ai!ido, 6ung Fu, ?ua, Silat, Tai +hi +huan G; Ma7estic +row 6ung Fu B 5im Ma! is the art of the death touch. Masters of 5im Ma! possess secret !nowledge of how +hi Flows within the human body. The human body's +hi patterns are said to vary according to the time of day, season, and many other esoteric factors. A master of 5im Ma! possesses !nowledge of all of these factors and utilies it to pinpoint
vulnerable locations on his opponent's body. Thus, a mere finger thrust can disrupt a +hi flow and bring all sorts of misery to the victim of the 5im Ma! stri!e. ?egends of 5im Ma! say that it is possible for the master to touch a victim and delay the damage to the victim's body by seconds, minutes, days, or even months. +ertain pressure point stri!es can paralye the limbs, afflict the victim with specific diseases, and even !ill with one blow. The arts of Sna!e 6ung Fu come closest to maintaining the !nowledge of 5im Ma!, but a 1ualified teacher is etremely rare. Sstem: &hile there are many effects of 5im Ma! that a Storyteller should feel free to include for dramatic purposes, use of 5im Ma! in tournament combat has certain specific effects. &henever a fighter stri!es an opponent with a 5im Ma! touch, damage is rolled normally, but the attac!er inflicts two etra effects. The first is that she can decide to delay the damage from the stri!e for any specified number of turns. The damage will be applied against the opponent's #ealth at the beginning of the specified turn. The character does not have to tell her opponent when the damage will be dealt, but the player should tell the Storyteller or write it on a piece of paper. The second effect is that the attac!er can temporarily lower one of the victim's *hysical Attributes by one point per successful 5im Ma! stri!e. *hysical Attributes cannot be lowered below C in this manner. The victim's Speed, 5amage and natural resistance temporarily drop as his 5eterity, Strength or Stamina is reduced. Any tests involving the affected Attributes must be made using the lower score. The victim can regain these lost points after combat by ma!ing a successful #onor roll, as if the points were +hi. "ample( A 5im Ma! practitioner stri!es an opponent. She scores three damage successes. The fighter can choose to apply this to the victim's #ealth now or wait to apply it any number of turns in the future. $n addition, the fighter chooses to lower the opponent's Strength by one -she has struc! a point along the victim's rib cage that leaves his arms feeling numb and wea!/. !ost: C +hi Speed: @4 Damage: @4 Move: @4
Dragon Pun$h
-+ore p. C4H/
Prerequisites: *unch 0000, ump, *ower =ppercut Power Points: Shoto!an 6arate G; eet 6une 5o, 6ung Fu, Ma7estic +row 6ung Fu, Silat, Thai 6ic!boing B 8ou!en is the only living master who is !nown to teach this incredible maneuver. #e has passed it on to his students 2yu and 6en, and they have used it to forge their names among the ran!s of the &orld &arriors. Sstem: The 5ragon *unch is a leaping uppercut that counts as an Aerial Maneuver. The fighter chooses any one ground or aerial opponent within his Move range to suffer the 5ragon *unch's wrath. Opponents in the middle of Aerial Maneuvers suffer a 6noc!down if the 5ragon *unch scores damage against them -as if it wouldn'tE/. 8rounded opponents are simply !noc!ed bac! one he from the force of the blow. The force of the punch carries the fighter high into the
air. The 5ragon *unch can be used li!e the Athletics special move ump to avoid incoming pro7ectile attac!s; however if it is used to interrupt and leap over a pro7ectile attac!, the 5ragon *unch cannot be used against the opponent firing the pro7ectile attac!. !ost: C &illpower Speed: @4 Damage: @D Move: 3
Du$king Fier$e
-SoS p. 3H/
Prerequisites: *unch 00 Power Points: ?er 5rit, *an!ration C; Any 3 The fighter crouches low and delivers a short powerful blow to her opponent's midsection. This punch often catches unsuspecting opponents offguard. Sstem: This punch combines a Fierce attac! with a deceptive +rouching Maneuver. =se the modifiers below. !ost: )one Speed: C Damage: @G Move: Iero
&ar Pop
-+ore p. C4/
Prerequisites: *unch 00 Power Points: %ara1ah, eet 6une 5o, iu itsu, )ative American &restling, )in7itsu, *an!ration, Sanbo, Spanish )in7itsu, Sumo, &restling 3; Any The big wrestlers of 2ussia, apan and )orth America could not find many punching techni1ues that would seriously slow other fighters of their style, until they developed the "ar *op. This nasty move is held to be dishonorable under some tournament rules. The fighter slaps both sides of his opponent's head with his hands slightly cupped. This causes incredible air pressure to rush into the opponent's ears, stunning her and possibly causing loss of hearing -which is why the move is held to be dishonorable by some/. Sstem: The stri!e completely ignores the opponent's Stamina for purposes of Soa!ing the damage from the "ar *op stri!e. Any fighter who uses the "ar *op automatically loses one #onor point. !ost: )one Speed: C Damage: G Move: C
&#bow Smash
-SoS p. 3H/
Prerequisites: *unch 0 Power Points: Thai 6ic!boing C; Any 3 %y firmly planting his feet, the fighter can deliver a 1uic! powerful elbow smash to a nearby opponent. Many deaths are caused in Thai 6ic!boing rings by the lethal power of these elbow stri!es. Sstem: =se the modifiers below. !ost: )one Speed: @3
Damage: @3 Move: One
&e 'ake
-*8 p. H/
Prerequisites: 8rab 0, *unch 0 Power Points: Animal #ybrid, ?ua, )in7itsu C; Any 3 $n a truly desperate move, the fighter clenches her fingers into a claw and ra!es them across her opponent's eyes. The pain caused by this is incredible but usually does not result in any permanent damage. Few Street Fighters use this attac!, as it is considered etremely poor form. )onetheless, this move has often meant the difference between winning and losing a match. Sstem: Jery little damage results from this attac!, but for the net turn the opponent must fight blind. $f her %lind Fighting S!ill is ero, she is effectively diied. A fighter forced to resort to this desperate move loses one temporary #onor point. $f an "ye 2a!e is used in a tournament, he will also lose one temporary 8lory point. !ost: )one Speed: @3 Damage: Move: @4
Fist Sweep
-+ore p. CDD/
Prerequisites: *unch 000 Power Points: %oing, *an!ration, &estern 6ic!boing 3 )obody told the boers on the Street Fighter circuit that they couldn't hit below the belt. )ot to be outdone by other styles, some boers developed a low, powerful punch that ta!es the legs right out from under their opponents. Sstem: Jictims of a successful Fist Sweep suffer a 6noc!down in addition to normal damage. The Fist Sweep is a +rouching Maneuver. !ost: )one Speed: C Damage: @ Move: 3
F#aming Dragon Pun$h
-+ore p. C4/
Prerequisites: *unch 00000 , Focus 00, 5ragon *unch Power Points: Shoto!an 6arate, Thai 6ic!boing G 6en was not satisfied with his ability to eecute the 5ragon *unch, so he trained long and hard to improve the already devastating move. #e learned to focus his +hi into his fist during the punch, causing his fist and anything hit by it to burst into flame. Sstem: The Flaming 5ragon *unch is identical to the regular 5ragon *unch, with the following eceptions( Any opponent hit with the Flaming 5ragon *unch suffers a 6noc!down, regardless of whether the opponent is on the ground or in the air. $f the Flaming 5ragon *unch is used on an opponent standing in a he ad7acent to the fighter -the fighter using the Flaming 5ragon *unch does not have to move in order to be net to the opponent/, the Flaming 5ragon *unch will hit twiceE The player gets to roll two damage tests for her character's punch. For eample, during a combat turn, Iangief's player
plays a 2oundhouse and decides to move net to 6en to deliver the blow. 6en's player decides to interrupt Iangief's action when the big 2ussian moves net to 6en. 6en's player reveals the Flaming 5ragon *unch card. %ecause Iangief is right net to 6en when 6en begins his Flaming 5ragon *unch action, 6en gets to hit Iangief twice with the punch. !ost: C +hi, C &illpower Speed: C Damage: @D Move: 3
amaker
-*8 p. G/
Prerequisites: *unch 0 Power Points: Any 3 The fighter actually winds up li!e a baseball pitcher to deliver this crude yet powerful punch. She first reaches as far down to the ground as she can without overbalancing herself. Then she whips her fist in a wide arc over her own head and directly into her opponent's. The momentum imparted by the wide overhead swing imparts tremendous force to this maneuver. %ecause of the windup re1uired, it is hard to move while eecuting this maneuver. Sstem: The #ayma!er is used li!e any other punching maneuver, with the modifiers below. !ost: )one Speed: 3 Damage: @G Move: 3
ead Butt
-+ore p. C4K/
Prerequisites: *unch 0 Power Points: %oing, +apoeira, 6abaddi, )in7itsu, *an!ration, Sumo C; Any 3 &hen the !nuc!les won't do, some fighters use their heads. Many styles practice head butt stri!es as part of their close range fighting arsenal of maneuvers. Fighters have to undergo grueling training to perfect this move. Training involves conditioning a fighter's forehead to ta!e the punishment of the hit. The fighter bangs his head on padded wood, then bare wood, the bric!s, then stone. This gradually toughens the fighter's head until he can crac! 7ust about anything with one solid blow from his head. Sstem: =se the modifiers below. !ost: )one Speed: @4 Damage: @ Move: 3
eart Pun$h
-So8 p. /
Prerequisites: *unch 000, Focus 0 Power Points: )ative American &restling, Sanbo 3; Special Forces, Sumo ; %oing, 6ung Fu, &estern 6ic!boing G The #eart *unch is a blow designed to stun an opponent, leaving him vulnerable to the fighter's ne t blow. A 1uic! powerful blow is delivered to the opponent's chest. This move is considered a cheap shot and can result in the loss of honor, depending upon the circumstances under
which it was applied. Sstem: )o damage is done by this attac!. #owever, damage is still rolled for the purposes of determining a diy. %ecause of the nature of the #eart *unch Techni1ue, it may not be a part of a 5iying +ombo Maneuver. $t can, however, be combined for the purposes of gaining a speed bonus. !ost: )one Speed: C Damage: @B -see above/ Move: 3
undred and S#ap
-+ore p. C4K/
Prerequisites: *unch 0000 Power Points: Ma7estic +row 6ung Fu, Sumo G; %ara1ah, eet 6une 5o, 6ung Fu, Sanbo, Silat B $n formal sumo wrestling matches, sumotori are not allowed to stri!e with a closed fist, only with slaps and palm heel stri!es using an open hand. This restriction has led sumotori to develop an awesome techni1ue that utilies open hand slapping. &ith the #undred #and Slap, the sumotori creates a blurringly fast flurry of stri!es to overwhelm an opponent. The stri!e's name derives from the fact that sumotori who train to perfect this special move practice by stri!ing a large wooden post C44 times as fast as they can. A fighter is timed on how fast he can deliver the blows with his open hand to the wooden post; over years of training, he is epected to reduce this time to under two secondsE "ven the thic!est posts often crac! under the torrent of hammering blows. Sstem: A fighter who uses #undred #and Slap in combat gets to roll three times for damage, using the modifier given below for each stri!e. !ost: C &illpower Speed: 3 Damage: @4 Move: One
per Fist
-+ore p. C4K/
Prerequisites: *unch 0000, *ower =ppercut Power Points: %oing, &estern 6ic!boing G; eet 6une 5o, ?er 5rit, Special Forces B 5ee ay has generated a lot of business for dentists with his chin pounding #yper Fist. Other fighters have tried to learn the move with varying degrees of success. Fighters who master the #yper Fist are able to throw a flurry of uppercut punches that pound their opponents with multiple hits. Sstem: The fighter gets to roll three damage tests against the victim of #yper Fist. !ost: C &illpower Speed: @C Damage: @4 Move: One
ni"e and Strike
Forces G; Any B The fighter straightens her hand so that it's rigid and stri!es fingers first at an unprotected part of an opponent's body. The effect is a 1uic! deadly stri!e which can incapacitate an unsuspecting foe. Sstem: =se the modifiers below to perform this stri!e. =nless an opponent is bloc!ing, damage is applied against only half his Stamina -rounded down/. !ost: )one Speed: @C Damage: C Move: C
-So8 p. /
Prerequisites: *unch 000 Power Points: 6ung Fu, Shoto!an 6arate ; Special
*unging Pun$h
-So8 p. /
Prerequisites: *unch 000, Athletics 0 Power Points: %oing, Shoto!an 6arate, &estern 6ic!boing 3; Any The fighter dashes forward and delivers a low sweeping punch that catches his opponent offguard. ?egs and shoulders play a big role in eecuting this maneuver as the fighter must dash several feet forward and remain close to the ground. Sstem: =se the modifiers below. The ?unging *unch ignores bloc!s, unless an opponent is doing a crouching bloc! or is using 6ic! 5efense. The ?unging *unch is considered a +rouching Maneuver. !ost: )one Speed: @4 Damage: @C Move: @C
Monke +rab Pun$h
-+ore p. C4K/
Prerequisites: *unch 0, 8rab 0 Power Points: %ara1ah, eet 6une 5o, 6ung Fu, Ma7estic +row 6ung Fu, Silat, Spanish )in7itsu, Tai +hi +huan C; Any 3 This relatively simple Special Maneuver originates from Mon!ey 6ung Fu. The fighter lunches forward, grabbing and pulling away an opponent's bloc!ing arm with one hand, then delivering a 1uic! punch with her remaining hand. Sstem: The Mon!ey 8rab *unch wor!s 7ust li!e the %asic Maneuver Strong *unch, but it is slower and ignores %loc!s. $f the fighter's target %loc!s, he does not get to add his %loc! Techni1ue to his Soa! total against the damage from the Mon!ey 8rab *unch. !ost: )one Speed: 3 Damage: @C Move: @4
Power %pper$ut
-+ore p. C4K/
Prerequisites: *unch 0 Power Points: Any C This move is relatively basic as Special Maneuvers go, but more than one Street Fighter has won a tournament with breadandbutter moves li!e the *ower =ppercut. This powerful punch starts low and ends high above the fighter's head. %y using her leg and bac! strength, the
fighter can deliver some fierce power with this punch. The total commitment to the punch usually lifts the fighter slightly off her feet as she punches upward. Sstem: $f the *ower =ppercut is used to interrupt an opponent's Aerial Maneuver, the *ower =ppercut will also cause a 6noc!down -if it scores damage/, !noc!ing the opponent out of the s!y before he can land his own move. !ost: )one Speed: C Damage: @ Move: One
'ekka en
-+ore p. C4K/
Prerequisites: *unch 0000, Athletics 00 Power Points: 6ung Fu G; %oing, Ma7estic +row 6ung Fu, )in7itsu, &estern 6ic!boing, &u Shu B The 2e!!a 6en maneuver was developed by Fei ?ong. #e combined the speed of his &ing +hun 6ung Fu punching with new concepts of footwor!. The 2e!!a 6en is essentially a special !ind of punching combination. First, the fighter dashes forward and delivers a blindingly fast punch. This first punch is followed by ad vancing steps and up to two more consecutive punches. The rapid three punch combination can devastate an opponent in mere seconds. Sstem: The 2e!!a 6en is similar to other +ombo Maneuvers. 5uring the first turn of the 2e!!a 6en, the player uses her 2e!!a 6en Special Maneuver card along with any of the three %asic Maneuver punch cards -ab, Strong or Fierce/. The punch is resolved normally, but the 2e!!a 6en gives it @ etra Speed beyond its normal speed rating. For up to two subse1uent turns, the player can continue playing the 2e!!a 6en card along with a regular punch and get the @ Speed bonus to the punch. "ach punch must be used on the same opponent, and the damage from each punch combines for the purposes of diying the opponent. A special showmanship always accompanies the 2e!!a 6en; $f a fighter uses the 2e!!a 6en for three consecutive turns against an opponent, the fighter is obligated to ta!e a moment to strut his stuff, posing and howling in overconfident eal. $f the fighter does not ta!e a turn to do this, he loses three temporary 8lory points. $f he does pose, he gets the standard @C 8lory -temporary/ for showmanship. !ost: C &illpower per turn used. Speed: See description above. Damage: See description above. Move: See description above.
Shikan-ken (,ina nu$k#e Fist)
-*8 p. G/
Prerequisites: *unch 00 Power Points: )in7itsu Shi!an!en is very similar to a ab, but the stri!ing surface is significantly different. Most punches are thrown with a clenched fist, which provides a wide area of impact. &hen throwing a 6nuc!le Fist, the )in7a does not fle the innermost 7oints of her fingers. This leaves the bony middle !nuc!les as the stri!ing surface. The reduced area of impact increases the strength and damage of the punch.
Sstem: An opponent struc! by the 6nuc!le Fist must ma!e a resisted Strength test to see if they are also !noc!ed bac! one he. This punch will cause a 6noc!down against 7umping opponents. !ost: )one Speed: @C Damage: @C Move: @4
Sho$kwave
-+ore p. CC4/
Prerequisites: *unch 0000, Focus 00 Power Points: )ative American &restling ; Any G )ative American warriors can stri!e the earth with a mighty fist, causing it to tremble and 1ua!e. The force of the stri!e sends a shoc!wave straight across the ground; the tremor can topple ob7ects and people. The Shoc!wave Maneuver can even cause some walls to buc!le and crac! as their supports vibrate. Sstem: The character chooses a straight heline down which to send the shoc!wave. The shoc!wave etends for a number of hees e1ual to the character's Strength, beginning with the he ad7acent to the character. Anyone standing in one of the affected hees -characters in the middle of Aerial Maneuvers are not affected/ suffers damage and is 6noc!ed 5own. )ote that Shoc!wave !noc!s everyone down, even if an opponent was bloc!ing or didn't suffer any damage from the maneuver. !ost: C +hi Speed: @4 Damage: @4 Move: )one
Shuto (Sword and)
-*8 p. G/
Prerequisites: *unch 000, Shi!an!en Power Points: )in7itsu 3 The arm is swung in a wide arc toward the target. At the last moment, the )in7a's fist unclenches, and the fingers form a line K4 degrees from the palm. The lower edge of the fingers stri!es the target with a force similar to that imparted by a sword or club. Sstem: This punch ignores any bonuses the target gains from armor, Toughs!in or similar powers. A target without such protection suffers an additional @C to damage. !ost: )one Speed: C Damage: @ -or @G, see above/ Move: 3
Spinning Ba$k Fist
-+ore p. CC4/
Prerequisites: *unch 00 Power Points: %ara1ah, *an!ration, Savate, Special Forces, Thai 6ic!boing, &estern 6ic!boing C; Any 3 This punch gets its power from the rotation of the fighter's body. To deliver the Spinning %ac! Fist, the fighter steps forward with her rear foot, pivoting C4 degrees bac!ward to stri!e with an outstretched bac! fist. This move is powerful and allows the fighter to advance on an opponent as she delivers the stri!e.
!ic!ing foot at any one target net to her. Sstem: The fighter rolls damage for all three stri!es, but the target only suffers damage from the two stri!es that inflict the most damage -the third one is assumed to have missed its mar!/. For eample, the fighter rolls damage for the two punches and the !ic!, scoring two, one and three successes on the damage rolls. The two and threepoint damage stri!es are applied to the target; the punch that Spinning !#othes#ine -+ore p. CC4/ scored only one damage success is ignored. Prerequisites: *unch 0000, Athletics 000 The two punches have a @4 damage modifier; the !ic! Power Points: Sanbo ; +apoeira, )ative American has a @C damage modifier. )aturally, the damage for the &restling G; Special Forces B !ic! is calculated using the fighter's 6ic! Techni1ue, even &hirling destructionE The wrestler spins her body li!e a though the Triple Stri!e is a *unch Special Maneuver. top. #er outstretched arms club any opponent near her. !ost: )one She can wade through a gang of street pun!s, sending Speed: 3 them flying in all directions. Sstem: &hen using the Spinning +lothesline, the fighter Damage: See description above. Move: )one moves and attac!s simultaneously. &hen she initiates the move, the wrestler ma!es a damage test against all opponents sharing her he o r in an ad7acent he. All Turbo Spinning !#othes#ine -+ore p. CC4/ opponents who are hit are !noc!ed bac! one he from the Prerequisites: Athletics 0000, Spinning +lothesline wrestler. The wrestler then moves one he and repeats the Power Points: Sanbo 3; +apoeira, Special Forces G round of damage rolls. She !eeps moving and ma!ing Frustrated by the speed of some opponents, Iangief damage rolls until she uses up her Move or decides to wor!ed hard to ma!e his Spinning +lothesline faster. stop. Sstem: This move is identical to the Spinning Anyone nearby who is eecuting a +rouching Maneuver will not be hit. +lothesline, ecept that it is 1uic!er and travels farther. !ost: C &illpower !ost: C &illpower Speed: @4 Speed: @C Damage: @4 Damage: @4 Move: 3 Move: C Sstem: =se the modifiers below. !ost: )one Speed: C Damage: @3 Move: @C
Spinning nu$k#e
-+ore p. CC4/
Prerequisites: *unch 000, Athletics 0, Spinning %ac! Fist Power Points: Special Forces 3; %ara1ah, ?er 5rit, Savate, &estern 6ic!boing, &u Shu ; Any G This move is an advanced version of a Spinning %ac! Fist. $nstead of ta!ing one step forward and spinning into a bac! fist, the fighter actually dances forward, ta!ing several bodyturning crosssteps before delivering the attac!. The Spinning 6nuc!le uses the fighter's advancing motion to add power to the blow. Furthermore, the fighter actually delivers two bac! fists at the end. Sstem: The fighter gets to roll t wo damage tests, as the fist connects twice. Additionally, the fighter's dancing, turning steps allow him to evade pro7ectile attac!s. $f the fighter interrupts a pro7ectile attac! with a Spinning 6nuc!le, the fighter gets a chance to dodge the pro7ectile 7ust as if he had used the ump special move -see Athletics special moves section/. !ost: C &illpower Speed: C Damage: @C Move: @
Trip#e Strike
-+ore p. CC4/
Prerequisites: *unch 00, 6ic! 0 Power Points: Ma7estic +row 6ung Fu C; Any 3 The fighter pulls bac! into a tight position, almost as if she were bloc!ing, and then lashes out with two fists and a
Turn Pun$h
-+ore p. CDD/
Prerequisites: *unch 0000 Power Points: %oing, Savate, Thai 6ic!boing G; &estern 6ic!boing B This heavy punch is one of the most potent Special Maneuvers available to the style. The boer craftily wor!s his way around the ring, setting up his opponent for a powerful overhand blow. The boer actually turns his torso away from his opponent and then twists all the way forward as he throws the punch. This turning body motion gives the punch its name and its power. Sstem: At the beginning of any combat turn, a player can play her fighter's Turn *unch +ombat +ard. This shows that her character is beginning to sie up her opponent in preparation for a Turn *unch. 5uring that same turn, the player can use any other maneuver she wants, but the move has a C penalty to Speed, 5amage, and Move because the boer is concentrating on setting up the Turn *unch. This can continue for up to four turns total. The player continues to use any maneuver she chooses, but all maneuvers have penalties of C Speed, 5amage and Move. At any time, including during the very first turn she played the Turn *unch card, she can choose to eecute the Turn *unch instead of playing some other +ombat +ard. The modifiers for the Turn *unch depend on how many combat turns the boer was allowed to prepare the Turn *unch(
!ombat Turn C 3 G
Speed C C @4 @C
Damage @G @B @D @H
!ost: C +hi, C &illpower Speed: C Damage: C Move: @C
/0 i$k !ost: C &illpower when the card is first laid down. Speed: See description above. Damage: See description above. Move: Two
.idowmaker
-*8 p. G/
Prerequisites: *unch 000, ump, #ayma!er Power Points: Any C This move is similar to the #ayma!er, ecept that the fighter ma!es a short 7ump to increase the damage inflicted. 8ravity and the punishing mass of the fighter propel the attac!er's fist directly onto the target's head. This move is slow, but when it connects, it will often end a fight. Sstem: The fighter may 7ump up to two hees toward an opponent before inflicting damage. Any target damaged by the &idowma!er suffers a 6noc!down. %ecause of the overhand stri!e involved with this move, a 7umping target will not be hit, as the punch doesn't develop any real force until the swing is completed. The &idowma!er is an Aerial Maneuver and can be used to avoid pro7ectiles. !ost: )one Speed: Damage: @B Move: Two
KICK &hy use two clubs when you can use fourL That's what many martial artists as! boers and other street brawlers who rely solely on their h ands for combat. Some Street Fighters' !ic!s are C4 times more deadly than their hands. All the !ic!ing special moves are found in this section, including the use of !nees.
/ir urri$ane i$k
-+ore p. CCC/
Prerequisites: 6ic! 0000, Athletics 000, ump, #urricane 6ic! Power Points: 6ung Fu, Ma7estic +row 6ung Fu, Shoto!an 6arate, &u Shu C Only after they had begun testing themselves in Street Fighter combat did 2yu and 6en fully embrace the spirit of the #urricane, allowing them to fly on the winds of fury as they deliver their #urricane 6ic!. Sstem: This move wor!s 7ust li!e the standard #urricane 6ic! -see the #urricane 6ic! description/, ecept that the fighter has trained herself to eecute the move while airborne. This allows the fighter to 7ump over incoming pro7ectile attac!s -see the Athletics special move ump/ and then eecute the #urricane 6ic! from the high point of her 7ump to descend on her opponents in a blae of spinning feet.
-*8 p. B/
Prerequisites: 6ic! 00, ump Power Points: Savate 3; Special Forces, &estern 6ic!boing ; 6ung Fu, Shoto!an 6arate, &u Shu G One of the few airborne !ic!s favored by Savate fighters, this move is also popular with other styles. The attac!er begins this attac! by 7umping into the air and stretching his leg high above his head. #e then slams the leg do wn onto his target's head or shoulders, using his height and momentum to increase the force of the blow. Few Street Fighters can withstand the ferocity of an A 6ic!. Sstem: This attac! is considered an Aerial Maneuver and may be used to avoid pro7ectiles. The fighter travels his allowed movement in the air using the 3 modifier and ends his attac! in the same he as his target. %ecause this attac! targets the head from above, crouched opponents are struc!. umping opponents are li!ewise struc! and will suffer a 6noc!down. !ost: )one Speed: C Damage: @G Move: 3
Ba$k"#ip i$k
-+ore p. CCC/
Prerequisites: 6ic! 00, Athletics 00 Power Points: +apoeira, eet 6une 5o, )in7itsu, Spanish )in7itsu, &u Shu 3; 6ung Fu, ?ua, Ma7estic +row 6ung Fu, Special Forces ; Any G This move combines acrobatics and a powerful !ic! into a special move that can rattle an opponent and simultaneously tumble the attac!er to safety. Sstem: The fighter waits for an opponent to close, and then interrupts with a sudden bac!flip -+apoeira teaches a bac! hand spring/, !ic!ing the wouldbe attac!er as the fighter's feet sweep up and through in the bac! flip. The fighter flips away, landing two hees straight b ac! from the opponent and thus preventing the opponent from stri!ing bac!. This move is one of the few times a fighter may move after rolling damage in the same turn. The %ac!flip 6ic! does not count as an Aerial Maneuver. !ost: )one Speed: @4 Damage: @3 Move: Two -bac!wards/
!artwhee# i$k
-*8 p. B/
Prerequisites: 6ic! 00, Athletics 00 Power Points: +apoeira, )in7itsu, &u Shu 3; Any The fighter flips into an acrobatic cartwheel, smashing her feet and fist into her opponent over and over again. The amount of ground covered is truly amaing. This move is also used to put distance between a fighter and an opponent who is pressing her to hard. Sstem: A +artwheel 6ic! must travel in a straight line in
any of the si directions available to the Street Fighter. &hen an opponent is encountered, the fighter does not stop, but pushes her opponent bac! one he. For each he an opponent is pushed bac!, the opponent suffers one attac! using the modifiers below. The fighter may end her turn in any he she li!es along her line of travel. +artwheel 6ic!s must travel in a straight line. !ost: C &illpower Speed: @4 Damage: @C -per he/
CARTWHEEL KICK Many considered +artwheel 6ic! to be a wildly unbalanced and overly powerful maneuver when it was first released in the *layer's 8uide. $n response to player concerns, Steve &iec! -who strongly contributed to writing and developing the game/ offered this alternate -and fran!ly, much more reasonable/ set of stats for the +artwheel 6ic!.
!artwhee# i$k
-Steve &iec! Jersion/
Prerequisites: 6ic! 00, Athletics 00 Power Points: +apoeira, )in7itsu, &u Shu 3; Any The fighter travels in a series of accelerating cartwheels towards his target, ending with a powerful !ic!. Sstem: The attac!er must move in a straight line to the enemy. "ach he moved by the attac!er adds @C damage to the final !ic!. !ost: C &illpower Speed: C Damage: @C -per he/ Move: @3
Doub#e Dread i$k
-+ore p. CCC/
Prerequisites: 6ic! 000, 5ouble#it 6ic! Power Points: Ma7estic +row 6ung Fu, Thai 6ic!boing, &estern 6ic!boing ; 6ung Fu, ?er 5rit, Shoto!an 6arate, Special Forces G This special move is a fast combination of a roundhouse !ic! and spinning bac! thrust !ic!. The fighter stuns her opponent with a 1uic! !ic! and the spins into the more powerful thrust !ic! before the opponent can recover. Sstem: This move scores two damage tests on its victim. The first test has a @C 5amage Modifier; the second has a @G. The first hit !noc!s the opponent bac! one he; the second hit !noc!s him bac! another he. After the first hit, the fighter must have enough Move left to advance into the he out of which he 7ust !noc!ed his opponent in order to deliver the second !ic!. $f the fighter's intended victim is at the maimum Move range of the attac!, the fighter can still spin the first !ic! into the empty he in front of the victim and fire off the second thrust !ic! at the opponent. For eample, 5ee ay's Move for his 5ouble 5read 6ic! is his Athletics rating of G plus the maneuver's modifier of @C, for a total Move of B. $f %alrog is standing si hees
away, 5ee ay can move four hees, throw the first !ic! into thin air, and then advance into his fifth he of movement with the second spinning thrust !ic!. This last he of movement puts him ad7acent to %alrog, so he can hit %alrog with the second damage test -with the @G modifier/ and !noc! %alrog bac! one he. $f %alrog had been any closer, 5ee ay could have moved to him, hit him with the first !ic! -at @C damage modifier/, !noc!ed %alrog bac! one he, and moved into the nowempty he to deliver the second !ic!. The damage rolls inflicted by these two !ic!s do not combine to diy the opponent unless they are part of a greater combination maneuver. !ost: C &illpower Speed: 3 Damage: @C, @G -see description above/ Move: @C
Doub#e-it i$k
-+ore p. CC3/
Prerequisites: 6ic! 00 Power Points: 6ung Fu, Ma7estic +row 6ung Fu, )in7itsu, Sanbo, Savate, Silat, Sumo, Thai 6ic!boing, &estern 6ic!boing, &u Shu C; Any 3 Many styles feature combination !ic!s that use one leg to deliver two !ic!s in rapid succession without the !ic!ing foot touching the ground in between. =sually, the first !ic! lands low and the second !ic! lands high. Sstem: The !ic! hits twice using the modifier below. Opponents eecuting +rouching or Aerial Maneuvers will only be hit once. !ost: )one Speed: 3 Damage: @C Move: C
Doub#e-it nee
-+ore p. CC3/
Prerequisites: 6ic! 00 Power Points: +apoeira, ?ua, )in7itsu, *an!ration, Thai 6ic!boing C; Any 3 This is a closein move popular with +apoeira dancers. The fighter leaps into the opponent, allowing his !nee to smac! the victim's stomach and continue into the opponent's chin. Sstem: 2oll twice for damage using the modifiers below when using this move. !ost: )one Speed: @4 Damage: @4 Move: 3
Dragon i$k
-+ore p. CC3/
Prerequisites: 6ic! 00000, Focus 0000, ump Power Points: 6ung Fu, Silat B The ancient art of 5ragon 6ung Fu is the only system that has preserved the !nowledge of this mystical techni1ue. The fighter taps the spirit of the celestial dragons, rising into the air in a twirling !ic! while his focused +hi spurts fire from his leg. The !ic! is beautiful and deadly.
Sstem: The 5ragon 6ic! wor!s identically to the Flaming 5ragon *unch. ?i!e the Flaming 5ragon *unch, it is an Aerial Maneuver. !ost: C +hi, C &illpower Speed: C Damage: @D Move: 3
F#ash i$k
-+ore p. CC3/
Prerequisites: 6ic! 000, Athletics 00, Focus 00 Power Points: Ma7estic +row 6ung Fu, Special Forces G; Any B 8uile's trademar! !ic! is one of the deadliest moves on the Street Fighter circuit. A fighter who has mastered this move crouches down before springing into an aerial bac! flip. As her body flips over, her foot sweeps a deadly a rc in front of her. "nergy trails after the !ic!ing foot, adding sile to the !ic!. &hen 8uile eecutes the !ic!, a blae of sonic energy follows his foot. Other fighters throw arcs of flame or electricity behind their !ic!ing feet. The Flash 6ic! is a tough move to learn. $t re1uires a combination of athletics to eecute the bac! flip, +hi focusing to release the energy, and !ic!ing talent to plant the foot under an opponent's 7aw. Sstem: =se the modifiers below. The Flash 6ic! will also inflict a 6noc!down against opponents who were eecuting Aerial Maneuvers. The Flash 6ic! itself is an Aerial Maneuver. !ost: C +hi, C &illpower Speed: C Damage: @H Move: )one
F#ing nee Thrust
-+ore p. CC3/
Prerequisites: 6ic! 00, Athletics 0 Power Points: eet 6une 5o, ?er 5rit, *an!ration, Special Forces, Thai 6ic!boing, &estern 6ic!boing C; Any 3 This move has 1uic!ly become a favorite among beginning Street Fighters. $t's fast, covers a lot of ground, and still hits hard. The fighter launches into a 1uic! broad 7ump and flies into the opponent, driving a !nee right into him. Sstem: =se the modifiers below. The Flying 6nee Thrust is an Aerial Maneuver. !ost: C &illpower Speed: @C Damage: @3 Move: @C
F#ing Thrust i$k
-+ore p. CC3/
Prerequisites: 6ic! 0000, Athletics 0000, ump Power Points: Special Forces ; Ma7estic +row 6ung Fu, )in7itsu, Savate, &u Shu G; Any B This move re1uires strong legsE The fighter thrust!ic!s into the air so hard he actually lifts off the ground and roc!ets into the air heelfirst with his body inverted. $n order to perfect the move, the fighter has to develop the leg fleibility to do a full split and must have superhuman leg muscle conditioning. Onelegged s1uats are popular training eercises among fighters who wish to develop the strength to do a proper Flying Thrust 6ic!. Sstem: The Thrust 6ic! wor!s 7ust li!e a 5ragon *unch. $t can !noc! down aerial opponents and be used to 7ump over fireballs. The Flying Thrust 6ic! is an Aerial Maneuver.
!ost: C &illpower Speed: @4 Damage: @D Move: 3
Foot Sweep
!ost: C &illpower Speed: @3 Damage: @C Move: Two
Forward F#ip nee
-+ore p. CC/
Prerequisites: 6ic! 00 Power Points: Ai!ido, %ara1ah, eet 6une 5o, iu itsu, *an!ration, Shoto!an 6arate, Special Forces, Sumo, Tai +hi +huan, Thai 6ic!boing C; Any 3 This low, powerful !ic! is intended to !noc! an opponent off her feet and send her crashing to the ground. Sstem: Jictims of a successful Foot Sweep suffer 6noc!down in addition to normal damage. The Foot Sweep is a +rouching Maneuver. !ost: )one Speed: 3 Damage: @ Move: 3
Forward Ba$k"#ip i$k
-So8 p. /
Prerequisites: 6ic! 000, Athletics 000, %ac!flip 6ic!, ump Power Points: +apoeira, Spanish )in7itsu, &u Shu C; 6ung Fu, Special Forces 3; Any &ith this move a fighter 7umps up and toward her opponent, and eecutes a bac!flip in the air and !ic!s. This maneuver is especially effective against airborne opponents. Sstem: This maneuver is most effectively played as an $nterrupt. $f an opponent is performing an Aerial Maneuver, she is !noc!ed down and suffers two damage tests as the !ic! stri!es twice.
-+ore p. CC/
Prerequisites: 6ic! 00, Athletics 00 Power Points: +apoeira, &u Shu 3; eet 6une 5o, 6ung Fu, ?er 5rit, Spanish )in7itsu, Special Forces ; Any G This move is very similar to the %ac! Flip 6ic!, ecept the fighter actually launches into a forward flip over the head of an opponent. As she drops out of the forward flip, the fighter uses her body weight to drive her !nee into the opponent's bac!. Sstem: The fighter must attac! someone standing in her own he or an ad7acent he. The fighter moves one or two hees forward to land in a he on the far side of her opponent. As the fighter lands, she rolls for damage. $f the fighter interrupted an opponent's attac! with the Forward Flip 6nee, the opponent cannot eecute his declared attac! on the fighter, who has now flipped behind him. The Forward Flip 6nee is an Aerial Maneuver. !ost: )one Speed: 3 Damage: @G Move: Two
Forward S#ide i$k
-SoS p. 3H/
Prerequisites: 6ic! 00, Athletics 00 Power Points: ?er 5rit 3; Spanish )in7itsu This maneuver is very similar to the regular Slide 6ic!, ecept that the fighter remains upright as he slides forward
to 1uic!ly ta!e an opponent off her feet. The Street Fighter remains in a standing position and, in one swift slide, covers several feet, ta!ing his opponent's legs right out from under her in the process. Sstem: The Forward Slide 6ic! causes a 6noc!down if any damage is scored. !ost: )one Speed: @4 Damage: @3 Move: @4
+reat .a## o" !hina
-+ore p. CC/
Prerequisites: 6ic! 00000, ?ightning ?eg Power Points: Ma7estic +row 6ung Fu, &u Shu B )o one in the world is !nown to posses this awesome power. $t is widely held that its eistence is only superstitious nonsense. After all, no one alive could possess the !ind of !ic!ing ability necessary to eecute this maneuver. )o one alive. Sstem: &hen eecuting this maneuver, the fighter chooses three connecting hees ad7acent to him. #e then fills these hees with a superhuman flurry of !ic!s that to the na!ed eye appears li!e a solid wall of leg and foot. Anyone in the hees in hit three times at the damage listed below. !ost: 3 &illpower Speed: 3 Damage: @C Move: )one
andstand i$k
-+ore p. CC/
Prerequisites: 6ic! 00, Athletics 0 Power Points: )in7itsu, Spanish )in7itsu, Special Forces, &u Shu C; Any 3 The fighter bends over, puts his hands on the ground, and presses his legs up into a handstand. The legs snap up with the force of a !ic!ing mule, bringing an airborne opponent down for a crude landing or 7ust clipping a ground opponent under the chin. Sstem: =se the modifiers below. Aerial opponents will suffer a 6noc!down in addition to damage. !ost: )one Speed: C Damage: @G Move: 3
sulfuric acid, etc./. The )in7a moves bac! one he, while the target moves in the opposite direction. The target is moved a distance in hees e1ual to the -)in7a's Strength @ Athletics/ minus the target's Strength. !ost: )one Speed: @3 Damage: G Move: @C
urri$ane i$k
-+ore p. CCG/
Prerequisites: 6ic! 0000, Athletics 000 Power Points: Shoto!an 6arate G; eet 6une 5o, 6ung Fu, Ma7estic +row 6ung Fu, &u Shu B %y embracing the raw power of the hurricane, the fighter lifts himself into the air and spins li!e a cyclone. As the fighter spins, his outstretched foot carves a deadly path through his opponents, mowing them down li!e wheat before the scythe. Sstem: A character eecuting this move can move up to his full Move in hees, but must travel in a straight he line. "ach time he enters a new he, anyone occupying that new he or any of the si hees ad7acent to it must Soa! the #urricane 6ic!'s damage roll. The fighter must roll a separate damage test for each person affected. 2egardless of damage, anyone in range of the !ic! is automatically !noc!ed bac!ward one he away from the !ic!ing fighter -or bac! the way the attac!er came if the victim is in the same he as the !ic!er/. After all damage rolls and 6noc! %ac!s are resolved, the attac!er can move again. For each he moved, damage rolls and 6noc! %ac!s are calculated again. This process continues until the character chooses to stop moving or uses up his Move. So, a character with #urricane 6ic! could move right into a single opponent and continue !noc!ing her bac! he by he and inflicting damage each time, up to the !ic!er's full Move in hees. Opponents who bloc! can continue to use their %loc! against each damage roll. Multiple hits do not combine to diy an opponent. The #urricane 6ic! is an Aerial Maneuver. !ost: C +hi, C &illpower Speed: @4 Damage: C Move: C
*ightning *eg
-+ore p. CCG/
Prerequisites: 6ic! 0000, 5ouble#it 6ic! Power Points: &u Shu ; eet 6une 5o, 6ung Fu, -*8 p. D/ ee# Stamp Ma7estic +row 6ung Fu, Silat, Thai 6ic!boing G; Savate, Prerequisites: 6ic! 0, Athletics 0 Special Forces B Jictims who have eperienced this maneuver first hand Power Points: )in7itsu C; Any report hearing a loud rustling sound as their attac!er's foot The #eel Stamp is designed to increase the distance rushed through the air, hitting them from all sides. This between a )in7a and an enemy who is pressing the )in7a too hard. The )in7a raises her leg in front of her and lashes sound, the victims continue, was 1uic!ly replaced by loss out, slamming her heel into the closing opponent's chest or of consciousness. Street Fighters who have the ability to use ?ightning ?eg bloc!ing arms. The two warriors are propelled directly have honed their !ic!ing ability to nearperfection. They away from each other. can split the air with doens of !ic!s in the blin! of an eye. Sstem: The )in7a causes very little actual damage with Sstem: &hen using this move, the Street Fighter must a #eel Stamp; the maneuver is primarily used to gain remain standing in one place as she selects one opponent breathing room or to set up a more offensive move for the net round -or to !noc! the opponent off a cliff, into a vat of on whom to unleash her flurry of !ic!s. The attac!er ma!es
three consecutive damage rolls using the modifiers below. !ost: C &illpower Speed: 3 Damage: @C Move: )one
'everse Fronta# i$k
-*8 p. D/
Prerequisites: 6ic! 000, 5ouble#it 6ic! Power Points: Savate, &estern 6ic!boing C; &u Shu 3; Any The fighter launches a feint !ic! past the head of his opponent, then 1uic!ly reverses it with a sharp snapping motion, driving his heel into the bac! of the opponent's head. Sstem: The 2everse Frontal 6ic! hits only once, using the modifiers below. This !ic! ignores %loc! Maneuvers. !ost: )one Speed: C Damage: @ Move: C
Prerequisites: 6ic! 00, Athletics 0, Foot Sweep Power Points: Ai!ido, iu itsu, Special Forces, Sumo, Tai +hi +huan C; Any 3 This move is identical to a regular Foot Sweep, ecept that the fighter actually spins his body and his outstretched !ic!ing leg a full D4 degrees around him, mowing down anyone standing near him. This move is sometimes called an iron broom, tiger's tail, or dragon's tail sweep by 6ung Fu and &u Shu stylists. Sstem: The fighter rolls for damage against e veryone in her own he and the si hees directly ad7acent to her. Any victim who suffers damage also suffers a 6noc!down -unless the victim was bloc!ing/. The Spinning Foot Sweep is a +rouching Maneuver. !ost: C &illpower Speed: 3 Damage: @ Move: )one
Stepping Front i$k
-+ore p. CCB/
Prerequisites: 6ic! 000, Athletics 000, ump Power Points: eet 6une 5o, ?er 5rit ; Spanish )in7itsu, &u Shu G &ith this maneuver, the Street Fighter can cover tremendous distances and deliver two stunning and deadly blows to his opponent. The fighter actually leaps towards his opponent and performs a front flip in the air so that his feet follow out of the flip into a rapid onetwo stri!e, hitting his opponent first high, then low. The Scissor 6ic! is both deceptive and fast. Sstem: =se the modifiers listed below. The Scissor 6ic! is a powerful leaping attac! and is considered an Aerial Maneuver. This warrior can ma!e two damage tests against his opponent using the modifier listed below. !ost: C &illpower Speed: @4 Damage: @ Move: @
Prerequisites: 6ic! 0000, 5ouble#it 6ic! Power Points: eet 6une 5o, 6ung Fu, Ma7estic +row 6ung Fu, Silat ; ?er 5rit, &estern 6ic!boing, &u Shu G This !ic! re1uires some fancy footwor! and powerful legs. The fighter ta!es a s!ipping step toward her opponent and unloads with a rising !nee. This drives the opponent bac!, allowing the fighter's !neeing leg to etend into a forward snap !ic!. The opponent is thus struc! twice. Sstem: The fighter must move into the same he as her opponent, then roll one damage test for the !nee. The force of the !nee will !noc! the opponent bac! one he. The fighter can then roll for the second damage test as the snap !ic! connects. $f the fighter does not have enough movement to reach her opponent's he, she can still hit with the front snap !ic! if she can reach a he ad7acent to her opponent. !ost: C &illpower Speed: @4 Damage: @C Move: @C
S#ide i$k
Tiger nee
S$issor i$k
-SoS p. 3H/
-+ore p. CCG/
Prerequisites: 6ic! 00, Athletics 0 Power Points: Ai!ido, 6abaddi, ?er 5rit, *an!ration, Savate, Spanish )in7itsu, Tai +hi +huan, &estern 6ic!boing 3; Any Some fighters have developed sliding !ic!s designed to ta!e an opponent's feet right out from under him. From a ready stance, the fighter drops to the ground, slides an amaing distance and !ic!s the victim's feet. Sstem: $n addition to regular damage, the victim of a successful Slide 6ic! will suffer a 6noc!down unless he was bloc!ing. !ost: )one Speed: C Damage: @ Move: @C
Spinning Foot Sweep
-+ore p. CCB/
-SoS p. 3H/
Prerequisites: 6ic! 000, Athletics 00, ump Power Points: Thai 6ic!boing G; eet 6une 5o, Special Forces, &estern 6ic!boing B One of Sagat's most famous moves is the Tiger 6nee. The fighter begins by crouching down, li!e a tiger preparing to pounce on its prey, and then springing forward and up, driving !neefirst into an opponent. The Tiger 6nee is insanely 1uic! and hits hard. Sstem: The Tiger 6nee will cause a 6noc!down and can also damage an opponent caught in the middle of an Aerial Maneuver. The Tiger 6nee is also an Aerial Maneuver, allowing the fighter to dodge over fireball pro7ectiles 7ust as he would with a 7ump. !ost: 3 &illpower Speed: @ Damage: @3 Move: @4
.hir#wind i$k
-+ore p. CCB/
Prerequisites: 6ic! 0000, Athletic 0000 Power Points: &u Points: &u Shu G; Ma7estic +row 6ung Fu, Shoto!an 6arate B Few fighters fighters have mastered the the &hirlwind &hirlwind 6ic!, which +hun ?i has made famous. The move re1uires superhuman athleticism and !ic!ing s!ill. The fighter begins by !ic!ing into a handstand and then launching herself into a spinning tornado of stri!ing feet. The fighter appears almost to fly -upside down, no lessE/ across the ground and into the midst of her opponents. Sstem: The Sstem: The &hirlwind 6ic! wor!s 7ust li!e the #urricane 6ic!, but its modifiers are different, ma!ing it a slower starting, but harderhitting maneuver. ?i!e the #urricane 6ic!, the &hirlwind 6ic! is an Aerial Maneuver. Maneuver. !ost: 3 &illpower Speed: 3 Speed: 3 Damage: @4 Damage: @4 Move: C Move: C
.ounded nee
-+ore p. CCB/
Prerequisites: 6ic! 000 Power Points: %ara1ah, Points: %ara1ah, ?ua, )ative American American &restling, *an!ration, Thai 6ic!boing, &estern 6ic!boing 3; Any )ative American &restling &restling shares this Special Special Maneuver with &estern 6ic!boing. The &ounded 6nee !ic! involves the fighter eecuting a low, powerful !ic! that drives his shin into the femoral nerve, which runs down the outside of the leg, and wea!ens the opponent's leg, ma!ing it hard for him to move or !ic!. Sstem: $n Sstem: $n addition to normal damage, the &ounded 6nee attac! causes its victim to suffer penalties of 3 to Move on all maneuvers for the net two turns, and 3 Speed on all 6ic! Maneuvers for the net two turns. !ost: )one !ost: )one Speed: 3 Speed: 3 Damage: @ Damage: @ Move: C Move: C
BLOCK $f you don't !now how to defend yourself, yourself, you won't survive long on the Street Fighter circuit. Many fighters are content with basic forms of bloc!ing, preferring a more aggressive style of combat, so relatively few special moves have been developed to give a fighter better defensive ability. ability. )onetheless, they e eist, ist, and the fighters who master them swear by them. =nless otherwise otherwise stated, stated, the fighter still still gets gets his @3 @3 Speed bonus for bloc!ing the turn after eecuting any %loc!, even a %loc! special move.
De"#e$ting Pun$h
-+ore p. CCB/
Prerequisites: %loc! 000, *unch 0, *unch 5efense Power Points: Ai!ido, Points: Ai!ido, %ara1ah, %oing, eet 6une 5o, iu itsu, 6ung Fu, )in7itsu, Savate, Silat, Tai +hi +huan, &estern 6ic!boing C; Any 3
&ing +hun 6ung Fu is famous for 1uic! 1uic! counter punches that deflect an opponent's punch at the same time the fighter is himself attac!ing. &hen the martial artist sees his opponent punching, he counters with his own punch, deflecting his opponent's punch with his arm as his fist continues on to stri!e his opponent. Sstem: The Sstem: The fighter must interrupt an opponent's *unch maneuver. maneuver. The opponent rolls damage for his punch even though he was interrupted. The fighter gets his full %loc! Soa! against the opponent's damage. The b loc!ing portion of this move is only useful against a punch. $f the fighter's opponent uses any other Techni1ue, Techni1ue, the fighter gets no bloc!ing bonus to his Soa! total -although he can still land his counterpunch/. Once the the opponent has dealt damage, the the fighter fighter immediately gets to land his counterpunch unless he was diied, !noc!ed bac!, or !noc!ed down by his opponent's maneuver. maneuver. The fighter calculates damage using his *unch Techni1ue. !ost: )one !ost: )one Speed: @3 Speed: @3 Damage: @4 Damage: @4 Move: )one Move: )one
&nerg 'e"#e$tion
-+ore p. CCH/
Prerequisites: %loc! 0000, Focus 0000, Missile 2eflection Power Points: Tai Points: Tai +hi +huan 3; Ai!ido, %ara1ah, iu itsu, 6abaddi, ?ua, Shoto!an 6arate, Silat ; Any G Once a fighter has has mastered the art of catching catching and returning physical ob7ects, he can begin to use the same physical coordination to catch and reflect energy attac!s. This phenomenal maneuver also re1uires the fighter to have a high degree of control over his own +hi. #e must instantly summon the correct energy into his hands to :catch< energy pro7ected at him and reflect it away. away. Sstem: This Sstem: This maneuver is similar to Missile 2eflection, ecept that the fighter can reflect any !ind of energy pro7ectile, such as a fireball, bolt of electricity, electricity, or sonic boom. The fighter must spend one point of his own +hi for each energy pro7ectile reflected and must score two or more successes on a &its roll to gauge and reflect the energy pattern of the pro7ectile. $f the pro7ectile is redirected at another victim, it will inflict the same amount of damage it would have inflicted upon the fighter who reflected it. !ost: C +hi Speed: @C Speed: @C Damage: )one Damage: )one Move: )one Move: )one
i$k De"ense
-+ore p. CCB/
Prerequisites: %loc! 00 Power Points: Any Points: Any C A fighter who who can guess guess his opponent's net move always has a distinct advantage, unless he guesses wrongE 6ic! 5efense incorporates many movements that help defend the fighter against an opponent's foot and !nee attac!s. #owever, because the fighter's concentration is on his opponent's feet, he is more susceptible to be punched or blasted with a Focus attac!.
Sstem: This Sstem: This operates as a standard %loc! Maneuver, ecept that the fighter is @G to Soa! !ic!s -including Special Maneuver !ic!s/ and 3 Soa! to any other type of Techni1ue. This Soa! modifier is added or subtracted to the fighter's normal %loc!ing Soa! total. !ost: )one !ost: )one Speed: @G Speed: @G Damage: )one Damage: )one Move: )one Move: )one
Maka .ara
-+ore p. CCD/
Prerequisites: %loc! 0000 Power Points: %ara1ah, Points: %ara1ah, eet 6une 5o, 6ung Fu, )in7itsu, *an!ration, Shoto!an 6arate, Silat, Sumo, Thai 6ic!boing ; iu itsu, &u Shu G; Any B %oth apanese apanese and +hinese martial martial arts arts incorporate incorporate training methods for turning a fighter's body surfaces and bones as hard as iron. This training, called Ma!a &ara in apanese, involves the fighter stri!ing his hands, forearms, shins, etc. into progressively harder surfaces( padded wood, bare wood, bric!s, tone, and finally metal. The repeated blows causes the fighter's bones to harden over time until they become li!e rods of iron. The training is facilitated by a secret herbal formula called dit da /ow in in +hinese. The herbal remedy helps heal the bruises that form on the fighter's arms and legs, allowing him to train again the net day. )o one li!es li!es to punch or !ic! a rod of iron, but that is essentially what an opponent must do to overcome a Ma!a &ara master. Sstem: +haracters Sstem: +haracters who posses Ma!a &ara do not have to fill out a +ombat +ard for the power. $nstead, they invo!e the power whenever they use a %loc!ing Techni1ue Techni1ue and an opponent stri!es them with a punch or a !ic!. The Ma!a &ara fighter ta!es damage as normal, but immediately rolls a damage test against his opponent, who has 7ust in7ured herself by stri!ing the ironhard arms or legs of the Ma!a &ara fighter. The fighter rolls damage using a 5ice *ool of -Stamina @ %loc!/ 9 . The attac!er's Soa! total is then subtracted. $f the defender is attac!ed with a weapon or 8rab Techni1ue maneuver, the attac!er does not ta!e damage. !ost: )one !ost: )one Speed: See Speed: See description above. Damage: See Damage: See description above. Move: See Move: See description above.
Missi#e 'e"#e$tion
-+ore p. CCD/
Prerequisites: %loc! 0000 Power Points: iu Points: iu itsu, Tai +hi +huan C; Any 3 Martial artists who who have studied studied the intimate details of of evasion and deflection motions are able to snatch arrows out of the air and catch thrown !nives between clapped hands. Often the fighter will return the missile weapon to its sender in one fluid catchandthrow motion. Sstem: &hen Sstem: &hen this Special Maneuver is used, the fighter poises herself to intercept any ob7ects thrown or fired at her. $f any missile attac!s are directed at her, she has a chance to catch them and even return them toward their sender or in any other direction. The fighter must roll 5eterity -difficulty -difficulty D/ to catch a missile successfully. successfully.
Thrown weapons li!e !nives, shrui!ens, and roc!s re1uire one success to catch, missiles from weapons li!e bows or slingshots re1uire two successes, and gunfire re1uires three successes to deflect. $n order to deflect gunfire, the fighter must be holding some piece of metal or other material capable of withstanding the bullets and bouncing them away. $f the missile missile is reflected at another party, party, the new victim suffers the same damage that the missile would have inflicted upon the fighter who caught and returned it. 8unfire cannot be reflected at the attac!er -unless the Storyteller allows it in a heroic moment of high drama/. The fighter can reflect any number of missiles targeted at her during the same turn. 0es, any number. number. !ost: )one !ost: )one Speed: @ Speed: @ Damage: )one Damage: )one Move: C Move: C
Pun$h De"ense
-+ore p. CCD/
Prerequisites: %loc! 00 Power Points: Any Points: Any C Similar to 6ic! 5efense, *unch *unch 5efense incorporates a variety of duc!ing, bobbing, and deflecting movements that defend a fighter against punches but leave her open to other attac!s. Sstem: This Sstem: This operates as a standard %loc! Maneuver, ecept that the fighter is @G to Soa! punches -including Special Maneuver punches/ and 3 to Soa! any other type of maneuver. This Soa! modifier is added or subtracted to the fighter's normal %loc!ing Soa! total. !ost: )one !ost: )one Speed: @G Speed: @G Damage: )one Damage: )one Move: )one Move: )one
San e
-+ore p. CCD/
Prerequisites: %loc! 000, Focus 00 Power Points: Tai Points: Tai +hi +huan 3; Ai!ido, iu itsu, 6abaddi, 6ung Fu, ?er 5rit, Silat, Sumo, &u Shu ; Ma7estic +row 6ung Fu, Shoto!an 6arate G Some styles styles teach practitioners the ability ability to root their bodies to the ground using their internal +hi energy. This same energy can be spread out across the surface of a body, body, causing all the muscles to tighten. This rigid, immovable stance is part of the San #e form of 6ung Fu. Other styles refer to it by different names. &hen a fighter assumes this stance, her body becomes li!e a single, solid piece of iron 9 immovable and resistant to all attac!s. Sstem: &hen Sstem: &hen eecuting San #e, the character adds double her %loc! Techni1ue to her Soa! total. For eample, a character with a Stamina of and a %loc! Techni1ue of G would have a Soa! total of CC the turn she uses San #e. $n addition, addition, the fighter cannot cannot be !noc!ed !noc!ed down ecept by a 8rab Maneuver, nor can she be !ic!ed bac! out of her he. The San #e stance roots the fighter to the ground, and even special powers li!e #urricane 6ic! or 5ragon *unch will not !noc! the character bac!. Against truly massive moving ob7ects, li!e cars, the Storyteller can have the fighter roll Strength @ %loc! to stand her ground. The
bigger the ob7ect, the more successes the fighter needs on her roll -a car might be four successes, a bus might be seven successes/. The fighter fighter does not gain a @3 Speed Speed bonus for for bloc!ing the turn after using San #e. !ost: C +hi Speed: @3 Speed: @3 Damage: )one Damage: )one Move: )one Move: )one
GRAB These moves all involve grabbing the opponent and then doing something with her. &hether it's throwing an opponent across the arena, s1ueeing the life out of her, or even biting her, this category of special moves covers it all. 2emember, 2emember, all 8rab maneuvers first re1uire the attac!er to move into the opponent's he unless otherwise specified. 8rabs are eplained fully in +hapter H. There, you will also find out how Sustained #olds wor!.
/ir Throw
-+ore p. CCH/
pounce of a full grown tiger and bring the tiger crashing into the ground. Sstem: =se Sstem: =se the modifiers below. The fighter must interrupt an opponent performing an Aerial Maneuver. Maneuver. $f the victim suffers any damage, then the Air Suple was successful and the victim suffers a 6noc!down. The attac!er and the victim both end the turn in the same he where the attac! occurred. !ost: )one !ost: )one Speed: C Speed: C Damage: @G Damage: @G Move: @4 Move: @4
Ba$k Breaker
-+ore p. CC/
Prerequisites: 8rab 000 Power Points: iu Points: iu itsu, )ative American American &restling, *an!ration, Sanbo, &restling 3 The wrestler wrestler grabs an opponent, turns the body over and slams his head and bac! into the ground. Simple and effective. Sstem: The Sstem: The opponent suffers a 6noc!down in addition to damage. !ost: )one !ost: )one Speed: C Speed: C Damage: @ Damage: @ Move: One Move: One
Prerequisites: 8rab 00, Athletics 0, ump, Throw Power Points: Ai!ido, Points: Ai!ido, eet 6une 5o, iu itsu, Ma7estic +row 6ung Fu, )ative American &restling, &restling, )in7itsu, *an!ration, Sanbo, Spanish )in7itsu, Special Forces, Tai +hi +huan, &restling, &u Shu 3; Any Some )ative )ative American &restlers have been !nown to -+ore p. CC/ Ba$k 'o## Throw 7ump into the air air to catch an aerial aerial opponent, grab the the opponent li!e a haw! snatching a dove, and slam the Prerequisites: 8rab 00, 6ic! 0, Athletics 0, Throw opponent to the ground. This lethal move is also seen in Power Points: Ai!ido, Points: Ai!ido, %ara1ah, +apoeira, iu itsu, Sanbo, has been pic!ed up by many Special Forces )in7itsu, Shoto!an 6arate, Spanish )in7itsu, Tai Tai +hi +huan, soldiers, and is even seen in the aerial artistry of &u Shu. &estern 6ic!boing, &u Shu C; Any 3 Sstem: To Sstem: To eecute the move during combat, the fighter This move move is an advanced version of the Throw Throw special must interrupt another character's ump move, or must move. $nstead of using her shoulders or hips to throw an interrupt right after any other opponent has played a opponent, the fighter grabs the opponent and then rolls special move that also acts as a ump -li!e a Jertical bac!wards onto the ground, planting a foot on the 2olling Attac!, Attac!, 5ragon *unch, Flying #eel Stomp, etc./. opponent's chest to heft him up and over. The victim of the The fighter then must 7ump to where the intended victim is, %ac! 2oll Throw ends up tossed behind the attac!er's enter the same he as the airborne victim, and eecute the head. throw. throw. $f any damage is scored, the fighter can pic! any Sstem: The Sstem: The move is 1uic!er than a basic Throw, and spot within three hees to d eposit the victim. $n addition to the opponent can be thrown farther. farther. The victim can be regular damage, the victim will suffer a 6noc!down. After thrown a number of hees e1ual to the attac!er's Strength eecuting the throw, the attac!er can finish any remaining Attribute @ 6ic! 6ic! Techni1ue. Techni1ue. hees of movement. !ost: )one !ost: )one !ost: C &illpower Speed: C Speed: C Speed: @3 Speed: @3 Damage: @G Damage: @G Damage: @B Damage: @B Move: One Move: One Move: @4 Move: @4
/ir Sup#e0
-SoS p. 3H/
Prerequisites: 8rab 000, Athletics 000, ump, Suple Power Points: Spanish Points: Spanish )in7itsu C; 6abaddi 3; Any The warrior warrior intercepts intercepts his opponent in midleap, grabbing the opponent and twisting him upsidedown so that both the attac!er and victim fall to the ground headfirst. Of course, the victim of the Air Suple crashes to the ground first, absorbing the impact of the fall. This maneuver was was actually actually developed by $ndian $ndian 6abaddi masters who were said to be able to intercept the
Bear ug
-+ore p. CC/
Prerequisites: 8rab 00 Power Points: )ative Points: )ative American &restling, *an!ration, Sanbo, Sumo, &restling C; Animal #ybrid 3; Any 8rab that irritatingly 1uic! little little fighter and and crush her into your chest until her bones rattle. The %ear #ug is an old standby for many wrestlers, and a few other stylists have decided to adopt it as well. Sstem: The Sstem: The %ear #ug is a Sustained #old. !ost: )one !ost: )one
Speed: C Damage: @ Move: One
Brain !ra$ker
!ost: )one Speed: @C Damage: )one Move: 3 -+ore p. CCK/
Prerequisites: 8rab 00, *unch 0 Power Points: %oing, 6abaddi, )ative American &restling, *an!ration, Sanbo, Thai 6ic!boing, &estern 6ic!boing, &restling C; Any 3 5efeating an opponent isn't enough for some fighters. They want to drive some sense into their opponent's brains. A fighter employing the %rain +rac!er Special Maneuver grabs his opponent's hair, ear or nose, pulls her head down, and rains smashing punches into her s!ull or drives elbows into her face. Sstem: This is a Sustained #old that allows a fighter to punch a held opponent each turn the hold is maintained. The damage for the move is based on the fighter's *unch Techni1ue instead of his 8rab Techni1ue. !ost: )one Speed: @4 Damage: @3 Move: One
!hoke Throw
-SoS p. 3H/
Prerequisites: 8rab 000, Athletics 00, ump Power Points: Spanish )in7itsu C; ?ua, *an!ration 3; Any The fighter leaps up and either catches his opponent midair or eecutes this maneuver upon landing. "ither way, the result is the same. The fighter catches his opponent by the throat and uses his momentum to hurl his opponent to the ground. Sstem: =se the modifiers below. The fighter eecuting the +ho!e Throw can interrupt an opponent performing an Aerial Maneuver. $t can also be used to attac! a standing opponent. Any damage done indicates that the victim suffers a 6noc!down. The attac!er and victim both end the tun in the same he where the attac! occurred. !ost: )one Speed: C Damage: @3 Move: @4
Disengage
-*8 p. D/
Prerequisites: 8rab 00, Athletics 00 Power Points: )in7itsu C; ?ua, )ative American &restling, *an!ration, Sanbo, Spanish )in7itsu, &restling 3; Tai +hi +huan ; Any G This maneuver utilies a fighter's fleibility and 1uic!ness, enabling her to etract herself from an opponent's grasp. Sstem: A fighter may play this move during any turn in which she is in a Sustained #old. &hen played, the captive fighter rolls a second time to try to escape from her captor. #owever, for the second roll the fighter rolls her 5eterity versus her opponent's Strength. $f she escapes and has any Move left, she may move away from her opponent.
Dis#o$ate *imb
-*8 p. H/
Prerequisites: 8rab 000, 6ic! 00, Athletics 0 Power Points: %ara1ah, +apoeira, ?ua, )in7itsu *an!ration, 3; iu itsu, 6abaddi, )ative American &restling, Sanbo, Silat, Special Forces, Tai +hi +huan, &restling umping forward, the fighter grasps his opponent's arm tightly with both of his. #e then lifts one leg into the pit of the opponent's arm and pulls with all of his strength. This pulls the shoulder 7oint loose from its soc!et, causing incredible pain and immobiliing the arm. Jery little damage is inflicted by this maneuver, but it is an effective way to deal with an opponent who specialies in punches. Sstem: The turn after a fighter's shoulder has been dislocated, he suffers a Speed penalty. This is because he is forced to pop his arm bac! into its regular position. Any punches used this turn will have a 3 5amage modifier, as the fighter attempts to return some feeling to his arm. Alternately, the opponent can choose not to relocate his arm. #owever, he may only throw !ic!s until he ta!es the time -and the Speed penalty/ to relocate his arm. !ost: )one Speed: C Damage: @C Move: @C
Fa$e S#am
-So8 p. /
Prerequisites: 8rab 00, Strength 0000 Power Points: )ative American &restling, Sumo 3; Sanbo ; Any B This maneuver re1uires tremendous upper body strength. %asically, the fighter palms his opponent's face, lifts him off the ground and slams him headfirst into the ground. The &orld &arrior, ". #onda, has wor!ed this maneuver into a frightening combination. Sstem: =se the modifiers below. $f any damage is done, the opponent suffers a 6noc!down. !ost: )one Speed: C Damage: @ Move: One
F#ing Ta$k#e
-So8 p. /
Prerequisites: 8rab 00, Athletics 00 Power Points: Any 3 The fighter launches into the air and slams into his opponent, ta!ing them both to the ground. This maneuver is considered crude by many highran!ing Street Fighters, although its effectiveness cannot be denied. Sstem: %oth the attac!er and defender suffer a 6noc!down, but only if any damage is done. After impact, attac!er and defender fly bac! two hees and end the turn
on the ground, occupying the same he. The attac!er gains a bonus @3 to her Speed if her net maneuver is a 8rab Maneuver. !ost: )one Speed: C Damage: @4 Move: @3
+rapp#ing De"ense
-+ore p. CCK/
Prerequisites: 8rab 0000 Power Points: iu itsu 3; Ai!ido, %ara1ah, ?ua, )ative American &restling, *an!ration, Sanbo, Tai +hi +huan, &restling ; eet 6une 5o, 6ung Fu, ?er 5rit, Ma7estic +row 6ung Fu, Silat G; Any B &restlers don't survive long unless they learn ways to escape and counter the grabs and holds of their fellow wrestlers. Other styles, such as the 6ung Fu art of +hin )a or the apanese art of 7ui7itsu formalie this grappling training. Sstem: The 8rappling 5efense Special Maneuver wor!s similarly to a %loc!, but it only protects against 8rab maneuvers. A fighter employing 8rappling 5efense adds his 8rab Techni1ue to his Stamina to determine his Soa! total against any 8rab Maneuver. For eample, ". #onda grabs his opponent and applies a %ear #ug. The opponent is using 8rappling 5efense, so he adds his Stamina of 3 and his own 8rab Techni1ue of G to get a Soa! total of D against the damage of #onda's %ear #ug maneuver. 8rappling 5efense can even be played each turn by a fighter trapped in a Sustained #old, thereby minimiing the damage the hold inflicts. !ost: )one Speed: @G Damage: )one Move: C
air Throw
-+ore p. CCK/
ead Bite
-+ore p. CCK/
Prerequisites: 8rab 00 Power Points: Animal #ybrid, %oing C; +apoeira, ?ua, *an!ration, Sanbo 3; Any Some Street Fighters either have a little vampirism in them or, li!e %lan!a, are 7ust downright savage. $t's a nasty move, but some fighters have been !nown to leap onto their opponents and bite right into their nec!s. Sstem: This is a Sustained #old and inflicts damage each turn the hold is maintained. !ost: )one Speed: @C Damage: @ Move: One
ead Butt o#d
-+ore p. CDH/
Prerequisites: 8rab 00, #ead %utt Power Points: %oing, 6abaddi, Sumo, Thai 6ic!boing 3; Any ?as Jegasstyle boing doesn't allow head butts; however, some fighters don't mind b anging heads in the middle of a clinch. Street Fighter boers ta!e this one step further, grabbing their opponents and smashing them with repeated head butts. Sstem: The move is a Sustained #old, so the boer gets to attac! his opponent each turn until the victim escapes. !ost: )one Speed: C Damage: @ Move: One
1mproved Pin
-SF+ p. CCG/
Prerequisites: 8rab 000, Athletics 00, *in Power Points: Ai!ido, %ara1ah, iu itsu, ?ua, &restling 3; 6ung Fu, *an!ration, Silat, Special Forces, Tai +hi +huan, &u Shu ; Any G This is simply a refinement of the *in techni1ue. Sstem: The fighter may use an $mproved *in on any one target in their he or an ad7acent he, regardless of whether the target is 6noc!ed 5own or 5iy, using the modifiers below. $n all other ways, it acts eactly li!e a *in. !ost: C &illpower on the first turn only Speed: @4 Damage: @3 -first turn/>@C -subse1uent turns/ Move: @C -first turn/>Two -subse1uent turns/
Prerequisites: 8rab 000, Athletics 00, Throw Power Points: iu itsu, 6ung Fu, Ma7estic +row 6ung Fu, )in7itsu, Silat, Special Forces 3; Any This throwing maneuver was invented hundreds of years ago by a Mongolian tribe renowned for its acrobatic grappling maneuvers. The tribe was assaulted by bands of thieving marauders who would gallop in on horses and pillage the tribe's villages. Seeing that the marauders wore their hair in long loc!s, the tribe invented a techni1ue for running at a horseman, flipping up and over the horseman's head, grabbing his hair from behind and throwing the marauder off his horse. Jarious styles of 6ung Fu have since pic!ed up the techni1ue, and the hair pulling maneuver is also used by 1ron !#aw -+ore p. CCK/ many Special Forces groups. Prerequisites: 8rab 00000 Sstem: The fighter must move into and straight through Power Points: ?ua, Ma7estic +row 6ung Fu, )ative an opponent's he. The opponent can then be thrown -per American &restling, Sanbo, Silat, &restling G, ?er 5rit B the Throw maneuver/ along the same straight line the The wrestler 1uic!ly grabs her opponent with one hand, fighter initially used to move over his opponent. draws him in, and then places her other hand on the !ost: )one opponent's face. The wrestler's hand clenches li!e a vise Speed: 3 over the opponent's face, each finger digging into some Damage: @B pressure point li!e the temples, under the 7aw, or even into Move: Two the eyes. The sheer force of the s1ueee causes intense
pain to the victim. &restlers train for the $ron +law by performing a variety -+ore p. C34/ ,e$k !hoke of eercises to increase their grip strength. One of the Prerequisites: 8rab 000 most popular involves dropping and catching slabs of Power Points: iu itsu, )ative American &restling, concrete. A wrestler ta!es a concrete bloc! and raises it Special Forces, &restling C; ?ua, *an!ration, Sanbo 3; over her head with both outstretched arms. She releases Any the bloc! and then darts her hands down to catch it before The fighter grabs her opponent and applies a strangling it hits the ground. 8rasping the heavy concrete 1uic!ly )ec! +ho!e. %ig fighters li!e T. #aw! prefer to lift their builds tremendous hand strength. &restlers then practice opponents off the ground as they apply the hold. clapping their hands together after they release the concrete, and then still grabbing it before it hits the ground. Sstem: The )ec! +ho!e is a Sustained #old. This clapping builds speed. !ost: )one Sstem: The $ron +law is a Sustained #old that uses the Speed: C modifiers listed below. Damage: @ !ost: C &illpower on the first turn only. Move: One Speed: @C Damage: @G Pi#e Driver -+ore p. C34/ Move: One Prerequisites: 8rab 000, Athletics 0 Power Points: Sanbo 3; )ative American &restling, 2aw Spin -*8 p. H/ Special Forces, &restling ; Any G Prerequisites: 8rab 0000, Athletics 000, Tearing %ite The *ile 5river is an advanced grappling move that Power Points: Animal #ybrid ta!es a lot of training to eecute against a live opponent. The wrestler must grab his opponent and invert her body Truly a terrifying tactic. The fighter assumes a crouching so that the opponent's head is between the wrestler's legs stance -apparently a %loc! Maneuver/ and waits for her opponent's attac!. &hen the attac! is launched, the hybrid and the opponent's legs etend above the wrestler's head. The wrestler than 7umps up and raises his own legs into 7umps, grips her assailant's limb in her 7aws, and worries the seated position. &hen the wrestler and his victim land, the opponent. the opponent's head hits first. Sstem: To be successful, the hybrid must actually allow Sstem: The victim of a successful *ile 5river a lso the slower attac! to hit. $f the opponent's attac! is faster, suffers a 6noc!down. this maneuver cannot be played. Once the blow has landed -assuming the hybrid is not diied and is still on !ost: )one her feet/, she then eecutes the aw Spin. Speed: 3 &hen determining the damage done by this attac!, the Damage: @G Animal #ybrid %ac!ground is used in place of the hybrid's Move: One 8rab Techni1ue. !ost: C +hi Speed: @C Damage: @B Move: )one
nee Basher
Pin
-+ore p. CCK/
Prerequisites: 8rab 00, 6ic! 0 Power Points: +apoeira, *an!ration, Special Forces, Sumo, Thai 6ic!boing, &estern 6ic!boing, &restling 3; Any This move resembles the %rain +rac!er, ecept that the wrestler grabs his opponent's head and doubles the opponent over in order to !nee him in the head. +apoeira stylists practice this move by holding coconuts in one hand and crushing them with their !nees. Sstem: This move is a Sustained #old, and even if the opponent is luc!y enough to escape, she is considered 6noc!ed 5own and suffers a 3 Speed penalty the turn after she frees herself. 5amage for the 6nee %asher is calculated using the fighter's 6ic! Techni1ue instead of his 8rab Techni1ue. !ost: )one Speed: C Damage: @G Move: One
-SF+ p. CCG/
Prerequisites: 8rab 00 Power Points: Ai!ido, ui itsu, ?ua, *an!ration, Tai +hi +huan, &restling 3; %ara1ah, eet 6une 5o, 6ung Fu, Shoto!an 6arate, Silat, &u Shu ; Special Forces G; Any B ui itsu practitioners learn many ways to hold someone immobile. To perform a *in, the target must either have suffered a 6noc!down or be 5iied; the fighter moves into his opponent's he and ma!es his attac! roll. $f he performs two or more levels of damage, the opponent is held in a painful, immobiliing hold until she manages to brea! free 9 a difficult tas!. The ui itsu practitioner often pins his opponent near the end of the fight, then 7ust waits for the time to run out. This maneuver is often bought as the second half of a +ombo with Throw or Air Throw. Sstem: The ui itsu practitioner's Strength is considered to be raised by three only for the purposes of holding the opponent -it does not add to the damage roll/. The fighter may choose to inflict damage or not each Turn after the first; the target only gets their Stamina and 8rappling 5efense against this attac!. This is a Sustained #old. $f the fighter is 5iied or !noc!ed out by a third party's attac!, the *in is automatically bro!en. !ost: C &illpower on the first Turn only Speed: C
Damage: @3 -first turn/>@4 -subse1uent turns/ Move: @C -first turn/>)one -subse1uent turns/
'ipping Bite
-*8 p. /
Prerequisites: 8rab 000, %ite Power Points: Animal #ybrid 3 Animal hybrid Street Fighters often use their 7aws as weapons. The fighter chomps down on the limb he wishes to wea!en, and then tries to tear the muscles and ligaments from their connecting tissue. $t is because of this maneuver -and others li!e it/ that animal hybrids are loo!ed down upon, in and out of tournaments. Sstem: The fighter leaps forward and indicates which limb he wishes to stri!e. A successful roll inflicts damage and causes the target to suffer a C penalty on both Strength and 5eterity for the remainder of the combat. This maneuver can be performed multiple times, thus further impairing an opponent. &hen determining damage inflicted by this attac!, the Animal #ybrid %ac!ground is used in place of the hybrid's 8rab Techni1ue. !ost: C &illpower Speed: C Damage: @C Move: One
'ising Storm !row
-*& p. D4/
Prerequisites: 8rab 000, Athletics 000, Throw Power Points: Ma7estic +row 6ung Fu G; 6ung Fu B The 2ising Storm +row is a devastating maneuver based on the same principles of leverage seen in the Thigh *ress, only ta!en to a further level of power. The fighter charges and grabs anything at hand on the front of her target -lapels, hair, ears/; she then launches into a forward flip directly over her opponent. As she lands in a crouched position -still facing the direction she started in/, she bends her opponent over bac!wards and pulls him over her head, using the momentum of the leap to fling him tumbling through the air. 5amage is caused by both the forced bac!ward contortion and the impact of the landing. Successful repetition of this maneuver can easily batter an opponent senseless. Sstem: The fighter must start at least two hees away from her target when starting, and can throw the target in a straight line forward for as many he es as her Strength. The target ta!es two damage tests( one at the fighter's Strength when the forced flip is initiated, and then another at twice the fighter's Strength when the target lands. Thus, a character with a high Strength throws the target farther and harder. The opponent automatically suffers a 6noc!down, whether or not he ta!es any damage from either test. %oth damage tests combine to determine if the victim is diied. !ost: C &illpower Speed: Damage: >3 Move: @3 -minimum Move 3/
Siberian Bear !rusher Prerequisites: 8rab 000, Athletics
-+ore p. C34/
, %ac! %rea!er
00
Power Points: Sanbo B $rritated by little capitalist opponents who would hit and run from him, Iangief revived and pe rfected a maneuver he had previously practiced on the wild bears of Siberia. $n doing so, Iangief would rush at the bear, closing inside the range of the bear's deadly claws before it could stri!e. Then he lifted the bear into an airborne bac! brea!er to hammer the beast into submission. -Of course, Iangief ac1uired a lot of claw scars trying to learn the maneuver./ Sstem: The wrestler dashes forward into the opponent's he, grabs the opponent, inverts him, and leaps into the air, in midair, the wrestler ad7usts his hold to ensure the victim lands in the %ac! %rea!er position. The wrestler can choose any he up to three hees away to land in. The victim suffers a 6noc!down in addition to damage. The Siberian %ear +rusher is considered an Aerial Maneuver during the time the wrestler and his prey are both airborne. !ost: C &illpower Speed: @4 Damage: @ Move: @C
Siberian Sup#e0
-+ore p. C34/
Prerequisites: 8rab 0000, Athletics 00, Suple Power Points: Sanbo 2ussian Sanbo wrestlers invented the bouncing Siberian Suple in order to have more fun with their puny opponents from the &est. Sanbo wrestlers found that their opponents would usually be !noc!ed senseless after only one Suple, thus ending the match before the Sanbo fighter could wor! up a sweat. So Sanbo fighters invented the Siberian Suple. This move begins eactly li!e a regular Suple, but the fighter bac!bridges the opponent's shoulders into the ground hard enough to bounce both fighters into the air. &hile in the air, the Sanbo wrestler maintains the Suple hold. &hen the pair lands, the victim again suffers a Suple collision on the ground. Sstem: This move is identical to a Suple, ecept that the fighters end the move one he farther bac! as they land from the second hit. The fighter rolls two damage test using the modifiers below. The victim also suffers a 6noc!down. !ost: C &illpower Speed: @4 Damage: @3 Move: One
S#eeper
-*8 p. /
Prerequisites: 8rab 000 Power Points: %ara1ah, ?ua, )ative American &restling, Sanbo ; Sumo, Special Forces G; Any B The wrestler grabs her opponent and 1uic!ly positions herself behind him, simultaneously wrapping her arms around his nec! and head. $n this position she massages pressure points on the scalp while compressing the carotid artery, which control the flow of blood to the brain. "ventually the lac! of circulation will cause the opponent to lose consciousness. Sstem: $f the character can maintain her grip for three rounds, including the first, she will automatically diy her opponent. This is a Sustained #old.
!ost: C &illpower for the first turn only Speed: C Damage: @3 Move: One
Spinning Pi#e Driver
-+ore p. C34/
Prerequisites: 8rab 0000, Athletics 000, ump, *ile 5river Power Points: &restling ; Sanbo G; )ative American &restling B This advanced version of the regular *ile 5river has carried Iangief to the title of &orld &arrior -often over the mangled bodies of his opponents/. Iangief perfected this move when he wrestled wild bears. Finding that the regular *ile 5river was not forceful enough to stun the hardheaded Siberian bears, Iangief grabbed them, upended them into a *ile 5river position and then 7umped high into the air. The added force from the fall proved sufficient to stun the most ferocious bears. &hen Iangief entered Street Fighter tournaments, he continued to use the Spinning *ile 5river to finish his opponents. #e added the spin into the move to please the 2ussian crowds and disorient his victim. Sstem: The victim suffers a 6noc!down in addition to regular damage, and is bounced three hees away -attac!er's choice which direction/ after impact. The Spinning *ile 5river can be used li!e a ump to interrupt and dodge a pro7ectile attac!. The move counts as an Aerial Maneuver after the fighter grabs his opponent and begins the airborne spin. !ost: 3 &illpower Speed: 3 Damage: @H Move: Two
Stoma$h Pump
Jery few opponents get bac! up. Sstem: As with all 8rab Special Maneuvers, the fighter must move into the same he as his opponent. The fighter can choose to land up to three hees away. The opponent suffers a 6noc!down in addition to damage. Fighter and opponent end the turn in the same he. Once the fighter has grabbed the opponent and 7umped into the air, the Storm #ammer is considered an Aerial Maneuver until the fighter and his prey land. The move can be used to interrupt an incoming pro7ectile attac! and possibly dodge it -see the ump Athletics Maneuver/. !ost: 3 &illpower Speed: 3 Damage: @H Move: One
Sup#e0
Prerequisites: 8rab 0 Power Points: iu itsu, )ative American &restling, *an!ration, Sanbo, Spanish )in7itsu, Special Forces, &restling C; Any 3 The Suple is a relatively fast 8rab move. The fighter lunges forward, grabs her opponent, and then twists around to fall bac!wards. %y arching her bac!, the wrestler slams the opponent's head into the ground and simultaneously cushions the wrestler's own fall. Sstem: Jictims of a successful Suple also suffer a 6noc!down. The victim lands one he behind his original position -attac!er's choice which he/. !ost: )one Speed: @4 Damage: @3 Move: One
Tearing Bite -+ore p. C34/
-+ore p. C3C/
-*8 p. /
Prerequisites: 8rab 00, Athletics 00, %ite Prerequisites: 8rab 0000, *unch 00 Power Points: Animal #ybrid 3 Power Points: iu itsu, )ative American &restling, This Special Maneuver is similar to the #ead %ite, ecept *an!ration, Sanbo, &restling that as the fighter's teeth bear down on his opponent's The wrestler grabs the opponent, lifts her off her feet with nec!, he also applies leverage to the victim and throws one hand and repeatedly smashes the pit of her stomach him over his bac!. with a palm heel. The move's n ame derives from the fact Sstem: After applying the damage, the attac!er then that many victims end up losing their lunch before they throws his opponent in the opposite direction from the one escape from this organs1ueeing hold. he is facing. The victim travels a number of hees e1ual to Sstem: The Stomach *ump is a Sustained #old. the fighter's Strength C. !ost: )one ?i!e the aw Spin, this Special Maneuver uses the Animal #ybrid %ac!ground in place of the fighter's 8rab Speed: @4 Techni1ue when determining the damage for this attac!. Damage: @G !ost: C +hi Move: One Speed: @C Damage: @G -+ore p. C3C/ Storm ammer Move: One Prerequisites: 8rab 00000 , Athletics 000, ump Power Points: )ative American &restling, &restling B -+ore p. C3C/ Thigh Press =nfortunate souls who anger T. #aw! in the midst of combat are in for a disorienting, bonecrushing eperience Prerequisites: 8rab 00, Athletics 00 as T. #aw! unleashes his Storm #ammer throw. T. #aw! Power Points: iu itsu, )ative American &restling, grabs his opponent's head in one huge hand, leaps into Sanbo, Special Forces, &restling 3; Any the air, spins his arm -opponent includedE/ in a big circle This move is also called a 2everse Suple, but many and then crushes the opponent's face into the arena floor. tournament fighters began calling it the Thigh *ress after
they saw +ammy's version of the move. The fighter starts by 7umping onto the opponent's shoulders, loc!ing her feet behind the opponent's bac! and catching the opponent's head between her thighs. The fighter then drops her body weight bac!ward, bending the opponent over. As she does so, the fighter flips bac!ward, doing a half bac! flip and landing on her stomach. Meanwhile, the opponent is pulled over and off his feet, smashing headfirst into the ground. Sstem: The opponent suffers a 6noc!down in addition to regular damage. The fighter switches hees with her opponent unless both combatants started in the same he, in which case the attac!er can choose the ad7acent he in which the victim lands. !ost: )one Speed: C Damage: @G Move: One
Throw
-+ore p. C33/
Prerequisites: 8rab 0 Power Points: iu itsu 4; Any C Most martial arts teach special techni1ues for grabbing and throwing an opponent. These techni1ues involve using the hips, shoulders and>or arms to unbalance the opponent and leverage him into a throw. Masters can throw opponents over 34 feet through the air. Sstem: $f the move succeeds, the fighter can choose the he in which his opponent lands after the Throw. The fighter can throw an opponent a number of hees e1ual to the fighter's Strength. For eample, 6en has a Strength of B, so he can shoulderthrow an opponent up to five hees away. The opponent lands in the designated he and suffers a 6noc!down. Fast member of successful tournament teams often throw o pponents to their stronger, slower comrades, who then finish off the unfortunate with a powerhouse Special Maneuver. The damage from a Throw is actually inflicted when the opponent lands and hits the ground, wall, car windshield, other fighter, etc. $f the victim is thrown into another fighter, the fighter is struc! by the flying body and may suffer damage as well. 2oll damage based on the thrown character's Stamina minus the struc! character's Soa! total -Stamina or Stamina @ %loc!/. For eample, Fei ?ong throws Iangief into a he where +ammy is standing. Iangief's Stamina is H -he's a big guyE/, and +ammy's Soa! total is e1ual to her Stamina of G -it would have been more had she been %loc!ing/, so Fei ?ong's player rolls H 9 G dice of damage for +ammy. !ost: )one Speed: 3 Damage: @3 Move: One
ATHLETICS Some Street Fighters can eecute acrobatic moves that would ma!e Olympic gymnasts 7ealous. All Athletics Special Maneuvers use the fighter's Athletics Techni1ue to calculate damage -Strength @ Athletics @ Maneuver Modifier; see +hapter H for more information/.
/ir Smash
-+ore p. C33/
Prerequisites: Athletics 0, ump Power Points: Ma7estic +row 6ung Fu, )ative American &restling, *an!ration, Sanbo, Sumo, &restling C; Any 3 This move is popular with large fighters because it uses their weight to flatten an opponent into the sparring mat. The fighter leaps into the air, high above the opponent's head, and then falls straight down on top of her. Most fighters tend to land in an aerial seated position, which has caused the Air Smash to be nic!named the :%utt +rush<. Sstem: The Air Smash is an Aerial Maneuver and acts as a ump for the purposes of interrupting and evading pro7ectile attac!s. The fighter must move in a straight he line while eecuting the power, and he will end the move in the same he as the opponent on whom he landed. !ost: )one Speed: C Damage: @G Move: C
Ba$k"#ip
-SoS p. 3/
Prerequisites: Athletics 000 Power Points: +apoeira, eet 6une 5o, Spanish )in7itsu 3; &u Shu ; Any G This athletics maneuver provides a warrior with an ecellent retreating defensive move. A welltrained fighter using a bac!flip can avoid nearly any attac!. The %ac!flip maneuver is actually a series of bac!handsprings that can ta!e a competent gymnast halfway across an arena while he dodges pro7ectiles and other attac!s. Sstem: &hile eecuting this maneuver, the fighter can only move in a straight line away from his foe. &hile eecuting this maneuver, the fighter cannot be harmed by any attac!. #owever, he will be vulnerable to attac! both before and after the maneuver is eecuted. !ost: C &illpower Speed: @ Damage: )one Move: @3
Beast 'o##
-+ore p. C33/
Prerequisites: Athletics 00000 , 2olling Attac!, Jertical 2olling Attac! Power Points: +apoeira Superhuman. Few individuals have deciphered eactly how %lan!a accomplishes this gravitydefying move. #e begins by springing bac!ward into several aerial bac!flips, then rolls bac! forward in a series of somersaulting forward flips to ram his opponent. Sstem: The %east 2oll is an Aerial Maneuver that can be used li!e a ump to dodge pro7ectiles. The fighter begins by traveling in a straight heline bac!ward using the 3 Move modifier. This bac!ward roll can be used to attac! an opponent. The fighter then reverses direction along the same straight heline to stri!e a second opponent. The fighter caroms off the second opponent, ending up two hees away in the direction from which he came. For both attac!s, the fighter must move into the opponent's he.
Speed: @4 Damage: @ Move: 3 > @3
Break"a##
-SF+ p. CCB/
Prerequisites: Athletics 0 Power Points: iu itsu 4; Ai!ido, +apoeira, *an!ration, &restling C; Any 3 iu itsu, Ai!ido, and a number of other styles emphasie throwing techni1ues. %efore one can learn how to throw, however, she must first learn how to be thrown without getting hurt. %rea!fall is usually performed as a roll onto the shoulders and arms, with the head tuc!ed in to protect against nec! in7uries. Sstem: %rea!fall is a techni1ue that fighters practice until it becomes instinctive; therefore, you do not need to play a %rea!fall card to u se it. &henever your character ta!es damage from a maneuver that foes 6noc!down, you may reduce the amount of damage he ta!es from the fall by one point of #ealth for each success made on a 5eterity @ Athletics roll. -)ote( %rea!fall doesn't help against maneuvers that do damage and then !noc! you down, only against maneuvers where hitting the ground is the source of the damage, such as a Throw./ !ost: )one Speed: See description above. Damage: See description above. Move: See description above.
!annon Dri##
-+ore p. C3/
Prerequisites: Athletics 00000 Power Points: Special Forces G; 6abaddi, Ma7estic
Fast and ferocious, the +annon 5rill Special Maneuver has given +ammy an edge on her competition in the Street Fighter tournaments. Since they saw +ammy pull off the move, many other fighters have tried to imitate it; only a few have actually succeeded. To eecute the +annon 5rill, the fighter throws her body into a low airborne tra7ectory. The fighter's body actually twists li!e a horiontal tornado as she flies across the field to stri!e her opponent feet first. The move is very 1uic!, has a vicious hit, and moves the fighter 1uite a distance. Sstem: %ecause it flies so low to the ground, the +annon 5rill does not count as an Aerial Maneuver. !ost: C &illpower Speed: @3 Damage: @3 Move: @3
Disp#a$ement
-*8 p. /
Prerequisites: Athletics 00, %loc! 00, *unch 0 Power Points: Savate 3; Spanish )in7itsu ; &u Shu G This move consists of a 1uic! sidestep, which allows the fighter to dodge an oncoming attac!. The fighter may then eecute a short 7ab if the opponent is still within range. Many opponents are intensely frustrated by this evasion, which is commonly practiced by Savate fighters. Sstem: This maneuver is completely effective only if the fighter has enough Move to initiate a counterattac! and is 1uic!er than his adversary. &hen the opponent begins his attac!, the fighter must have enough Speed to interrupt the attac!; otherwise, the 5isplacement is ineffective. The fighter eecuting the 5isplacement may then travel up to her full Move to the left or right of her opponent. Once the
opponent's move is completed, the :displaced< fighter may move bac! in and counterattac! if the fighter has any Move left. This maneuver can be used to evade pro7ectiles, although a contested roll must still be made -as with the ump Special Maneuver/. The Street Fighter's *unch Techni1ue is used for the purposes of determining damage. !ost: C &illpower Speed: @3 Damage: C Move: @C
Diving awk
-+ore p. C3/
Prerequisites: Athletics 000, Focus 0, ump Power Points: )ative American &restling, Spanish )in7itsu G The ultimate cure for the Fireball blues. The 5iving #aw! maneuver allows a fighter to soar over incoming pro7ectiles and then dive down to crush the missilethrowing opponent. The fighter 7umps straight up into the a ir, then positions her body into a gliding position, emulating a haw! diving at prey. She then soars down to stri!e her chosen victim with a fullbody collision. Sstem: The 5iving #aw! is an Aerial Maneuver. $t starts as a vertical ump -and can dodge Fireballs 7ust li!e a ump/. The fighter subse1uently uses her Move to enter her opponent's he and deal damage. !ost: C &illpower Speed: @4 Damage: @B Move: @3
Dragon3s Tai#
-*8 p. K/
Prerequisites: Athletics 0000, =pper Tail Stri!e Power Points: Animal #ybrid This Special Maneuver is similar to the =pper Tail Stri!e, but is more difficult to control and re1uires greater strength and coordination to perform. The fighter leans forward as if winding up for a powerful uppercut. #e then shifts his weight in the other direction while twisting his lower body to snap the tail forward. =sing sheer brute strength and momentum, the fighter crashes his tail across the upper body of the target. Sstem: The target suffers a 6noc!down if airborne; otherwise a grounded target damaged by the 5ragon's Tail will be pushed one he directly away from the fighter. &hen determining damage inflicted by this attac!, the Animal #ybrid %ac!ground is used in place of the hybrid's Athletics Techni1ue !ost: )one Speed: C Damage: @B Move: 3
Drunken Monke 'o##
-+ore p. C3/
Prerequisites: Athletics 00 Power Points: eet 6une 5o, 6ung Fu C; Ai!ido, Animal #ybrid, +apoeira, Ma7estic +row 6ung Fu, )in7itsu, Silat, &u Shu 3
$t is said that the un7ustly imprisoned founder of Mon!ey 6ung Fu invented this evasive maneuver after watching a group of mon!eys through the bars of his 7ail cell. The mon!eys got inebriated on wine thrown out by prison guards and began staggering and tolling around on the ground. +opying the mon!eys' drun!en antics, the master developed a series of evasive tumbles, which became the 5run!en Mon!ey 2oll. Sstem: The 5run!en Mon!ey 2oll is a good allpurpose evasive techni1ue. $t counts as a +rouching Maneuver because it stays low to the ground. $t can also be used to interrupt and evade pro7ectile attac!s -use the same rules given under the ump Special Maneuver/. !ost: )one Speed: @ Damage: )one Move: @3
&squives
-*8 p. K/
Prerequisites: Athletics 00, %loc! 0 Power Points: Savate 3 An evasion techni1ue similar to certain Ai!ido moves. The fighter simply sidesteps away from the attac!, placing himself out of harm's way. As with %oing, Savate strategies depend a lot upon avoiding an adversary's blows. Sstem: The fighter must have enough Speed to interrupt his attac!er. As the opponent attac!s, the player using "s1uives simply moves his counter in any one direction up to two hees. The move is similar to 5isplacement, ecept that the fighter may not initiate a counterattac! with this move. !ost: )one Speed: @3 Damage: )one Move: Two
F#ing Bod Spear
-+ore p. C3/
Prerequisites: Athletics 000, ump Power Points: 6abaddi 3; ?er 5rit, Ma7estic +row 6ung Fu ; Any G Street Fighters seem to find an unending variety of ways to use their bodies as weapons. This Special Maneuver involves the fighter 7umping into the air and twisting his body into a rotating human torpedo as he descends on h is opponent. Some fighters li!e to cruise down feet first; others lead with their fists or even heads. %ecause the fighter has his full weight behind him, the %ody Spear inflicts a fair amount of damage. Sstem: The Flying %ody Spear is an Aerial Maneuver that acts li!e a ump, enabling the user to dodge missile attac!s. The fighter can then spiral down and smash into any opponent within his Move range. The fighter must travel in a straight heline and ends the move in the he in front of the victim. !ost: C &illpower Speed: @4 Damage: @ Move: @C
F#ing ead Butt
-+ore p. C3/
Prerequisites: Athletics 000, #ead %utt, ump Power Points: Sumo 3; Any This move is similar to the Flying %ody Spear, ecept that the fighter leaps horiontally at an opponent, ramming her headfirst. %ecause the fighter does not 7ump up first, the move is a little 1uic!er than the Flying %ody Spear, but the lowflying head butt doesn't give the fighter a chance to dodge oncoming missiles. Sstem: The Flying #ead %utt is an Aerial Maneuver. The fighter must travel in a straight line on the he map. !ost: C &illpower Speed: @4 Damage: @G Move: @
F#ing ee# Stomp
-+ore p. C3/
Prerequisites: Athletics 000, 6ic! 00, ump Power Points: ?er 5rit, Ma7estic +row 6ung Fu, )in7itsu, *an!ration, Spanish )in7itsu, &u Shu ; Any G This highflying aerial assault utilies a fighter's body weight to hammer an opponent from above. The fighter leaps into the air above her opponent's head and lands hell first on her opponent's head or shoulders. Additionally, the fighter can use her opponent as a springboard to launch away to safety after the attac!. Sstem: The fighter can interrupt her own movement with a damage roll and then finish her allowed Move after rolling damage. For eample, +hun ?i, with an Athletics Techni1ue of D, can Move eight hees using her Flying #eel Stomp, and can stop at any point in her movement to attac! one opponent. She decides to 7ump three hees, stomp Sagat, and then finish her move five hees away. The only limit is that the 7ump has to be in a straight line from beginning to end. The Flying #eel Stomp is an Aerial Maneuver and can be used li!e a ump move to interrupt and evade a pro7ectile attac! -as well as give the wouldbe attac!er a heel stomping headache/. !ost: C &illpower Speed: @4 Damage: @C Move: @3
F#ing Pun$h
-SoS p. 3/
Prerequisites: Athletics 0000, *unch 00, Focus 000, ump Power Points: ?er 5rit This move ta!es a Street Fighter high into the air above and past her opponent and then 1uic!ly redirects the attac! so that the punch lands s1uarely in her opponent's bac!. This maneuver is considered highly dishonorable. The degree of aerial control ?e r 5rit practitioners ehibit while performing this maneuver lead some to believe that the practitioner is actually flying up and past her opponent before swooping bac! down with an outstretched fist. Sstem: To eecute this move, the fighter must actually move two hees past her opponent and move bac! to the opponent's he as she arcs bac! downwards to hit her opponent from behind. This attac! is considered an Aerial
Maneuver and halves the opponent's total Stamina for the purposes of determining how many damage dice are rolled -rounding fractions down/. For eample, if a fighter who is %loc!ing gets hit by a Flying *unch, her Soa! would normally be determined by adding her Stamina of and her %loc! Techni1ue of G. - @ G e1uals a Soa! of H dice./ %ut because the Flying *unch is a suc!er shot, the fighter's Stamina is halved, so - divided by two, rounding down is C/, the Soa! is C Stamina die plus G Techni1ue dice for a total of B dice. Fighters lose a point of #onor each time the Flying *unch is used. Alternately, the attac! can be done straight forward without the loss of #onor, but the fighter also loses the advantage of halving her opponent's Stamina. The attac!er ends her movement in the he behind or in front of her opponent, depending on how the maneuver was used. !ost: C &illpower Speed: 3 Damage: @3 Move: @B
+round Fighting
-SF+ p. CCB/
Prerequisites: Athletics 0000 Power Points: *an!ration 3; )ative American &restling, Sanbo, &restling ; Special Forces G Most fighting styles prepare a contender for fighting on his feet, but once his bac! hits the ground, he is at a disadvantage. Street Fighters from other styles are better prepared for this eventuality, while *an!ratiasts train at fighting while grounded. Many *an!ratiasts are even !nown to ta!e their opponent to the ground to ta!e advantage of their confusion. Sstem: This Maneuver does not re1uire a +ombat +ard. $nstead, it is simply invo!ed when the character falls down, has been Thrown, or is otherwise prone. The Street Fighter does not have to rise from the ground to continue fighting -although if she does, she suffers the standard 6noc!down speed penalties when rising/. ?i!ewise, she may continue fighting from the ground, using any %asic or Special Maneuver that foes not re1uire hipderived tor1uing or momentum or any Aerial Maneuvers. This re1uires some Storyteller discretion on what can or cannot be performed. For instance, a 5ouble 5read 6ic! would be impossible while a Slide 6ic! could still be accomplished. Street Fighters who do not have this Maneuver may attempt to fight while on the ground, but at Speed and 5amage to their own attac!s. $ndividuals fighting groundbased contenders have a number of their own disadvantages. =naccustomed to fighting someone so low to the ground, they will be able to use only lowtarget attac!s; otherwise, any other physical stri!e will be at 3 5amage and 3 Speed. !ost: C &illpower Speed: See description above. Damage: See description above. Move: See description above.
2ump
-+ore p. C3G/
Prerequisites: Athletics Power Points: Any C
0
Street Fighters who intend to survive their first Damage: @ tournament against serious competition had better come Move: C with springs for legs. ump is a relatively simple Special Maneuver that allows a fighter to vault over incoming -+ore p. C3G/ ippup pro7ectile attac!s -li!e fireballs/ and hopefully escape unscathed. A luc!y fighter might even time his 7ump to Prerequisites: Athletics 00 hurdle a fireball and close with his flamespewing enemy. Power Points: Any C A fighter can 7ump three feet into the air for every dot in One of the more basic athletic maneuvers martial artists Athletics. For eample, a fighter with Athletics can 7ump have found useful is the 6ippup. The 6ippup is a techni1ue nine feet into the air. that allows a prone fighter to get to his feet almost Sstem: A fighter can play a ump card along with any of instantly. The fighter curls his legs up off the ground and the si %asic Maneuver *unches and 6ic!s, or he can play !ic!s them up into the air while at the same time arching the card by itself. $f the ump card is played alone, it his bac! powerfully. The resulting motion practically shows that the fighter is simply moving across the arena bounces the fighter off the ground and to his feet. by 7umping. The fighter uses the modifiers for ump shown Sstem: A fighter who !nows the 6ippup Special below. &hen used alone as a move, ump can be played Maneuver only suffers a C Speed penalty the turn after as an Abort Action -see the +ombat +hapter/. she suffers a 6noc!down, instead of the standard 3 A ump card played with a %asic Maneuver represents Speed penalty. 6ippup is not played as a +ombat +ard; its the fighter 7umping on an opponent to deliver the punch or effect is automatic. !ic!. *laying the ump card with a %asic Maneuver turns !ost: )one the standard punch or !ic! into an Aerial Maneuver. )ote( Speed: See description above. For purposes of +ombos, the fighter must distinguish Damage: See description above. between a %asic Maneuver and a %asic Maneuver played with a ump +ard. This distinction must be made when he Move: See description above. first creates the +ombo. For eample, the player might use 2oundhouse in a +ombo, or he might instead create the *ight Feet -SoS p. 3/ +ombo using umping 2oundhouse. &henever a fighter Prerequisites: Athletics 0000, ump plays a ump card with a %asic Maneuver, the %asic Maneuver's modifiers are used instead of the modifiers for Power Points: eet 6une 5o, ?ua, Spanish )in7itsu ; ump shown below. Any B $f the fighter plans to dodge a pro7ectile attac! using the The fighter is adept at leaping and moving 1uic!ly 9 ump card, he must wait for an opponent to declare the more so than other fighters. The fighter's nimble feet fighter as the target of the opponent's pro7ectile attac!. $f enable her to cover greater distances than most other the fighter's ump has a higher Speed than the missile fighters in the arena. attac!, he can interrupt the opponent's attac! and try to Sstem: This Special Maneuver is not played as a card. dodge the incoming attac! by 7umping over it or away from $nstead, @C Move is added to all of the fighter's it. The two fighters ma!e a resisted roll, comparing the Maneuvers. The fighter can also elect to spend one attac!er's Focus Techni1ue to the 7umping fighter's &illpower point during a fight to move an additional three 5eterity @ Athletics. $f the attac!er wins the roll, the hees as part of an action instead of gaining the one he 7umping fighter is hit by the pro7ectile -he mistimed his bonus that this maneuver usually adds. leap, or perhaps the attac!er managed to blast him out of !ost: See description above. the air/ and must immediately end his turn. Speed: See description above. $f the fighter used the ump card with a *unch or 6ic! Maneuver, he may be able to dodge over a pro7ectile and Damage: )one still deliver the punch or !ic!. Move: See description above. !ost: )one Speed: @ Poun$e -*8 p. K/ Damage: )one Prerequisites: Athletics 000, ump Move: @4 Power Points: Animal #ybrid 3 The fighter drops into a crouch and eplodes into a 2umping Shou#der Butt -+ore p. CDH/ mighty leap at her prey. The ferocity of this maneuver often ta!es opponents by surprise. "perienced fighters may be Prerequisites: Athletics 00, ump tipped off by the low growl emanating from the fighter as Power Points: %oing, Sumo, Thai 6ic!boing C; Any 3 she concentrates on the up coming leap. The fighter 7umps up and into an opponent, ramming his Sstem: The hybrid hurls herself at h er opponent. This is shoulder into the unfortunate victim. considered an Aerial Maneuver and can be used to avoid Sstem: The umping Shoulder %utt can be used against pro7ectiles. The fighter lands on top of her opponent; if any a standing opponent or against an opponent who is damage is scored, the opponent also suffers a eecuting an Aerial Maneuver. The move can also be used 6noc!down. As with most other Special Maneuvers to dodge a Fireball, 7ust li!e the regular ump Special available to animal hybrids, *ounce uses the Animal Maneuver. #ybrid %ac!ground in place of the Athletics Techni1ue for !ost: )one the purpose of determining a 5amage modifier Speed: @4 !ost: C &illpower
Speed: C Damage: @3 Move: @G
'o##ing /tta$k
-+ore p. C3G/
Prerequisites: Athletics 000 Power Points: +apoeira, )in7itsu, &u Shu ; Ma7estic +row 6ung Fu G; Any B 8ravitydefyingE A fighter eecuting this amaing move leaps forward through the air and tuc!s into a somersault. The fighter then rolls through the air as far as her momentum will ta!e her, or until she slams into an opponent. This is a tough move to learn, and, li!e any move where a fighter uses her own body as a p ro7ectile, the 2olling Attac! ta!es a bit of a !ami!ae attitude to use in combat. %esides attac!ing, 2olling Attac! is good for moving across a battlefield 1uic!ly, ma!ing long 7umps, or smashing through the window of a getaway car. Sstem: The character must travel in a straight line on the he map and will stop at the first he occupied by a target, which can be a character or any siable ob7ect. After damage is applied to the target, the rolling character will bounce off the target and land two hees in front of the target. The 2olling Attac! is an Aerial Maneuver. !ost: C &illpower Speed: @4 Damage: @ Move: @G
Tai# Sweep
-*8 p. K4/
Prerequisites: Athletics 0, =pper Tail Stri!e Power Points: Animal #ybrid 3 %y crouching low to the ground and spinning around, the fighter may stri!e with her tail. Of course, the fighter must possess a tail. The tail sweeps out in a circle, smashing into the feet of all opponents in the hees surrounding the fighter. All targets will suffer damage and a 6noc!down. %ecause this is a +rouching Maneuver, 7umping or airborne targets will not be hit. Sstem: Anyone in the si hees surrounding the attac!er will be struc! and -if damage is done/ suffer a 6noc!down. This includes allies of the fighter who stray too close when the Tail Sweep is used. The Tail Sweep is a +rouching Maneuver. !ost: )one Speed: C Damage: @C Move: )one
Thunderstrike
-+ore p. C3G/
Prerequisites: Athletics 00, ump Power Points: )ative American &restling, *an!ration C )o one said )ative American &restling wasn't tough. Fighters li!e T. #aw! aren't opposed to a little fullbody contact. A wrestler employing the Thunderstri!e leaps right into his opponent, stri!ing her with a shoulder, !nee, or whatever. =sually the fighter sweeps his arms bac! as he 7umps, to emulate a bird of prey.
Sstem: The fighter's opponent must be standing in the same or an ad7acent he when the fighter eecutes the move. The fighter moves into the opponent's h e, rolls damage for the Thunderstri!e, and then finishes his movement. Thunderstri!e is an Aerial Maneuver and enables the user to avoid pro7ectile attac!s. !ost: )one Speed: @4 Damage: @B Move: C
Tumb#ing /tta$k
-SoS p. 3/
Prerequisites: Athletics 000, %ac!flip Power Points: +apoeira, Spanish )in7itsu ; Any B The fighter can propel herself forward into a series of tumbling maneuvers combined with punches or !ic!s that will !noc! most opponents out of her way. The Tumbling Attac! can hit an unsuspecting opponent several times if it is timed properly. Sstem: =se the modifiers below. ?i!e a #urricane 6ic!, the Tumbling Attac! has simultaneous movement and damage tests each time the attac!er moves a he. &henever the fighter tumbles into the same he as her opponent, she rolls for damage and automatically pushers her opponent bac! one he. She can continue tumbling into her opponent, pushing him bac! and damaging him once for each he, up to the fighter's full Move. The fighter will push her opponent bac! and ma!e damage tests until she has moved her full distance. The Tumbling Attac! is a +rouching Maneuver. The attac!er moves in a straight line. !ost: C &illpower Speed: C Damage: C Move: @4
Tphoon Tai#
-*8 p. K4/
Prerequisites: Athletics 000, Tail Sweep, ump Power Points: Animal #ybrid The Typhoon Tail seems to have been inspired by the #urricane 6ic! taught in Shoto!an 6arate. The fighter uses her leg muscles to propel herself high into the air. As she descends she pirouettes 9 tuc!ing her legs beneath her body and allowing the tail to etend in a circle around her. She then angles her descent to stri!e her target's head. Sstem: The fighter begins the Typhoon Tail by moving up to her designated Move in hees. 5uring this time the fighter is airborne and cannot be hit by pro7ectiles. Any opponent in the final he of movement will be hit by the attac!er's !nees and ta!e damage at the @B modifier. This opponent is also !noc!ed bac! one he along the attac!ing fighter's tra7ectory. At this point all fighters in ad7acent hees, including the one 7ust hit, are struc! by the spinning tail and are !noc!ed bac! one he away from the attac!er. The 5amage modifier for the second attac! is @3. =nli!e other Animal #ybrid Maneuvers, the Typhoon Tail uses Athletics as the base Techni1ue for damage 9 not the Animal #ybrid %ac!ground !ost: C +hi, C &illpower Speed: 3
Damage: @B -center he/ @3 for all ad7acent hees Move: @C
%pper Tai# Strike
-*8 p. KC/
Prerequisites: Athletics 000 Power Points: Animal #ybrid %y twisting her hips, the fighter may use her tail to stri!e at the head of an opponent directly in front of her. The ferocity of such an attac! often ta!es fighters by surprise, especially ones trained to watch only the hands, feet and eyes of an opponent. Sstem: This attac! uses the modifiers below. Airborne or 7umping opponents will suffer a 6noc!down if any damage is inflicted. As with most other Animal #ybrid Maneuvers, the fighter substitutes his Animal #ybrid %ac!ground for his Athletics Techni1ue when determining
damage. !ost: )one Speed: @C Damage: @3 Move: @C
4erti$a# 'o##ing /tta$k
-+ore p. C3B/
Prerequisites: Athletics 000, ump Power Points: +apoeira, )in7itsu, &u Shu 3; Any G This move is almost identical to 2olling Attac!, ecept the fighter leaps up in the air instead of forward. The move is good for !noc!ing down high7umping opponents or for vaulting over fences or onto roofs. A character using Jertical 2olling Attac! can somersault four feet into the air for every dot in Athletics -C3 feet at Athletics , CD feet at Athletics , etc./
LINE OF SIGHT $f you're going to shoot a fireball or any other pro7ectile attac! at someone, it really helps if you can see him. This is called having lineofsight. Once you've got your characters on the he map, hold a pencil, edge of a piece of paper, taut piece of string, or any other straight ob7ect with one end over the head of the attac!ing figure -the middle of the character's he/ and the other over the head of the defending figure. $f nothing stands between them -no walls, other characters, etc./, one has lineof sight on the other. $f the attac!er does not have lineof sight on his intended victim, he can still launch the pro7ectile attac!, but it will stri!e the first intervening ob7ect instead of the intended victim.
Also, pro7ectile attac!s !eep traveling up to their maimum range or until they hit something, so if the intended victim of a fireball dodges, the fireball continues in a straight line. This has led to more than one amateur Street Fighter toasting her own teammates because an opponent 7umped out of the way. $f a pro7ectile attac! is directed at a he containing more than one character, the attac!er must ma!e a *erception roll -difficulty / to target the correct opponent. Otherwise, the Storyteller must roll randomly to see which character is hit -e.g., if two characters are in a he, roll one C4sided die; on CB, +haracter NC is hit, on DC4, +haracter N3 is hit/.
Sstem: This Special Maneuver counts as a ump move for purposes of interrupting and dodging a pro7ectile attac!. $t will inflict a 6noc!down on opponents who are in the middle of an Aerial Maneuver. The Jertical 2olling Attac! is an Aerial Maneuver. !ost: C &illpower Speed: @4 Damage: @ Move: @4
.a## Spring
-+ore p. C3B/
Prerequisites: Athletics 000, ump Power Points: eet 6une 5o, Ma7estic +row 6ung Fu, )in7itsu, Spanish )in7itsu, &u Shu C; Any 3 This move is similar to the regular ump special move, but it incorporates some wallbouncing action to give the fighter even greater range and height. Springing off a wall can be used to add si more feet to a vertical 7ump. Sstem: The character can 7ump normally, up to her full Move. Additionally, if she aims for a wall, she can actually bounce off the wall with a good push of the legs and travel another full Move plus two he es away. The fighter must bounce off the wall at the opposite angle she 7umped into it, unless she 7umped straight at a wall, in which case she springs straight bac!. ?i!e a regular ump, &all Spring can be played with any %asic Maneuver *unch or 6ic!. =se the %asic Maneuver's Speed and 5amage modifiers, but use the &all Spring's Move modifiers. So, a fighter can 7ump into and spring off a wall, but end with a !ic! or punch. The &all Spring is an Aerial Maneuver of the highest order. !ost: )one Speed: @3 Damage: )one Move: @4 first 7ump, @3 off spring
FOCUS )ot all Street Fighters rely solely on their physical prowess to win. Many advanced fighters have developed the ability to focus their body's +hi energy to accomplish miraculous feats. 2emember, when filling out +ombat +ards for Focus Special Maneuvers, you use a character's Mental Attributes instead of *hysical Attributes to compute Speed and 5amage unless otherwise specified. &its replaces 5eterity for Speed and $ntelligence replaces Strength for 5amage.
/$id Breath
-+ore p. C3D/
Prerequisites: Focus 000 Power Points: Any G A foul power that only a few loathsome Street Fighters have developed. Fighters using Acid %reath are able to churn their gastric acid into a highly toic miture, which they then vomit forth from their mouths in a pro7ectile spray at any nearby opponent. The acid burns the opponent, causing ugly in7uries that ta!e a long time to heal. The worst part about being hit with Acid %reath is that the acid
continues to burn the f ighter after the initial impact, causing more bodily damage and eating away at clothing, fabric and any other dissolvable materials the acid hits. Some believe the Acid %reath is a mutant power that only a few uni1ue individuals posses. Others believe that fighters who have mastered Acid %reath use their +hi to alter their stomachs' natural acid into a highly potent chemical weapon. Sstem: The spray has a range e1ual to the fighter's Stamina rating, and the fighter must have lineofsight to hit his intended victim. Once the acid spray hits, it immediately inflicts damage using the @ modifier. The following combat turn, unless the victim of the Acid %reath has been immersed in water or some other purgative method has been employed, the acid continues to burn the victim's body. At the very end of the combat turn, after all actions ha ve been completed, the acid damages again at the @4 modifier. Finally, on the third turn, the acid damages for the last time using the damage modifier. +haracters hit with more than one dose of Acid %reath in 1uic! succession could suffer several different damage rolls against them at the end of each turn. Acid %reath can be dodged li!e any other pro7ectile attac!. !ost: C +hi Speed: 3 Damage: @, @4, Move: C
/ir B#ast
-*8 p. KC/
Prerequisites: Focus 00, *unch 0, "lemental 00 Power Points: "lemental -Air/ The elemental can summon a burst of air and direct it at his opponents. This blast comes from nowhere and often catches unwary opponents off guard. Sstem: The user of an Air %last must have a clear line ofsight to the target. The range of a blast e1uals the character's $ntelligence @ "lemental %ac!ground in hees. &hile the Air %last is treated li!e a pro7ectile, it is not visible to the common eye. Only those fighters who ma!e a successful %lind Fighting roll -*erception @ %lind Fighting/ can attempt to interrupt this attac! with their own maneuver. !ost: C +hi Speed: C Damage: @ Move: )one
Ba#an$e
-*8 p. KC/
Prerequisites: Focus 0000 Power Points: )in7itsu, Tai +hi +huan, &u Shu 3; %ara1ah, 6abaddi, 6ung Fu, ?ua, Silat ; Shoto!an 6arate, +apoeira G %y focusing his inner being, the fighter may reduce his mass to such a point that he can become effectively weightless at will. A fighter using this ability may stand on someone's outstretched arm without her feeling his weight. $t is said that this ability was developed by fighters who watched $ndian fa!irs lying down on beds of nails without being harmed. Specialists can actually dance on the head
of a pin. Sstem: This ability is always in effect and allows the fighter to add @C to Move when using an Aerial Maneuver. Ma!e a special +ombat +ard for this power and place it by your character to remind yourself during combat that it is always in effect. !ost: )one Speed: See description above. Damage: See description above. Move: -@C bonus to Aerial Maneuvers/
B#ind
-SoS p. B4/
Prerequisites: Focus 000 Power Points: ?er 5rit ; 6abaddi B The mon!s of *erpetual 5ar!ness derive their name from their ability to inflict blindness on disbelievers. &ith a simple gesture, a mon! can turn a nearby victim's world into eternal dar!ness. Sstem: The mon! can inflict blindness on any victim within the mon!'s &its @ Focus. The mon! must defeat the opponent in a resisted roll of the mon!'s $ntelligence @ Focus versus the victim's Stamina @ Mysteries. $f successful, the victim is completely blinded as a veil of dar!ness shuts off all sight. The *ower acts li!e a Sustained #old. The victim gets a resisted roll of $ntelligence versus $ntelligence to brea! free of the mon!'s power each turn. !ost: C +hi Speed: @4 Damage: )one Move: )one
!hi ung ea#ing
-+ore p. C3D/
Prerequisites: Focus 0000 Power Points: Tai +hi +huan 3; Ai!ido, 6abaddi, 6ung Fu, ?ua, Silat ; eet 6une 5o, iu itsu, Ma7estic +row 6ung Fu, )ative American &restling, Shoto!an 6arate, Thai 6ic!boing, &u Shu G Ancient +hinese doctors could reputably wor! healing miracles by focusing their own +hi into their patient. This healing combines acupressure and an actual :laying on of hands< wherein the healer touches the patient to infuse the patient with additional +hi. This healing power is relatively rare among Street Fighters, but some styles teach the philosophy that the ability to heal must be taught along with the ability to hurt. Sstem: A character who uses +hi 6ung #ealing in the midst of combat must enter the same he as her patient and then eecute the healing process. ?i!e the 2egeneration Special Maneuver, the healer can restore one lost #ealth ?evel per point of +hi the healer spends. The healer can spend +hi points up to her Focus rating per turn of healing. !ost: See description above. Speed: C Damage: )one Move: C
!hi Push
-SF+ p. CCB/
Prerequisites: Focus 0000, +hi 6ung #ealing Power Points: %ara1ah, 6abaddi, 6ung Fu, ?ua, )ative American &restling, Silat, Tai +hi +huan B The +hi 6ung masters are able to use their +hi to shatter roc!s with a gentle touch or even a gesture from feet away. ?i!e +hi 6ung #ealing, +hi *ush focuses their +hi into the target, but, instead of healing, the +hi is used to topple or destroy the target. Sstem: The basic damage done by this maneuver is the user's &its @ Focus @, @C for each etra point of +hi the practitioner spends beyond the first. The practitioner must choose what to do with their dice pool( the maneuver's damage may be reduced by one point to throw a target bac! by one he. The maneuver may also be done without touching the target( each he between the target and the practitioner subtracts two damage dice. +hi *ush has n o effect on someone using the San #e maneuver. Furthermore, the target may add dice to their Soa! roll by spending 3 +hi per C die. !ost: 3 +hi, @C +hi for each @C 5amage added Speed: Damage: @ @ -special/ Move: )one
!obra !harm
-+ore p. C3H/
Prerequisites: Focus 00 Power Points: 6abaddi 3; Animal #ybrid, ?er 5rit ; Any G 6abaddi stylists are masters of mental powers. #aving mastered the hypnotic tric! of charming cobras with flute music, they are able to apply their hypnotic influence to other humans. Sstem: A martial artist using +obra +harm must be close enough to his victim to gae into her eyes, establishing the hypnotic contact. #e must be within three hees of the opponent. Once eye contact is established, the charmer ma!es a &its @ Mysteries resisted roll against the victim. $f the charmer wins, the hypnotic spell is established; otherwise, there is no effect. Once the +obra +harm has begun, it wor!s similarly to a Sustained #old for 8rappling, ecept that between each turn the victim and the charmer compare $ntelligence rolls to see if the hypnotic hold is bro!en. $f the victim is ever hurt, the charm is immediately bro!en. &hile hypnotied, the victim will do nothing ecept follow very basic commands given by the hypnotist such as moving, lying down, etc. The hypnotist can employ only the Move maneuver while maintaining the hypnotic hold, because he must concentrate on his sub7ect. $f the charmer and his victim are ever separated by more than three hees, the hold is bro!en. !ost: C +hi Speed: C Damage: )one Move: C
Death3s 4isage
-*8 p. K3/
Prerequisites: Focus 000 Power Points: )in7itsu &ith a special hand sign, the )in7a draws forth the fear in an opponent's heart and manifests it on her own face,
especially her eyes. Only a truly brave fighter can shrug off the effects and attac! the )in7a. Sstem: All within sight of the user of this hand symbol must succeed in a contested roll of &illpower against the )in7a's Manipulation @ Focus. Anyone who fails the test must get as far away from the )in7a as possible. This is considered a Sustained Action -similar to a Sustained #old/, and overwhelmed opponents will continue to flee from the )in7a until they succeed in a contested roll or until three combat turns have passed. Successful fighters may move and attac! normally. !ost: C +hi Speed: @C Damage: )one Move: )one
Drain
-*8 p. K3/
Prerequisites: Focus 00, "lemental 00 Power Points: "lemental -&ater/ Truly a vicious power, 5rain causes the target to become dehydrated and wea!ened. The water held by the target's body actually seeps through her pores. A Street Fighter may not even be aware that she is being deh ydrated, until she passes out. Affected fighters appear to glisten with sweat, even in etremely cold weather. Sstem: This is a pro7ectile attac! similar to Fireball, and can be dodged, even though there is no outward sign of a pro7ectile. +haracters who ma!e a successful *erception @ Mysteries roll will notice the pro7ectile. A target struc! suffers one #ealth ?evel of damage, regardless of Stamina or Soa! bonuses. The following round the target will also suffer C Speed and a C Move penalty. !ost: C +hi Speed: C Damage: C -no Soa!, no Stamina/ Move: C
The elemental is able to transform her body into the elemental essence in which she specialies. The effects vary, but always last for a short time, during which the fighter usually closes with her luc!less opponent. Sstem: The following modifiers apply to combat against elementals of the different types. These effects last for a number of turns e1ual to the elemental's Focus Techni1ue. Fire
Anyone who attac!s the elemental in this form may ta!e damage from stri!ing the elemental -similar to Ma!a &ara/. The elemental uses his Focus Techni1ue to determine damage. The attac!er's Stamina applies for defense in the usual fashion. All punching, grabbing or !ic!ing attac!s by the elemental have an additional @C damage modifier. Water
Any attac! that successfully damages the elemental in this form subtracts one success from the damage done -i.e., if someone hit the water elemental for four #ealth ?evels of damage, the elemental would on ly ta!e three #ealth ?evels/. Air
All Aerial Maneuvers against an air elemental suffer a 3 penalty on the attac!'s 5amage modifier. All pro7ectile attac!s such as fireballs cause one fewer #ealth ?evel of damage -similar to the &ater effect, above/. Earth
All punching or !ic!ing attac!s aimed at an elemental suffer a 3 penalty on the attac!'s 5amage modifier. &hen in this form the elemental cannot be thrown and is unaffected by 6noc!downs. !ost: C +hi, C &illpower Speed: 3 Damage: Jaries. See above. Move: )one
&#ementa# Stride
-*8 p. K/
Prerequisites: Focus 00, *unch 0, "lemental 00 Power Points: "lemental -&ater/ 3 A portion of the elemental's body transforms into a huge fist and lashes out at the target. This power usually originates from the fighter's etended arm, but may be from any part of the body, such as the bac! or head -which ma!es the 5rench unpredictable/. Sstem: The range of 5rench e1uals the elemental's $ntelligence @ Focus Techni1ue. This is a Focusbased maneuver; however, damage is determined according to the fighter's *unch Techni1ue and the modifiers listed below. !ost: C +hi Speed: @C Damage: @3 Move: 3
Prerequisites: Focus 00, "lemental 00000 Power Points: "lemental -All/ G Similar to 0oga Teleport, ecept that the elemental melds into his element and travels through it to appear magically in another place. The same element must also be in this second area. Thus, a water elemental may d issolve into one pool of water only to appear suddenly out of another the net round. Sstem: This power has no range limit with regard to most combat hemaps. Striding fighters reappear at the end of the same round they disappeared. Outside of combat, the elemental may move invisibly through his element at a rate of -Stamina @ Focus/ miles per hour. !ost: C +hi -outside of combat the +hi cost is C per hour traveled/ Speed: @C Damage: )one Move: See description above.
&#ementa# Skin
&ntran$ing !obra
Dren$h
-*8 p. K3/
-*8 p. K/
Prerequisites: Focus 00, "lemental Power Points: "lemental -All/ B
0000
Prerequisites: Focus 00 Power Points: )in7itsu G
-*8 p. KG/
%y gesturing with this particular hand sign, the )in7a can confuse an opponent. The intricate weaving of the )in7a's fingers through the air baffles the target with its grace and compleity. Simpleminded opponents will stare for hours at the writhing hands of a )in7a master, or at least until the )in7a returns them to their sense with another attac!. Sstem: The )in7a must succeed in a contested roll of his 5eterity @ Focus versus the target's &its @ Mysteries. $f the )in7a wins, treat the target as if she is diied net turn. !ost: C +hi Speed: @3 Damage: )one Move: C
&nve#op
-*8 p. KG/
Prerequisites: Focus 00, 8rab 00, "lemental 000, 5rench Power Points: "lemental -&ater/ This power produces two fists similar to those produced by the 5rench power. %oth fists attempt to grapple the target and, if successful, will cover him completely. An "nveloped fighter will begin to drown. Most elementals will only sustain this hold until their target passes out. Truly evil elementals will sustain it longer. Sstem: The "nvelop functions much li!e a 8rab Maneuver. $f two fighters are engaged in a Sustained #old and are in the same he, then both will be affected. "ach round the target must succeed in a Stamina test to see if he is diied by the lac! of oygen. The range of the "nvelop etends a number of hees e1ual to the fighter's Focus Techni1ue and re1uired an unobstructed lineofsight. "nvelop is a Sustained #old and may be maintained a number of rounds e1ual to the "lemental's Focus Techni1ue. $f the lineofsight is bro!en by an obstacle or another fighter, the "nvelop is dispelled. =nli!e most Sustained #olds, the target may move and fight normally, ecept that his Speed is at 3. !ost: C +hi -first round only/ Speed: 3 Damage: @C -first round/ C each following round Move: 3
&0tendib#e *imbs
-+ore p. C3H/
Prerequisites: Focus 0000 Power Points: 6abaddi G, Silat B This remar!able power is ac1uired only after long and intense meditation by 6abaddi masters. They study unsolvable riddles of dimensional space, epanding their minds to understand the true nature of distance. $n the end, the 6abaddi master ac1uires the superhuman ability to stretch her limbs far beyond their normal length. The limb actually appears to telescope out into space. 6abaddi masters ma!e great use of this ability in combat, etending their limbs to attac! opponents from a safe distance or !ic!ing aerial opponents out of the s!y before they can close with the 6abaddi master. Outside of combat, the ability proves useful for all manner of things( reaching otherwise unattainable ob7ects, grabbing ledges far overhead, sna!ing an arm through a tight s1ueee to
grab 7ail !eys or even etending a finger down a drain pipe to collect a lost article. Sstem: Fighters who posses this ability can use it at any time without penalty. The power is simply combined with any of the si %asic Maneuvers -ab, Strong, Fierce, Short, Forward, 2oundhouse/ to give the attac! etra range. The character can etend his limbs a number of hees e1ual to his Focus rating. So for eample, 5halsim, with an amaing Focus rating of D, can etend his limbs to hit an opponent si hees away. #e can stand in one he and hit an opponent almost 34 feet awayE The only drawbac! to the maneuver is that the fighter's etended limbs are vulnerable to attac!. $f any opponent interrupts the fighter's stretching attac! with a higher Speed attac!, the opponent can damage the stretching character by hitting him in any he through which his limbs etend -including hitting the fighter's etending fist or foot/. !ost: )one Speed: See description above. Damage: See description above. Move: See description above.
Fireba##
-+ore p. C3H/
Prerequisites: Focus 000 Power Points: Ai!ido, 6abaddi, Shoto!an 6arate ; 6ung Fu, ?ua, Ma7estic +row 6ung Fu, Silat, Thai 6ic!boing, &u Shu G; Any B Some Street Fighters have harnessed their internal +hi to such a degree that they can eplode this energy out of their bodies as fiery pro7ectiles. The fighter must undergo rigorous mental and spiritual training to harmonie his body's flow of +hi until this attac! can be called upon instantly. Most fighters pro7ect the fiery blasts from their palms, but 6abaddi stylists are !nown for launching the fire from their mouths. These yoga masters concentrate their +hi into their stomachs until their very vitals heat redhot, and then they vomit the energy toward their o pponent as a fireball pro7ectile. Fireballs can be used to ignite combustible ob7ects li!e paper, dry wood, gasoline, etc. They also ma!e decent light sources. $f a character launches a fireball straight up, the immediate area will be dimly lit for a couple turns. Sstem: Fireballs have a range e1ual to the pro7ecting character's &its @ Focus. For eample, 6en has a Focus of B and a &its of G, so his fireballs have a range of nine heesE As with all pro7ectile attac!s, the attac!er must have an unobstructed lineofsight on his intended victim. !ost: C +hi Speed: 3 Damage: @3 Move: )one
Fire Strike
-*8 p. KG/
Prerequisites: Focus 00, "lemental 000, Flaming Fist Power Points: "lemental -Fire/ A long gout of flame etends from the elemental's hands, setting ablae anything in its path. Most elementals shoot the flame from their hands, but it can come from any part of the body. The flame etends in a straight line from the fighter.
!ost: C +hi Speed: C Damage: @ Move: )one
F#aming Fist
-*8 p. KB/
Prerequisites: Focus 0, *unch 0, "lemental 00 Power Points: "lemental -Fire/ 3 The fire elemental can surround her hands with flames for brief periods of time, causing her foes additional damage or setting things on fire. #er fist blaes for a moment before she stri!es her opponent and then dies down once the blow has landed. Sstem: Add the 5amage modifier below to any %asic *unch Maneuver. The player must elect a %asic *unch Maneuver and play the Flaming Fist with it. The Flaming Fist does not affect the Speed or Move of the maneuver, only the 5amage. !ost: C +hi Speed: See description above. Damage: @ Move: See description above.
F#ight
-*8 p. KB/
Prerequisites: Focus 00, Athletics 0, "lemental Power Points: "lemental -Air/ 3 Air elementals can summon the winds to propel
000
Sstem: Outside of combat this po wer allows the fighter to fly without tiring, at a speed e1ual to -Focus @ 5eterity/ C4 miles per hour. #e can lift any amount of weight he would normally be able to carry on the ground. $n combat, the player must stand still for a full turn while activating the Flight power. #e may bloc!, but cannot initiate any offensive attac!s. The following turn the fighter will be treated as an airborne target, and may attac! and move normally, using the modifiers below in addition to any provided by the move he decides to use. #is Move in hees e1uals his Stamina. Furthermore, he is only affected by Aerial Maneuvers or by pro7ectile attac!s. !ost: C +hi per turn, C +hi per hour out of combat Speed: @C Damage: )one Move: Stamina
F#ing Fireba##
-+ore p. C3H/
Prerequisites: Focus 0000, Fireball, ump Power Points: Shoto!an 6arate, &u Shu 3; 6abaddi, 6ung Fu, Ma7estic +row 6ung Fu Jeteran Street Fighters have begun to develop methods of !eeping their high7umping opponents from leaping over fireballs. These veterans are ta!ing the battle to the air, 7umping up and launching their fireballs in midair. Sstem: The Flying Fireball is identical to the standard Fireball power, ecept that opponents cannot dodge the Flying Fireball with ump or similar Aerial Maneuvers. Flying Fireball is itself an Aerial Maneuver. ?ineofsight restrictions still apply. !ost: C +hi, C &illpower
Speed: 3 Damage: @3 Move: @4
Speed: C Damage: )one Move: C
+host Form
-+ore p. C3H/
Prerequisites: Focus 00000 Power Points: Ai!ido, %ara1ah, 6abaddi, ?ua, )ative American &restling, Tai +hi +huan B Tales are told of crypts found in ancient temples amid the #imalayas. There, the bones of ancient mon!s can be found imbedded in walls of solid roc!. #ow the mon!s' remains became thus interred remains a mystery to all but a few 6abaddi masters. These masters !now of the disciplines practiced at the temples 9 disciplines that led to the deaths of many mon!s, but lead to the mastery of mind over matter. The mon!s developed the power to turn their bodies into an insubstantial, ghostly form, allowing them to pass through any solid ob7ect unharmed and then solidify their bodies bac! to normal. $t is rumored that the very first mon!s who perfected this techni1ue actually became trapped in their ghost forms, unable to transform their bodies bac! into solid matter. The same rumors purport that these ancient masters still roam the world. Sstem: )othing solid will affect a character in 8host Form. "nergy li!e fire and electricity will still affect him, but bullets, ice blasts, fists and !ic!s will pass harmlessly through his body. The character cannot attac! or use any other Special Maneuvers while in 8host Form, but he can move and pass through walls, floors, and even people. 8host Form can be played during a turn that the character is caught in a Sustained #old, allowing the character to wal! right out of the hold. A character's clothing and personal possessions of small sie can be turned insubstantial and follow the character in 8host Form. !ost: 3 +hi the first turn plus C +hi per turn the character stays in 8host Form Speed: @C Damage: )one Move: @4
ea#
-*8 p. KB/
Prerequisites: Focus 000, "lemental 000 Power Points: "lemental -All/ G 5rawing upon the "arth's essence and power, the elemental may transform her own internal energies into a healing aura. This is very similar to 6ung Fu's +hi 6ung #ealing ability, but it may also be used to heal animals and environmental damage. Sstem: The character must be able to touch the person or animal to be healed. One #ealth ?evel is restored per point of +hi the character spends. This power also etends to the natural world, and it is not unusual for elementals to be seen using it to clean up polluted rivers, mine trailings and such. $n nature, one +hi purifies up to five s1uare feet of polluted area. +ertain especially polluted areas may re1uire more than one +hi per five s1uare feet. !ost: See description above.
eatwave
-*8 p. KD/
Prerequisites: Focus 00, "lemental 000 Power Points: "lemental -Fire/ The fire elemental can suddenly raise the temperature around a person or ob7ect 9 ma!ing the air difficult to breathe and disorienting an opponent. A person affected by this feels as though she's suddenly stepped inside an oven. 5iiness and nausea often follow. Sstem: The elemental rolls damage, but only for the purposes of calculating a diy. The opponent actually ta!es no damage. This maneuver bypasses any bonuses the opponent gets from bloc!s. This is considered a pro7ectile and can be dodged as such. !ost: C +hi Speed: @4 Damage: @3 -special; see above/ Move: @4
1$e B#ast
-+ore p. C3/
Prerequisites: Focus 000 Power Points: Any G )o one !nows from what martial style this attac! comes. $ts origins are so secret, and the maneuver is seen so rarely, that many believe it to be a superhuman mutant power rather than a trained ability. Fighters who are able to pro7ect the $ce %last can throw a wave of frost, snow, and sharp ice particles from their hands. 6ung Fu masters say that the $ce %last fighter uses negative 0ang +hi to supercool the air into the icy pro7ectile. +haracters who have mastered the $ce %last are seldom uncomfortable even in very cold climates. They can sleep in meat freeers and wa!e up refreshed. To other people, the character's s!in is always cold to the touch. Sstem: The $ce %last is similar to other pro7ectile attac!s. $t has a range e1ual to the character's &its @ Focus and can be dodged by Special Maneuvers such as ump. The attac!er must have lineofsight on his victim. A victim who suffers damage is encased in sheets of thic! ice that freee him in place. The victim can attempt to brea! free of the ice at the end of e ach combat turn. #e must accumulate four successes in an etendedaction Strength test to brea! free. For eample, a Strength character is hit by the $ce %last. After the turn is over, he rolls three dice -his Strength/ versus difficulty D and scores two successes. #e is still froen still through the net turn. After the second turn, he rolls again, scoring two more successes. #e now brea!s free of the ice. Alternatively, if a froen character is hit, the ice shatters -but the character still ta!es damage/. !ost: 3 +hi Speed: 3 Damage: @ Move: )one
1mproved Fireba##
-+ore p. C3/
Prerequisites: Focus 00000, Fireball Power Points: Shoto!an 6arate ; 6abaddi, 6ung Fu, Ma7estic +row 6ung Fu, Silat, &u Shu B &hile 6en went on to master the 5ragon *unch above and beyond what 8ou!en had taught him, 2yu too! Shoto!an 6arate's Fireball and further perfected it into a faster, more destructive attac!. Sstem: The $mproved Fireball is the same as a regular Fireball ecept that its modifiers are better and it will score a 6noc!down on any opponent it damages unless the opponent bloc!s. !ost: C +hi Speed: C Damage: @G Move: )one
1n"erno Strike
-+ore p. C3K/
Prerequisites: Focus 00000, $mproved Fireball Power Points: 6abaddi, Shoto!an 6arate B $nstant bonfireE The $nferno Stri!e ta!es the basic Fireball and elevates it to a whole new level of destructiveness. $nstead of sending a flaming pro7ectile at an opponent, the master of $nferno Stri!e emits a meteor sied flaming boulder that obliterates a large area and anyone in it. Sstem: The fighter must choose any lineofsight he within range. 2ange is calculated as & its @ Focus li!e other Fireball maneuvers. The $nferno Stri!e hits in the targeted he and eplodes into the si hees ad7acent to the targeted he. Anyone in any of the hees affected suffers damage using the modifiers below. Anyone using a ump or similar Special Maneuver that can dodge Fireballs can also attempt to doge the $nferno Stri!e
!ost: 3 +hi Speed: 3 Damage: @G Move: )one
*ee$h
-*8 p. KD/
Prerequisites: Focus 000, 8rab 00 Power Points: 6abaddi, ?ua, )in7itsu ; 6ung Fu G )o one !nows what ancient order developed this power, although a few 6abaddi masters speculate that it descended from the Mongol "mpire. They believe that this ability was researched by the wise men of 8hengis 6han's court in a futile attempt to discover immortality. 6han believed that the life energy of his foes would be able to sustain his life throughout the centuries. ?eech is similar to the 2egeneration power, ecept that each +hi spent allows a combatant to drain one #ealth ?evel from his opponent and transfer it to himself. To use this power, the fighter must be able to touch his opponent. Sstem: )o other actions may be initiated once ?eech has begun. A fighter may attac! and then use ?eech, but not the other way around. For each +hi spent, one #ealth ?evel will be transferred from the target to the attac!er. The maimum number of +hi that may be spent e1uals the attac!er's Focus Techni1ue. An attac!er may not increase his #ealth ?evels beyond his maimum. A target must be successfully grabbed in a Sustained #old before ?eech may be used. The hold is treated as still being in effect for purposes of the target brea!ing the hold, ecept that the damage is allocated as above instead of by the original hold's modifiers. !ost: See description above. Speed: @4 Damage: See description above. Move: )one
Prerequisites: Focus 00000 Power Points: %ara1ah, 6abaddi ; 6ung Fu, ?ua, Shoto!an 6arate, Silat, Tai +hi +huan, &u Shu G %y intense concentration and inner control, the practitioner may lift her body from the ground, usually sitting in the lotus position 9 legs crossed, bac! straight, palms together in front of the chest. Sstem: The practitioner may move up to their Focus in hees per turn in any direction they choose -up, down, sideways/ by spending one +hi per turn. !ost: C +hi>turn Speed: @4 Damage: )one Move: Special
permanently under his control in this fashion. This type of condition is possible, but it would ta!e a considerable amount of time and repeated uses of the Mind +ontrol power. Any individual with a permanent #onor of C4 cannot be affected by this power. $n addition, a victim of Mind +ontrol can ma!e a 2esisted 2oll between his permanent #onor and his controller's &illpower in order to resist a command that foes against his own moral code or survival instinct -such as attac!ing friends or 7umping off a cliff/. $f the victim is successful, then he resists the command, but is still under Mind +ontrol. !ost: 3 +hi Speed: Damage: )one -see above/ Move: )one
*ightness
Mind 'eading
*evitation
-SF+ p. CCB/
-*8 p. KH/
Prerequisites: Focus 000, Athletics 00, "lemental 000, Flight Power Points: "lemental -Air/ This power reduces the weight of the target -which doesn't need to be the elemental/, allowing him to 7ump 1uic!er and farther than normal. Sstem: The affected fighter may add @3 to his Speed and @ to his Move for all umpenhanced maneuvers net round. The elemental is not re1uired to concentrate on the effect during the round, and may move and attac! normally. ?ightness lasts for a number of turns e1ual to the elemental's Focus Techni1ue. !ost: C +hi Speed: @C -initial/, @3 -target, following rounds/ Damage: )one Move: @C -initial/, @ -target, following rounds/
Mind !ontro#
-SoS p. 3K/
Prerequisites: Focus 00000, *sychic Jise, Mind 2eading Power Points: ?er 5rit B After shattering an opponent's resolve, M. %ison can directly control his actions. #is every command must be obeyed. )o one but M. %ison has ever been seen wielding such power, but there are persistent rumors of a promising student who is every bit as dar! as M. %ison and has apparently learned this secret as well. Sstem: This power can be used to eert control over any opponent who has no &illpower left. The victim must be within a number of hees e1ual to the attac!er's Focus @ &its. A contested roll of $ntelligence versus $ntelligence is made. $f the attac!er gains more successes than his opponent on the 2esisted roll, he has ta!en control over his opponent's actions. The duration of the psychic control depends upon the number of successes gained. C Success 3 Successes Successes G Successes B Successes
9 9 9 9 9
C 2ound of combat -C4 Turns/ C #our C 5ay C &ee! C Month
$t is rumored that M. %ison has several servants who are
-+ore p. C3K/
Prerequisites: Focus 0000, Telepathy Power Points: Ai!ido, %ara1ah, 6abaddi, ?er 5rit, ?ua, Silat ; Any G #ow can you survive against an opponent who !nows your net move before you ma!e itL Such is the mental power of some mystic martial artists that they can scan the thoughts of their opponents and predict their net moves. Sstem: The Mind 2eading Special Maneuver is not played as a +ombat +ard. $nstead, the player announces in between combat turns that her character is using Mind 2eading. The character spends one +hi and selects one opponent as the target of the mental scan. The two characters them perform a resisted roll using their permanent &illpower ratings. $f the Mind 2eading character wins the resisted roll, the opponent must reveal two +ombat +ards to the player of the Mind 2eading character. The opponent must play one of the two cards on the net combat turn. The victim must be within a number of hees e1ual to the mind reader's &its @ Focus. &hen Mind 2eading is used in noncombat scenes, the Storyteller can decide what information a character gains from a successful Mind 2eading. The more successes on the resisted roll, the better. The victim will not realie that his mind is being read unless the mind reader botches her &illpower roll. !ost: C +hi Speed: )one Damage: )one Move: )one
Musi$a# /$$ompaniment
-+ore p. C3K/
Prerequisites: Focus 00 Power Points: +apoeira, ?ua C; Any 3 Many +apoeira stylists li!e fighting to the rhythm of music. Their danceli!e fighting style is in its prime when music accompanies their fight. Music allows a fighter to put his soul and energy into the combat. A few other styles also li!e to wor! out to heavy roc! tunes or, in 5ee ay's case, some steeldrumming reggae. Sstem: $f there is bac!ground music that fits the fighter's particular training preference, she gets a @C bonus to either Speed, 5amage, or Move each turn. At the
beginning of the turn, the player must declare the modifier to which she is applying the @C bonus that turn. She can change each turn. !ost: )one Speed: See description above. Damage: See description above. Move: See description above.
Pit
-*8 p. KH/
Prerequisites: Focus 000, "lemental 000, &all Power Points: "lemental -"arth/ A gaping hole is torn out of the earth beneath the elemental's opponent. Many fighters are caught off guard by this maneuver. Sstem: $n order to be effective, the Street Fighter must target his opponent after she has finished her movement. Otherwise, the elemental must select a he as the target for the pit. Any fighter who ends her turn on this he falls into the pit. =se the modifiers below for damage from the fall. The pit is five feet deep plus one additional foot per dot in the elemental's Focus Techni1ue. Fighters who fall into the put must spend their net action climbing out. Treat this action as a Move Maneuver at G Speed. *its should be mar!ed on the he map because, once created, a pit is permanent. This power will not wor! if the fighter is not in contact with the ground; even thin wooden plan!s will negate this maneuver. =sing *it in an arena will result in the loss of one temporary 8lory 2enown, because of the damage it causes. Fighters will often be as!ed to ma!e reparations. !ost: C +hi Speed: C Damage: @C Move: C
Poo#
-*8 p. KH/
Prerequisites: Focus 00, "lemental 0000 Power Points: "lemental -&ater/ 3 The body of the fighter dissolves into a pool of clear water, which cannot be damaged by physical attac!s or pro7ectiles. The Street Fighter is able to move underneath and around thin obstacles, such as crates and poles, or under doors that are not watertight. Sstem: *hysical maneuvers will not affect the character, who can still move, although Focusbased maneuvers li!e $ce %last and Fireball will still damage him. !ost: )one Speed: @C Damage: )one Move: 3
Ps$hi$ 'age
-SoS p. 3K/
little thought to the morality of his action. Jictims of *sychic 2age have been !nown to turn on their own teammates in fits of blind fury. Sstem: The ?er 5rit stylist using *sychic 2age selects an opponent. The victim must be within a number of hees e1ual to the attac!er's Focus @ &its. The fighter must then defeat her opponent in a 2esisted &illpower versus &illpower roll -use the permanent &illpower ratings/. $f the fighter is successful, the opponent enters a berser!er fury. The victim will only be able to play Fierce or 2oundhouse +ombat +ards and his highest damage Special Maneuvers( the battle fury will drive them to use their most powerful attac!s. #e will spend +hi and & illpower as needed until he runs out. Furthermore, he will be incapable of playing any Movement or %loc! Maneuvers and will not gain benefits from +ombo Maneuvers. After each turn the victim has suffered *sychic 2age -not counting the first turn he is affected/, the victim can roll his *ermanent #onor in a 2esisted 2oll against the attac!er's Manipulation to try to brea! free of the rage. The rage will automatically end if the attac!er or the victim is !noc!ed unconscious. Jictims still lose #onor from any actions they ta!e during *sychic 2age, even if the rage forces them into dishonorable acts. The remorse and selfdoubt will plague the victim long after the rage finally subsides. !ost: C +hi Speed: 3 Damage: )one -see above/ Move: )one
Ps$hi$ 4ise
-SoS p. 4/
Prerequisites: Focus 0000 Power Points: ?er 5rit G; 6abaddi B This fearsome power literally strips the energy from an opponent, demoraliing and disheartening her. Often M. %ison can be seen staring into the eyes of a wouldbe opponent. "nergy crac!les from the mad dictator's eyes and his opponent's resolve crumples before the fight begins. Sstem: The victim must be within a number of hees e1ual to the attac!er's Focus @ &its. The attac!er rolls damage using the opponent's $ntelligence instead of Stamina to determine the victim's Soa! total -*sychic Jise ignores %loc!ing Techni1ues for purposes of Soa!/. For each damage success, the opponent loses one &illpower point and is also at C Speed for her net maneuver. $f the victim loses a number of & illpower points greater than her $ntelligence Attribute in a single attac!, the victim is mentally stunned -treat this as a 5iy/. Jictims reduced to ero &illpower points can still be slowed down and stunned with repeated uses of the *sychic Jise. !ost: C +hi, C &illpower Speed: @4 Damage: @4 -see above/ Move: )one
Prerequisites: Focus 000 Power Points: ?er 5rit Also called the *oison #ae, this is the dreaded power of the 2evenants. *sychic 2age pushes honorable fighters -SoS p. 3K/ Ps$ho !rusher into fits of berser! battle fury. $n this fury, the opponent is Prerequisites: Focus 00000, Athletics capable of delivering devastating damage, but he will also *sycho!inetic +hanneling give absolutely no thought to his own safety and precious
,
000
Power Points: ?er 5rit B To date, M. %ison is the only individual alive who is !nown to possess this awesome power -although it is rumored that he has one promising student who has learned it as well/. &hen eecuted, the warrior is surrounded by crac!ling blue psychic energy as he hurtles through the air at his opponents. The *sycho +rusher actually allows the %ison to fly, up down or across the ground, changing direction rapidly during flight and always leaving a cometli!e trail of blue energy. Sstem: The *sycho +rusher deals damage as the fighter moves into the same he as his opponent. &hile flying, the fighter may turn or even double bac! as much as he desires in order to ram as many opponents as possible with one use of the *sycho +rusher. #owever, no opponent can be hit by the +rusher more than once, even if the attac!er reverses or loops around to enter his victim's he again. $f the victim is not bloc!ing, then he is consumed in the attac!er's *sychic fire, ta!ing full damage from the attac! -use the @B 5amage modifier/ and suffers 6noc!down as he is thrown into a he ad7acent to the one where he was standing -the victim chooses which he/. $f the opponent is bloc!ing, the he is !noc!ed bac! one he from the direction the attac!er flew at him, and he will ta!e one die of damage -a botch on this damage roll brings the *sycho +rusher to an immediate end/. The attac!er can continue to push the bloc!ing opponent bac! and do an additional die of damage for every he left in his movement, up to a maimum of five damage tests, after which the attac!er continues moving past his opponent. !ost: 3 +hi Speed: C Damage: @B > One -see above/ Move: @D
Ps$hokineti$ !hanne#ing
-SoS p. 4/
Prerequisites: Focus 000 Power Points: ?er 5rit ; Ai!ido, %ara1ah, Silat G; Any B Through force of will, the Street Fighter manages to channel the mind's potential into a frighteningly effective compliment to any attac!. %lue psychic energy crac!les around the fighter's hands and feet as tremendous +hi energy is released upon the impact of a !ic! or punch. +urrently, M. %ison has been teaching some promising operatives the secrets of this techni1ue. $ts mastery lies primarily in the hands of those studying ?er 5rit. #owever, some masters speculate that under the right circumstances, others could learn to harness and channel these energies as well. Sstem: This power is recorded on a single +ombat +ard, which can be played along with any of the si %asic *unch or 6ic! +ombat +ards. &hen played this way, *sycho!inetic +hanneling adds @3 damage to the attac!. !ost: C +hi Speed: @4 -see above/ Damage: @3 -see above/ Move: @4 -see above/
Push
-*8 p. K/
Prerequisites: Focus 000, "lemental
, Air %last
000
Power Points: "lemental -Air/ G +lasping both hands together and pushing forward, the fighter funnels a hurricanestrength gust of wind toward the target. =nprepared opponents have been thrown doens of feet by the winds produced. Sstem: A blast of air with a width -in hees/ e1ual to the character's Focus Techni1ue starts one heline in front of the character and continues forward for three hees. Anyone in this path suffers one hit, which may be bloc!ed normally. =se the 5amage modifiers below. Any fighter who suffers damage is moved an e1ual number of hees in a straight line away from the elemental. umping or airborne opponents will suffer a 6noc!down as well. !ost: C +hi Speed: 3 Damage: @C Move: )one
'egeneration
-+ore p. C3K/
Prerequisites: Focus 000 Power Points: %ara1ah, 6abaddi C; Ai!ido, Animal #ybrid, 6ung Fu, ?er 5rit, ?ua, )ative American &restling, Silat 3; Any Some warriors are able to command their +hi to flow through in7ured areas of their body, thereby healing themselves almost instantaneously. This discipline is difficult to learn, re1uiring indepth study of how +hi flows through the body as well as the mental discipline to be able to route one's +hi properly in the midst of battle. Sstem: &hen using this power, a fighter stops moving for a turn to focus his +hi. The fighter may then spend points of +hi to restore lost #ealth ?evels. "ach +hi point spent enables the fighter to regain one #ealth ?evel. $n one turn, a character can restore a number of #ealth ?evels e1ual to his Focus rating. For eample, a fighter with a Focus rating of could spend up to three +hi to restore three #ealth ?evels in one turn of 2egeneration. !ost: See description above. Speed: @4 Damage: )one Move: )one
'epeating Fireba##
-+ore p. C3K/
Prerequisites: Focus 00000, Fireball Power Points: Any G )ot happy with one large, flaming pro7ectile, some fighters prefer to focus their +hi into several smaller flaming pro7ectiles. +ertainly, the 2epeating Fireball is handy when a fighter must face several opponents at once. Sstem: The fighter can throw a number of small fireballs e1ual to her rating in Focus. Thus, a fighter with a Focus of B could throw a volley of five fireballs. She can target them at any opponent or opponents she li!es -e.g., two at one opponent, and one at each of three different opponents/. "ach target must be in the fighter's lineofsight. A targeted opponent who uses a ump or any other Special Maneuver capable of dodging fireballs must ma!e a dodge test against each fireball targeted at him. 2ange for 2epeating Fireballs is the same as for a regular Fireball -&its @ Focus/
!ost: 3 +hi Speed: 3 Damage: @4 Move: )one
Sakki
-*8 p. K/
tool in other circumstances. Sstem: The character rolls *erception @ "lemental %ac!ground to discern information about her chosen element. There is no cost to activate this power; the elemental is acutely aware of her chosen element at almost all times. !ost: )one Speed: )ot applicable. Damage: )one Move: )ot applicable.
Prerequisites: Focus 00000 Power Points: )in7itsu This power does not re1uire the elaborate hand signs that other Saimin7utsu powers do. Sa!!i allows the )in7a to read others' intentions and react to them. The )in7a is able -+ore p. C4/ to sense the emotions of those around her. Any intention to Sho$k Treatment harm her is perceived as a distinctly unpleasant sensation, Prerequisites: Focus 000 escalating to intense discomfort in cases of strong hatred Power Points: Any G or imminent danger. A sleeping )in7a with this power is Some Street Fighters have developed the ability to aware of her surroundings at all times, and any aggression amplify their body's natural electrical field to astounding directed at her will trigger the Sa!!i, whether it is an levels. The human body's nervous system runs on assassin standing over her with a drawn sword or sniper minuscule electric charges, and martial artists who have across the alley from her home. mastered their +hi and this techni1ue can create powerful The attac! must be directed specifically at the )in7a. She electrical fields around their bodies. The air around the would be able to sense a bomb planted in her own car, but fighter pulses and crac!les with electricity as it burns into not one planted in her friend's car. An unsuspected blow oone. aimed at her head can be easily avoided, while she would Sstem: This special power affects anyone standing in have little idea that her associates were also targets. Sa!!i the fighter's he or in an ad7acent he -friend and foe ali!e is never taught to non)in7a. get shoc!ed/. "veryone ta!es damage and suffers a Sstem: 5uring combat with only one visible opponent, 6noc!down as the electricity courses through their bodies. this s!ill is of little value, unless the )in7a is blinded A bloc!ing character is not !noc!ed down, but still suffers somehow. damage. Outside of the ring, Sa!!i has many applications. The A fighter can decide when he buys the Shoc! Treatment Storyteller must tell the )in7a that something :bad< is going power whether or not it is a +rouching Maneuver. to happen. The )in7a can ta!e her net action protecting !ost: 3 +hi herself, or she can try to warn and save those nearby. $f she does thins, and innocents who would otherwise perish Speed: @4 Damage: @H are saved thereby, the )in7a gains a temporary #onor point. Move: )one This power is always in effect, even when a character is sleeping. Shrouded Moon -*8 p. K/ !ost: )one Prerequisites: Focus 00, Athletics 0 Speed: )one Power Points: )in7itsu 3 Damage: )one This power allows the )in7a to slip away into shadows. Move: -Focus @ Athletics/ only to avoid surprise attac!s. As this is a Focusbased maneuver and has nothing to do with the actual blac!ness of the shadow, it may be utilied in broad daylight. Sense &#ement -*8 p. K/ Sstem: An opponent must succeed in a resisted test in Prerequisites: Focus 0, "lemental 0 order to see the )in7a. The opponent rolls *erception @ Power Points: "lemental -All/ C Alertness against the )in7a's Focus @ Stealth to spot the The elemental can intuitively sense the presence, )in7a. $f the )in7a cannot be spotted, no attac! can be amount and composition of his chosen element, provided it made. An opponent can blindly attac! a he at random; if is nearby. "arth elementals can discern the composition of she chooses the wrong he, however, her net action is the soil, the structure of a ledge, or the wea! spot in a ta!en at 3 Speed. natural stone wall. Air elementals can sense any pollution The )in7a may move up to the maneuver's full movement in the air -including the air inside someone's lungs/, detect without being seen, only to reappear the net turn. $f the the presence of air behind sealed doors, and sense subtle )in7a remains unspotted, his net action is at @C Speed. shifts in air pressure and temperature. &ater elementals !ost: C +hi can discern the composition of nearly any li1uid, sense Speed: @4 any moisture buildups, and gauge an opponent's fatigue level through his level of dehydration. Finally, fire Damage: )one elementals can calculate the temperature of any ob7ect or Move: C area, gauge their opponent's body temperature, and discern any ob7ect's combustion point. -+ore p. C4/ Soni$ Boom &hile this power may not be all that helpful in the ring, Prerequisites: Focus 000 many elementals find Sense "lement to be an invaluable
Power Points: Silat ; Any G This move has been made famous by 8uile, who is one of the few people in the world !nown to possess the ability. The Sonic %oom is a pro7ectile attac! li!e a Fireball, ecept that the fighter focuses her +hi to blast a ripple of concussive sonic energy at an opponent. The sonic blast creates a very loud crac!ing sound 7ust before the fighter releases it and an even louder boom when it's released into the air. 5ee ay is the only other prominent Street Fighter who has mastered the sonic energy attac!. #is Ma Out move appears very similar to 8uile's Sonic %oom, but sounds more li!e intense amplifier feedbac! when it's released. Sstem: ?i!e a Fireball, a Sonic %oom's range is e1ual to the fighter's &its @ Focus. $ts 5amage is calculated as $ntelligence @ Focus @ G -maneuver modifier/. The attac!er must have a clear lineofsight to her opponent. !ost: C +hi Speed: Damage: @G Move: )one
Speed o" the Mongoose
-*8 p. KK/
Prerequisites: Focus 000 Power Points: )in7itsu The )in7a must concentrate on the form of her body's +hi and the method in which she wishes to tap it. %y forming the intricate and secret hand sign of the Mongoose, she may draw on its power to increase her natural speed. Sstem: The )in7a may only move this combat turn and cannot bloc! or attac!. The following turn she may choose to add @G to her Speed or @D to her Move -the latter must be in a straight line/. !ost: C +hi Speed: @3 Damage: )one Move: 3
Spontaneous !ombustion
-*8 p. KK/
Prerequisites: Focus 000, "lemental 0000, #eatwave Power Points: "lemental -Fire/ G &ith this awesome power, the elemental can ma!e his opponent literally burst into flames. =nsuspecting or unfocused opponents will suffer horribly as they burn uncontrollably. Jictims of this attac! will continue to burn until they either etinguish the flames or the elemental allows them to go out. Sstem: The elemental must defeat the defender in a contested Focus roll. $f the elemental succeeds, the defender bursts into flames, ta!ing the damage listed below. "ach round thereafter, the elemental can continue to epend +hi to !eep the fire burning. The affected character can counteract this ependiture of +hi by spending one action rolling on the ground and putting the fire out. =nfortunately, it is not always wise to do this in the middle of combat( any character who rolls out a fire suffers a 3 Speed penalty on her net action. !ost: 3 +hi -first round/, C +hi thereafter
Speed: 3 Damage: @B -first round/, @3 thereafter Move: 3
Stone
-*8 p. KK/
Prerequisites: Focus 00, *unch 00, "lemental 00, &all Power Points: "lemental -"arth/ 3 The elemental may form a small boulder from thin air and throw it at her target. Sstem: This is a pro7ectile attac!, very similar to a Fireball or $ce %last. The more Focus the elemental has, the larger the stone is. %ecause the stone is thrown, this Focus Maneuver uses Strength instead of $ntelligence to determine the damage inflicted. !ost: C +hi Speed: 3 Damage: Strength @ Focus Techni1ue Move: )one
Stunning Shout
-+ore p. C4/
Prerequisites: Focus 00 Power Points: Shoto!an 6arate, Silat, Sumo 3; Ai!ido, ?er 5rit, Ma7estic +row 6ung Fu, Tai +hi +huan ; Any G Some martial art styles emphasie using the voice as a weapon in its own right. Ancient masters could focus their +hi through their voices, creating shouts so loud and powerful that they could !noc! opponents over and unnerve them in battle. Sstem: A fighter must direct her Shout at one opponent -at the Storyteller's discretion, a whole group of minor thug opponents could be simultaneously affected/. The victim of the Shout must ma!e a resisted roll between the victim's permanent &illpower rating and the fighter's permanent &illpower rating. $f the victim scores more successes, the Stunning Shout has no effect. $f the fighter scores more success, one of two things happens to the victim, depending on whether or not he has acted in the current combat turn. $f the victim has not yet acted, he loses all remaining Move and attac!s for that turn. +ompletely unnerved and stunned by the force of the yell, he must spend the remainder of the turn recovering. $f the victim has already finished his action that turn, each etra success the fighter rolled on the &illpower test subtracts one Speed point from the victim's net maneuver. For eample, a fighter using Stunning Shout beats her opponent's success by four. #er opponent will have G Speed to his maneuver net turn. !ost: C +hi Speed: @3 Damage: )one Move: 3
Te#epath
-+ore p. C4/
Prerequisites: Focus 000 Power Points: Ai!ido, %ara1ah, 6abaddi, ?er 5rit, Tai +hi +huan 3; Any Some yoga masters have perfected a form of communication beyond the spo!en word. They are a ble to lin! their thoughts directly to another person's mind,
enabling them to communicate directly with another person. Sstem: A character using Telepathy can lin! a number of additional people up to her rating in Focus. So, a character with a Focus Techni1ue of could telepathically lin! herself and three other p eople. "ach individual must be within a range e1ual to the telepath's &its @ Focus in hees, and must stay with that range to maintain the lin!. $n between each combat turn, the telepath can decide which characters will be part of the telepathic lin! for the upcoming turn. Those players can then discuss combat strategy among themselves without anyone else being able to hear them. Maintaining a telepathic lin! costs one +hi point per turn. !ost: C +hi per turn Speed: )one Damage: )one Move: )one
Thunder$#ap
-+ore p. C4/
Prerequisites: Focus 000, *unch 0 Power Points: )ative American &restling G *owerful magic. The warrior claps his hands together and unleashes the sound of thunder. The tremors caused by the Thunderclap are powerful enough to shatter windows and stun the warrior's opponents. The sound can be heard for miles. Sstem: The Thunderclap inflicts damage on everyone within three hees of the warrior. The damage is $ntelligence @ Focus . !ost: C +hi Speed: @4 Damage: Move: )one
Toughskin
4enom
-*8 p. C44/
Prerequisites: Focus 00, Athletics 00, 8rab 00, %ite Power Points: Animal #ybrid 3 The fighter has fangs, which allow him to in7ect a mild poison into his target. The poison will paralye small animals, but only serves to slow the tougher Street Fighters. Sstem: On a successful attac! the target suffers damage according to the modifiers below. For the net two turns, the victim will act at C Speed and will automatically lose one additional #ealth ?evel per turn of the poison's effect. Jenom may not be used in con7unction with any other biting attac!s 9 although it may be wor!ed into an effective combination with other biting attac!s. !ost: C +hi Speed: @C Damage: @3 -?ingering effects for the net two turns See above./ Move: 3
-+ore p. C4/
Prerequisites: Focus 00 Power Points: Animal #ybrid, *an!ration, Sumo 3; %oing, iu itsu, ?ua, Thai 6ic!boing ; Any G )umotori are renowned for their armorli!e s!in. One of the style's lesser!nown Special Maneuvers is its practitioners' ability to focus their +hi into their s!in and surface muscles, ma!ing their already tough s!in roc! hard. Sstem: The player can use her character's Toughs!in +ombat card along with any other maneuver in a combat turn. The character's Soa! total is increased by two for the duration of the turn. !ost: C +hi Speed: See description above. Damage: See description above. Move: See description above.
4a$uum
to thunder as the surrounding atmosphere rushes to fill the vacuum. Any target in the area affected will feel the air suc!ed out of his lungs, while almost simultaneously the air around him smashes into every part of his body. Sstem: The user of this power designates one he as the target he. Any fighter in that he must succeed in a Stamina test or be automatically diied the following turn. #e then suffers damage according to the modifiers below. Air elementals are unaffected by this power. A target with a higher Speed may interrupt and move out of the affected he before the vacuum forms. !ost: C +hi Speed: 3 Damage: @3 Move: 3
-*8 p. KK/
Prerequisites: Focus 000, "lemental 0x00, Air %last Power Points: "lemental -Air/ *erhaps the most dangerous of all elemental power. The wielder may temporarily remove the air in any given area. &hen this power ta!es effect, there is a loud crac! similar
.a##
-*8 p. C44/
Prerequisites: Focus 0, "lemental 00 Power Points: "lemental -"arth/ 3 Simple yet effective. The elemental causes a solid wall of earth to erupt from the ground, either hitting an opponent or bloc!ing his attac!. Sstem: The elemental selects a he other than her own and fills it with a wall of earth. The range of this power is *erception @ Focus. Anyone in this he at the time the power is evo!ed suffers the listed damage below. Otherwise the wall must be circumvented or beaten down. As with the *it Special Maneuver, the elemental must be in contact with the earth for this maneuver to be effective. A wall has a number of #ealth ?evels e1ual to the "lemental's Focus Techni1ue, and a Stamina e1ual to her "lemental %ac!ground. !ost: )one Speed: 3 Damage: @3 Move: )one
.eight
-*8 p. C44/
Prerequisites: Focus 000, "lemental
0000
, &all,
Stone, *it Power Points: "lemental Points: "lemental -"arth/ The very essence of the planet is at the earth earth elementals' bec! and call. This includes gravityE The elemental may force the planet itself to root the target to the earth for a short period of time. Affected fighters are surrounded by a biarre effect similar to waves of hear from a hot highway. The opponent suddenly feels as if he r weight has been doubled 9 then tripled. Sstem: This Sstem: This is a pro7ectile attac! and may be dodges as such. Otherwise the target will not be able to 7ump for the following round, and will suffer 3 Speed and 3 Move. This effect cannot be sustained but can be used successively. !ost: C +hi Speed: 3 Speed: 3 Damage: )one Damage: )one Move: C Move: C
5oga F#ame
-+ore p. CC/
Prerequisites: Focus 0000, Fireball Power Points: 6abaddi, Points: 6abaddi, Silat )ot content to throw small balls of fire, 6abaddi stylists stylists have perfected the ability to create a deadly geyser of flame, which they can breathe from their mouths. Sstem: The Sstem: The 6abaddi master must choose in which direction to breath the flames. The inferno erupts in a conical flame that fills any one he ad7acent to the fighter and the three hees beyond it. The fighter rolls separately for damage against anyone standing in the affected hees. Once the 0oga 0oga Flame begins, the fire lasts until the end of the current turn, so anyone foolish enough to enter the four fiery hees also suffers damage. The 0oga 0oga Flame is even hotter hotter than a Fireball, and and thus more prone to ignite nearby flammable materials. !ost: 3 +hi Speed: 3 Speed: 3
Damage: @H Damage: @H Move: One Move: One
5oga Te#eport
-+ore p. CC/
Prerequisites: Focus 00000 Power Points: 6abaddi Points: 6abaddi B $t has been called magic, and indeed it must be. &itnesses claim to have seen yoga masters who could literally disappear from one location and reappear in another. #ow this power is learned, no one can or will say. One thing is certain; the !nowledge is coveted by any Street Fighter who has had to face 5halsim in combat. Sstem: &hen Sstem: &hen eecuting this move, a player simply announces that her character has disappeared. At At any point during the rest of the turn, the player can choose to have her character reappear on the map anywhere with her character's $ntelligence @ Focus in hees away from his original position. For eample, 5halsim uses 0oga Teleport at the appropriate Speed. The player removes 5halsim from the he map and can have him reappear anywhere within 5halsim's Focus -D/ @ $ntelligence -D/ C3 hees away. =sually, a player will wait until the very end of the turn, after all other characters have finished moving, before deciding where the teleporting character reappears. !ost: 3 +hi Speed: @ Speed: @ Damage: )one Damage: )one Move: See Move: See description above.
6en ,o Mind
-+ore p. CC/
Prerequisites: Focus 000 Power Points: Tai Points: Tai +hi +huan 3; Ai!ido, %ara1ah, eet 6une 5o, iu itsu, 6ung Fu, )in7itsu, Silat, Thai 6ic!boing ; Any G Masters of Ien philosophy philosophy are able to act faster than
thought. The master becomes part of the natural flow of the world, so that his actions do not merely respond to some outside force, but spring into being as they are re1uired. Sstem: The Sstem: The player can select three +ombat +ards from the character's dec!. The character must then wait until everyone else has performed movement and attac!s that turn. At the very end of the turn, the player can select one of the three +ombat +ards and immediately use it as the character's action. !ost: C &illpower Speed: See Speed: See description above. Damage: See Damage: See description above. Move: See Move: See description above.
COMBO (COMBINATION) MANEUVERS #ook, mon, if you want to make itit on the )treet "ighter "ighter circuit, you're gonna have to do more than /ust punch or kick. *ven that /ammin' special move you got there won't finish off the ad oys like 1angief. Ya, Ya, mon, I know what I'm talkin' aout. It's like music. Ya don't go singing one note an' call it music. Ya Ya gotta put the eat together. (ne note after another, then yer /ammin'. It's the same with fightin'. Ya Ya gotta put the moves together if you want to e chief. 2ee 3ay Most fighters fighters need one or two +ombo +ombo Maneuvers to finish off serious opponents. +ombo Maneuvers are combinations of punches, !ic!s and other maneuvers, which are chained together over two or three combat turns. "ssentially, "ssentially, the fighter drills a certain se1uence of moves so rigorously that the combination becomes second nature. The fighter can eecute +ombo Maneuvers faster than individual moves, and the rapidfire hits of +ombo Maneuvers can 1uic!ly diy opponents.
COMBO BENEFITS +ombos have two two effects. effects. The first is that the second second and third maneuvers of a +ombo Maneuver gain an etra @3 Speed modifier over and above any other modifiers for that maneuver. This This bonus is only given when the moves of the +ombo are played in order turn by turn. For eample, if %alrog has a ab *unch 9 Fierce *unch +ombo Maneuver, then %alrog's Fierce *unch would gain a @3 Speed bonus whenever he played it in a turn immediately following following a turn in which he played a ab *unch. The second +ombo effect effect is that some +ombos can accumulate damage turn by turn for purposes of diying an opponent. For eample, a fighter has a ab *unch 9 Fierce *unch +ombo Maneuver. The fighter hits a n opponent -who has Stamina/ with the ab in Turn One and inflicts one #ealth ?evel of damage. #e then follows up with the Fierce *unch in Turn Two and inflicts three #ealth ?evels of damage. The opponent is diied. )either the ab nor the Fierce would have diied the opponent by itself, but as a +ombo Maneuver, Maneuver, the damage from both stri!es accumulates to a total of four #ealth ?evels, which is enough to diy the opponent.
PURCHASING COMBO MANEUVERS A player can decide decide to spend *ower *oints *oints on +ombo +ombo Maneuvers during character creation. +ombo Maneuvers may also be bought later, later, using *ower *oints gained through eperience. +ombo Maneuvers cost one, two or three *ower *oints, depending on how many moves the fighter incorporates into the +ombo and how effective the +ombo is. $f the player player wants to combine two two moves into into a +ombo +ombo Maneuver, it costs one *ower *oint. To add a third move to the +ombo Maneuver costs an additional *ower *oint. &ith this initial purchase cost, the second and third moves in the +ombo Maneuver automatically get the @3 Speed bonus. $f the player also wants the +ombo to accumulate damage for diies, then he must spend an additional *ower *oint on that +ombo Maneuver, ma!ing it a 5iy +ombo Maneuver. ?et's loo! at some eamples( ason decides to combine two maneuvers maneuvers into a +ombo Maneuver. Maneuver. #e spends one *ower *oint. The maneuvers are now lin!ed, and the second maneuver will get @3 Speed when it is played as part of the +ombo. ason later decides to add a third third move to the +ombo Maneuver, Maneuver, so he spends an additional *ower *oint. The third maneuver also gets the @3 Speed %onus when played as part of the +ombo. Finally, Finally, the player decides to spend one last *ower *oint *oint to ma!e the threemaneuver +ombo capable of accumulating damage turn after turn to score a diy result. #e spends the point and records the +ombo on his character sheet as a 5iy +ombo Maneuver. Another player, player, Michelle, Michelle, buys a twomove +ombo +ombo and wants to have the diy power, so she spends two *ower *oints for a twomove 5iy +ombo Maneuver. &hen a player buys a +ombo Maneuver, Maneuver, he must specify which moves he wants to be part of the +ombo Maneuver, Maneuver, and the order in which they must be eecuted during play. play. Once this is set, it can never b e changed. For eample, a player decides to buy a +ombo Maneuver for his beginning character. #e decides to go for a basic one two !ic!ing combination, so he chooses to combine his character's Short 6ic! and 2oundhouse 6ic! into a +ombo Maneuver. Maneuver. #e records the +ombo on his character sheet under Special Maneuvers as :+ombo Maneuver( Short 6ic! 9 2oundhouse 6ic!<. Another player might decide to do a triple +ombo of %loc! 9 2olling Attac! 9 Shoc! Treatment Treatment that accumulates damage for diies. She would write the move as :5iy +ombo Maneuver( %loc! 9 2olling Attac! 9 Shoc! Treatment<.
TEAMWORK -*8 p.G/ Many teams have come to recognie recognie the value value of wor!ing together in the arena. The members of these teams don't 7ust fight beside each other. other. They coordinate their maneuvers to increase their effectiveness as a unit. Many times, a finely tuned fighting team can ma!e its opponents loo! li!e mere barroom brawlers. A team can begin to use teamwor! in two ways. The first is to communicate more in the ring and ma!e certain that no one is stepping on anyone else's toes. The second way is Team +ombos. +om bos.
A Team +ombination Attac! can be a truly horrifying tactic. They can effectively 5iy even the toughest opponents in a single turn. A Team +ombo is, in essence, several or all of the team members practicing a series of wellplaced attac!s in precise order over and over again until they could do the series in their sleep.
BUYING TEAM COMBOS -*8 p.G/ Any two or more members members of a team can decide decide to buy a +ombo together. There are two types of Team +ombos( $nstant +ombos and "tended +ombos. $nstant +ombos ta!e place within a single turn, with all characters stri!ing a single opponent simultaneously. simultaneously. "tended +ombos are far more insidious, as this type of +ombo occurs over several Turns with each member of a team p lacing their blows, one after another. A fighter fighter might not even realie he's being +ombo'd until it's too late. &hen a team decides to purchase a Team +ombination Attac!, they must decide which type of combination attac! they are purchasing. "ach team member then selects one Maneuver and spends one *ower *oint. That Maneuver is now part of a Team +ombo. +om bo. 1nstant !ombos 9 !ombos 9 The characters simultaneously attac! a single foe. "ach character must do their maneuver on the same speed, which means that the faster team members must attac! when the slowest one goes. All members of the team who are a part of this combo simultaneously attac! their chosen target. All damage done to the target is cumulative for the purposes of determining a 5iy. 5iy. $t is important that the maneuvers not contradict one another. An "lectro Shoc! or a Suple would not be a good maneuver to play a s part of a Team +ombo. Attac!s Attac!s which affect more than one he would undoubtedly affect your teammates as well. ?i!ewise an attac! that leaves your target on the ground, and thus out of stri!ing range, is also bad for teamwor!. $n the end, the Storyteller is the final arbitrator of which Maneuvers wor! together and which don't. &0tended !ombos 9 !ombos 9 These types of +ombos snea! up on an opponent. &hen purchasing an "tended +ombo, the players must decide which order their characters will stri!e. These stri!es are then done one after another on a Turn by Turn basis. $f any of these stri!es miss or do no damage, then the chain is bro!en, and the +ombo must begin anew. #owever, if at any time during the +ombo the target has ta!en a cumulative volume of damage which eceeds her Stamina, she is 5iied. $n order for this type of +ombo to be effective, the target cannot ta!e damage from any source other than the character that is supposed to be attac!ing him during any given round. "or example, 4lex )tone, %ookie and 2ingo want to do an *xtended 5omo on )agat. 6hey must e dreaming if they think they've got a chance of eating him, ut they're going to try in spite of their etter /udgment. 4lex is first, and he hits )agat with a )pinning 7ackfist, doing two 8ealth levels of damage. 2uring the first turn, )agat also attacks and 2i&&ies 2ingo. In the second turn, )tone distracts )agat y locking )agat's 6iger $nee with his face. %eanwhile %ookie catches )agat from the side with his 2oule2read $ick doing one 8ealth level with the first kick and a whopping two with the second. 2ingo spends the turn recovering from his 2i&&y. In the third turn, )agat
sends %ookie crashing to the ground with a "oot )weep, and 2ingo makes his move. 2ingo steps in with his 2oule8it $nee. 8is first hit does one 8ealth level a s does his second, ringing )agat's total up to seven 8ealth levels of damage. 6his is /ust arely enough to 2i&&y )agat. If these character's can stand up to )agat's devastating attacks for a few more rounds, they might have a chance of eating him through teamwork.
YOUR MOVE... So far in this chapter, chapter, we've dealt with Special Special Maneuvers primarily to define how they fit into the rules of the game. %ecause Street Fighter is is a storytelling game, it's also important to point out how they can be used to tell a better story and develop more interesting characters.
INNOVATION One of the the best ways to weave Special Special Maneuvers into a story is to create ne w ones. A player player can create a new Special Maneuver, complete with *rere1uisites, *ower *oint costs, +hi or &illpower cost, Modifiers, etc. The Storyteller must approve all new powers to ma!e sure that they fit into the game and don't give a character an unfair advantage -li!e having a one*ower *oint punch that does @H damage or something ridiculous li!e that/. The Storyteller may decide to raise a power's cost or lower its modifiers if she finds it too powerful. Once the Storyteller Storyteller has has approved a new power, power, she and the player can design a story about how the character learns the new power. &hat does the character have to do to find the right Sensei or get enough eperience to develop the powerL )ew powers powers possessed by villains villains also !eep the players on their toes. O!ay, so that $ndian guru who runs Shadoloo's operations in %ombay is reported to be a master of psychic powers. &hat can the guru doL #ow can the characters prepare to face the un!nown powers of this adversaryL )ew special powers can build a lot of suspense and drama. $s that ancient +hinese Sifu finally going to hold a tournamentL $t is rumored that whoever wins the tournament will be taught the Sifu's deadly 8host #and 6ing Fu maneuvers. 8reat stories can be built around the search for new Special Maneuvers.
ADDING DRAMA DRAMA TO SPECIAL MANEUVERS MANEUVERS $f you're a Storyteller, Storyteller, all these these Special Maneuvers may seem intimidating, so stic! to the level of compleity with which you feel most comfortable. $f you want to use only the %asic Maneuvers during your first few fight scenes, that's fine. $t's a good idea to get the feel of combat before you introduce Special Maneuvers and ma!e combat more complicated. 2unning combat combat ta!es time at first, but once you've practiced it a bit, it speeds up. The goal is to !eep your fights fastpaced, eciting and, above all else, fun. $f you're a player, player, remember that your goal goal isn't to twist the rules to create an invincible character. character. $f you argue
rules to score etra hits, the reaction you get will be the same as that given to a fighter who argues with a 7udge to score more points( people will get tired of hearing you complain. $f, however, you want to run a fully developed character 9 someone with a real personality, someone who doesn't 7ust beat people up 9 you're on your way to becoming an important part of your gaming group. =se your character's Special Maneuvers to add drama to the story. &henever your character uses a Special Maneuver in combat, feel free to describe the move in as much detail as you want. "ach card you play is another embellishment to the story. $f you can add a bit of panache to each punch that's thrown, if you can add drama with every +ombo Maneuver you use, the Storyteller will remember your roleplaying, and your opponents will remember your character as a true Street Fighter. 2emember, too, that Special Maneuvers have lots of uses outside of combat. Maybe the victims of a car crash need your +hi 6ung #ealing. *eople are trapped in a burning building and can't escape through the loc!ed door 9 can your 5ragon *unch brea! throughL That sniper on the third floor is going to shoot a rifle through the window 9 can you leap up to stop him in time, or maybe stretch your "tendible ?imbs to grab the gun awayL =se your Special Maneuvers for more than !noc!ing heads. Sometimes your character will need them to survive outside the ring as well as inside.
ACTIVATION WORD BONUS Finally, here's an optional rule that many people use when they play Street Fighter . $t adds some drama and roleplaying to combat. The rule involves the use of special combat phrases called Activation &ords. =sing this rule, whenever a character wants to use a certain Special Maneuver, he must yell out that power's Activation &ords during combat. For eample, if you're playing 6en, you might say, :Ayu6enE< every time your character throws a 5ragon *unch. The advantage is that if the player uses the Activation &ords, the character will gain an additional point of 8lory if he wins the combat. #owever, a fighter who uses Activation &ords must say them whenever the power is used. The power cannot be used without the Activation &ords. $f the character is gagged and cannot spea!, suffers laryngitis, or is involved in a stealth operation, yelling Activation &ords to activate powers becomes more difficult. *layers using customied characters can choose their own Activation &ords. =sually, the word or words describe the maneuver. $f the Activation &ords are inappropriate or vulgar, the character will lose #onor each time they are used.
The Sensei has many responsibilities, not only to his students, but to himself. Is the weight too much to bear? Not if he possesses virtue, if he is himself on the path to perfection. Even a master has much to learn. But does this learning have to be arduous? Is his tas a hard one? By no means, for if he is resolute in his purpose, the universe will mae way for him. !ictory will follow the easiest of efforts. - Sayings of Gouken A storytelling game is all about creating and telling stories, and this chapter will show you how to do it. Because this is probably the most important job in the game, we'e deoted a whole chapter to tips on storytelling.
BEING A STORYTELLER !ongratulations" you'e made the decision to be a Storyteller. #hat means you'll hae to do a lot more reading than the players, and you'll hae to do more preparatory work. $t's worth the e%tra effort, though. Being the Storyteller for your gaming group is a uni&ue and fun e%perience. hile the players hae a big part in making a game session fun, ultimately it is up to you to make the game entertaining. As we said in !hapter (ne, the players are like actors in a moie, and you, the Storyteller, are the director. $n this chapter, we'll show you how to prepare for your first story, how to make sure eeryone has fun when you tell the story, and gie you some ideas on creating your own stories.
PREPARING FOR YOUR FIRST STORY Before you gather the players and sit down to start your first Street Fighter story, there are a few things you should do. )irst, you should read this rulebook from coer to coer. *ou are the ultimate arbitrator of the rules+ players, especially new ones, will look to you if they hae &uestions about the rules. *ou certainly don't hae to memorie eery rule in this book, but you should try to familiarie yourself with the location of certain rules areas within the book. #his way you can &uickly consult the right part of the rulebook if a &uestion arises during play. Beyond just learning the rules, reading the book will gie you a better picture of what the world of Street )ighter is like. !hapter (ne gies you an oeriew of the setting. After you hae read the book and are familiar with the setting, you can gather your friends and help them create
their characters. #hey should hae already read !hapter #hree on character creation, but if they haen't, you can show them how to design their Street )ighter characters. #hey players will also need to fill out !ombat !ards for their characters and choose a cutout figure to represent them on the tabletop map. hile the players design their characters, you can help them formulate their past backgrounds and also deelop a reason why the characters adenture together. $f you let the players choose from among the honorable orld arriors /0. Bison, Balrog, 1ega and een Sagat are too nasty and dishonorable to be heroic characters2, make sure you modify the difficulty of 34igh Stakes3 /or any other adenture you choose to run2. $t takes a lot more to challenge a orld arrior than a beginning Street )ighter. $t's generally not a good idea to let some players play orld arriors while others play beginning characters. $f the team eer gets in a fight, the orld arriors will mop up the illains before the beginning characters een get started fighting, because the orld arriors are so much better /they're the best at what they do52. $f some players really want to create their own characters and others want to play orld arriors, you can either scale down the powers of the orld arriors or gie the ne w characters more freebie points to spend during character creation /see !hapter #hree2.
RUNNING A STORY So, the players hae their characters, and you'e read the book and assembled the props to play your story. 6ow it's time to play the story. 4ere are some tips on running a good storytelling game session.
MAKE SURE ALL OF THE PLAYERS HAVE FUN 7emember that the main reason the players are there is to hae fun. *our job as Storyteller is to entertain them. hen the players hae a lot of fun during the game, you'll find that you hae more fun as well. A Storyteller's entertainment comes from watching the players enjoy themseles. #he characters should almost always be the primary elements of the story 8 the central heroes and heroines around which the eents of the story focus. $t's not much fun for a player to sit through a game session wherein most of the e%citement and action happen to characters the Storyteller controls. 0ake sure all of your stories focus on what the players decide to do.
Another aspect of making sure the players hae fun is to gie the story the right amount of challenge. $f the players' Street )ighter characters easily trounce the enemies in a story, it's not much fun+ there isn't any suspense or danger. #he players will not feel that their characters are being threatened at all, so the most they'll get out of the story is some laughs as they easily defeat the illains. ithout some element of danger, the players won't feel the adrenaline rush of action that should be part of a Street Fighter story. !onersely, if the characters must constantly face enemies that are astly more powerful than they are, the story will not be much fun. $t can be e%citing for the characters occasionally to encounter an enemy who is so powerful that they must win through ingenuity rather than through brawn, or must simply try to escape from the enemy rather than oercome the illain /although some Street )ighters' codes of honor may disallow them from fleeing a direct challenge2. 4oweer, if the characters are constantly getting beaten up, tricked, or double-crossed, the players are bound to lose interest in the game. $f the odds are always stacked against them, why should they bother9 So, as the Storyteller, it's important for you to maintain a balance between making the story too easy or too difficult for the players. #here should be enough danger to scare the players, to e%cite them, and to gie them a feeling of accomplishment when their characters finally succeed, but not so much challenge that the players are constantly frustrated because their characters neer win.
USING THE RULES e'e already e%plained that the Storyteller should be the ultimate rules referee. #his means that you are the final arbitrator of rules &uestions. *our use and interpretations of the rules are important parts of being a Storyteller. #he rules for the Street Fighter storytelling game are based on the rules used in hite olf's other games, which are collectiely called the Storyteller Series /including Vampire: The Masquerade , Werewolf: The Apocalypse, Mage: The Ascension, and the soon-to-be-released Wraith and Changeling2. $n all of these storytelling games, the rules are intended as guidelines, not unbreakable laws. e present these rules to you as the best ways we hae found to simulate and control game action. 4oweer, you may find that you don't like some rules, that some rules don't work for your group, or that there are no rules coering a certain situation. $n these cases, feel free to change the rules or make up your own rules. #he rules are intended to help eeryone enjoy the game+ it's not illegal to break them or modify them when you are the Storyteller. $n fact, sometimes it is absolutely necessary to bend a rule or create a new rule. $f the characters are getting trounced by some enemies you want them to defeat so your story's plot doesn't get messed up, then it's okay to fudge some rolls or lower the enemies' 4ealth in the middle of the fight to let the characters win. #here might also be times when you must boost up the power of enemies in the middle of play when it appears that the characters are haing it too easy. $t's best to keep this fudging hidden from the players, or they'll e%pect you to
sae them eery time they're in trouble. Also, because anything can happen in a storytelling game, it's impossible to gie rules for eerything. *ou will ineitably hae to create rules for some situations as you go along. )or e%ample, the characters are inading a secret Shadoloo research lab, and one of the Shadoloo scientists sprays acid on a character. As the Storyteller, you are free to inent rules on the sport for how much damage the acid inflicts and whether or not the character's clothing will protect her from the acid o r be dissoled by it.
BE DESCRIPTIVE :uring a story, you are the characters' eyes and ears. ;layers rely on you to tell them what their characters see, hear, smell, taste, and touch. A story's drama relies heaily on your ability to describe eocatie scenes. )or e%ample, you could describe a scene in the following manner" <#he eleator doors open and you see the production area of an o ld steel mill. #here are lots of machines around, but there's nobody h ere.= 4ere you'e gien the players the basics of what's around them, but you haen't gien the place any atmosphere. )urthermore, by telling them outright that nobody's here, you'e remoed any suspense from the scene. >et's try again" <#he eleator hums to a stop, and the doors rattle open to announce your presence. (utside the eleator there's a caernous room filled with ancient machinery. #he odors of grease and oone hit you, and a stifling wae of heat enelops you. ?erywhere you look, steam hisses from old pipes, clouding the already dim light. 0achinery still rumbles, and in the distance you see the orange-yellow glow of a gigantic, open furnace. *ou don't see anyone through the steam, and the rumbling machinery makes it almost impossible to hear. 6onetheless, you do make out a reerberating sound in the distance 8 almost like maniacal laughter@ but it's probably just another piece of machinery at work.= 6ow the description creates some atmosphere and maybe a little suspense. #he same flair for dramatics is needed when you take the role of a non-player character. Sometimes you'll need to inent minor characters on the spot, like cab driers, or waiters, or tournament coordinators. #ry to gie these characters names and memorable personalities. 0aybe the cab drier is a doom-and-gloom depressie, or the waiter considers himself too good to be sering such ruffians as the characters, or the tournament coordinator is a greedy scoundrel looking for a fast buck howeer he can get it. !ertainly the illains of your stories need dramatic personalities. #he players should loe to hate the enemies you create. And if 0. Bison himself eer appears in a story, the tyrant's isage alone, with unholy b alefire rippling from his eyes and flickering in his hands, should cause the most e%perienced orld arrior to shudder.
DESIGNING YOUR OWN CHRONICLE & STORIES After you and your players hae finished your first story, it's time to plan the ne%t one. hite olf released seeral
sourcebooks and adentures /like Secrets of Shadoloo2 to proide you with more information and precreated stories for you to use. 4oweer, you should try creating your own Street Fighter stories and chronicle. A chronicle is a whole series of indiidual stories that all interrelate. )or e%ample, the Star Tre moie The "rath of #han might be thought of as one story, and the entire Star Tre series of teleision episodes and moies would then be the chronicle. #he moie is much more enjoyable for those who hae familiaried themseles with the characters and settings of Star Tre by watching the other moies and #1 shows. $f you remember the illain han from his first teleision appearance, then his appearance in the moie /a later story in the chronicle2 is much more dramatic. $n the same way, you can create indiidual stories, which can then combine into huge chronicles that span years of real time and adance the characters from beginning Street )ighters to the status of orld arriors. ?ach story of your chronicle becomes more e njoyable than the last because each new story builds upon a preious story. )or e%ample, players will immediately be intrigued when they hear that the same illain who barely escaped the characters the last time they met is in town for the tournament in the current story. Good illains are essential to almost eery chronicle. ;layers will go out of the way to get another shot at a illain they hae grown to despise. Also, just as Star Tre fans hae grown to loe the starship Enterprise, the players in your chronicle can grow to loe certain settings. 0aybe there's a certain training hall in !alifornia that the characters fre&uently isit to ask adice from the owner, to see old friends, and to catch the latest news about any secret tournaments on the horion. !hronicles should also hae plenty of recurring minor characters. $nterpol agents, goernment officials, team managers, teachers, and family relaties are all good e%amples of minor characters who will gradually gain depth through many brief encounters throughout a chronicle.
CHRONICLE CONCEPTS hen you design your chronicle, it's best to hae a concept in mind. >isted below are the two main chronicle concepts that work well for Street )ighter games. *ou may choose one of them or design a ne w concept of your own.
AGAINST SHADOLOO #he world of Street Fighter can be a dark, fierce, and sad world. 0any of the world's problems stem from one indiidual 8 0. Bison. )rom his secret head&uarters on the remote island of 0riganka, Bison rules a ast empire of corruption called Shadoloo. #here is no type of crime, no terrorist action, no wanton act of iolent destruction that Shadoloo will not perpetrate. hateer adances Bison's goal of world domination will be undertaken by the minions of Shadoloo. (ne of the best chronicles in the world of Street
Fighter is the neer-ending &uest to destroy Shadoloo and bring its power-mad tyrant to justice. 0any of the orld arriors themseles hae had their lies scarred by Shadoloo, and many of them seek engeance. Beyond the cold &uest for reenge, seeral other factors may bring Street )ighter characters into conflict with Shadoloo. !haracters may hae been trained as goernment agents, and while no goernment will officially send agents to attack Bison, coert operations are possible. $n fact, international police organiations such as $nterpol will go to almost any length to curb the global crime wae sponsored by Shadoloo. !haracters could ery well be secretly hired to combat Shadoloo by such an organiation. Also, the characters don't necessarily hae to find Shadoloo, because Bison's minions may seek them out. Bison loes to find capable fighters to join the ranks of Shadoloo, and the characters might be approached to join the foul organiation. hile no honorable fighter would een consider joining, Bison doesn't like taking
A FEW TERMS TO REMEMBER #hese terms were introduced earlier but are repeated here for those new to storytelling games. Player: #he person or people who play the game. ?ach player assumes the role of a character. #he player describes this character's actions and rolls dice to resole those actions according to the game rules. Character: A fictitious person whose goals and personality a player enacts in the game. Also called a player character. Storyteller: #he player in the game whose role is a bit different from that of the other players+ he does not play a single character of his own, but instead takes the role of the world, the enironment in which the characters adenture. #he Storyteller creates the story and describes the scenes to the other players, and he plays the arious people the characters meet during their adentures. Storyteller Character: (ne of arious people the characters meet in the game world. #hey are played by the Storyteller. Also called a non-player character. Story: #he adenture in which the player characters take part. A story can inole espionage, mystery, horror or any other idea the Storyteller wants to run. Scene: ;art of a story. A story is composed of a number of scenes. heneer there is a break in the action or time passes, the current scene usually ends and the ne%t one begins, until the finale of the story. Chronicle: A series of stories bound together by some thematic thread, such as
his free fist, ready to strie. '"ait, No) That was 1ust a 1ob) %ey, you-re army 2 you understand. I-m 1ust a merc, man. I 1ust do it for money)* :ifferent Street )ighters hae different motiations and $ordon pleaded, struggling to free himself from $uile-s goals, but all share the desire to better themseles in iron grip. some way. $ndiidual fighters may want to perfect their 'No amount of money-s gonna buy bac harlie-s life) I techni&ues, learn new special powers, or seek more hope you en1oyed that cash, pal, -cause it-s payday)* $uile 7enown, but all want to better themseles and replace swung his fist and $ordon screamed, only to be cut off as 7yu as the Grand 0aster. he was noced into the wall and through it3 !hronicles about personal attainment will center on the 6ot the noblest of moties, but an understandable one. goals the players hae for their characters. )or e%ample, if Someone has been wronged, and he or she wants to get :ee ay's goal is to gain enough popularity in the Street een. #hese stories need not be constant fight scenes+ )ighter circuit to become a martial arts moie star, then he more often than not, the aenger will need some sort of will primarily be interested in tournaments that inole a lot preparation or help on his mission. 7eenge may take of showmanship and potential Glory. All the while, though, years to accomplish. As Guile or !hun >i can attest, :ee ay must practice his fighting skills if he wants the reenge could be the background for an entire chronicle. ultimate glory of becoming the new Grand 0aster. X Some criminal organiation has ruined the fortunes or family of a character, but the group is too powerful to battle alone. $t holds local law enforcement in its pocket 8 what to do9 #here could be spies anywhere, een inside the team itself. ;layers should be on their guard@ Below are doens of sample story concepts to gie you x A well-regarded Street )ighter has ambushed a ideas for your own. eep in mind that many of the stories character or her friends, beating them badly, perhaps een you create can combine one or more of the story concepts, maiming them. 6o one will beliee that the fighter would or use completely different ideas. stoop to such dishonor, but the character knows what she saw. :oes she challenge him openly and risk making an Street Fighter stories are not limited to straight-out accusation that she cannot defend9 (r does she seek a tournament brawls. !onsider the classic professional more subtle reenge, e%posing his crime in public or fighter's dilemma" Someone rich, powerful, and corrupt wants the fighter to throw a fight, and this someone doesn't punishing him behind closed doors9 hat if the Street )ighter wasn't the one behind the treachery9 ho was9 take no for an answer. $f the fighter takes a die, she gets And why9 a lot of money 8 money she really needs at the moment. X A powerful figure is humiliated /or at least thinks that #he payment for refusal is a contract on the character's he was2 by one of the characters and proceeds to make head. 4onor9 0oney9 >ife9 hat to do9 #his is but one life miserable for the whole team. hat will he do, and e%ample of how Street Fighter stories can &uickly how9 ill the characters know who's behind their torment, become more comple% than just going to the ne%t or will it take some digging to uncoer the source of their tournament and fighting. problems9 (nce they do, will they apologie or attack9 0ost of your stories should fit into the type of chronicle you are creating, to gie the chronicle more continuity from story to story, but don't feel limited. *ou can always throw in one or two oddball stories that don't really fit into your main chronicle. $t's good to keep the players guessing The /ingmaster climbed into his office trailer. The what's going to happen ne%t. sounds from the nearby Big Top drowned out any other noises. %e looed around to be sure no one was watching. Everyone else had a 1ob to do4 the circus was on, and all eyes were directed toward the tents. The /ingmaster $ordon crashed into the mirror behind the bar, shattering chucled to himself and went over to his des. %e hit the hidden button beneath, and the wooden panel slid bac, it into a thousand sharp shards. %e slid to the floor, di&&y revealing sophisticated radio e5uipment. and bleeding. $uile leaped the bar and grabbed him, %e sat down and turned on the power, and then stopped, pulling him up by his collar. staring at the shadow that fell across his des. %e looed '"ha(? "hy? "(w(what did I do to you?)* $ordon up ( 'ou) "hat are you do ing here? our acrobatics desperately yelled. routine is supposed to go on any minute)* $uile shoo him hard. 'Thailand) +ive years ago) It was The lithe young girl in the simpy leotard shoo her you) I never forget a face.* head, tsing, her arms crossed. '"hat, so you can mae $ordon looed suspiciously at his antagonist. 'eah, I your weely report to 6. Bison? I thin not.* was in Thailand. But how-d you now? "ho are you?* '"ho the hell are you? %ow did you now (?* '$uile, Special +orces.* 'British Special 7gency*, ammy said as she leaped up, $ordon shoo his head, still hanging in the air, held up twirled around and landed a powerful ic onto the radio. by $uile. 'I don-t now you.* Spars flew and metal shrieed as the radio shattered into '%ow about harlie? /emember him? /emember what pieces. you did to him and me in that old fort as the 0ictator 'ou can-t do that) I-ll teach you to mess with laughed?* Shadoloo...* the /ingmaster said, rising up and preparing $ordon-s eyes widened in shoc and fear. 'ou) ou-re his hi Blast. the guy that escaped)* 'No, I-m sorry, but the circus is over 2 for you)* ammy 'Bingo. Try escaping this...* $uile said as he reared bac
PERSONAL ATTAINMENT
STORY CONCEPTS
ESPIONAGE
REVENGE
yelled as she leaped up and landed on the /ingmaster-s head3 0any of the great martial-arts adentures and spy thrillers reole around infiltrating some organiation or place and either stealing some important item or bring the whole place down from within. ?spionage and 7eenge scenarios work well together, and a traeling fight team makes a great coer for infiltration missions. ;erhaps the characters work for an espionage agency or were recruited on a
RESCUE/RECOVERY The desert sun-s unmerciful ga&e glared down at captives and guards alie, baing them slowly. The two guards, Shadoloo thugs, stared at the 6e8ican villagers tied to staes in the ground. '0o you give up yet? 9ust sign the papers, tae the money and leave. That-s all there is to it. "hy be troublesome, eh?* :ne of the villagers replied, 'ou may ill us, but we will not sell our village. :ur father-s fathers wored the fields, built the village. ou cannot come and tae this from us for money)* ;Says who, old man?* the guard retorted. 'Nobody stands in 6. Bison-s way. If he says he wants legal ownership of the village, for whatever weird reason, then he gets it? omprehende?* The old man stoically looed away. %e wondered how much longer he and his son could last in this tortuous heat. %e had no 5ualms about dying to save the village, but his son was much younger, with a life ahead of him. '"ho the hell is that?* one of the guards blurted out. %e pointed away across the rocy, dusty plain.
'
DISASTER '/un for your lives)* the foreman screamed to the
worers as they desperately scrambled bac. %ot, li5uid iron spewed in gouts from the giant smelter, splashing up molten spray as it hit the floor. The crac in the pot grew bigger, and the pot suddenly burst, sending a flood of li5uid metal 2 hotter than the fires of hell 2 toward the fleeing worers. 7 massive clanging sound suddenly reverberated from nearby, as if a giant hammer were pounding continuously on the walls. The foreman was confused but didn-t have time to thin about the distraction. %is worers were about to be illed 2 damn the central committee and its funding cuts) This unsafe factory had finally broen down and now they would pay the cost 2 the worers, the common people. "ho could save them now? Then, the wall came down. The foreman stared in awe as an entire wall separated from its foundation, crashing between the worers and the flood of hot metal. It acted as a die, stopping the dangerous flow and allowing the worers the e8tra time they needed to escape. 7 cheer rose up among them, and the foreman looed over toward the gaping space where the wall used to be. 7 massive man stood there, rubbing his hands together as if nocing off dust. The worers all began to chant, a name nown to many /ussians= '>angief) >angief) >angief...* hen the earth &uakes, when the train derails or the tower topples or the snows seal the doorways shut, when disaster happens, the true hero f inds his calling. >ike 7escues, aboe, disaster interention allows a Street )ighter to put her skills to higher use than beating people into the ground. ;erhaps the character is directly inoled in the mishap, or een causes it directly and must make amends. (r maybe some unscrupulous fighter triggers a disaster to distract the character while she makes her getaway or frames a third pa rty. $n any case, the :isaster story gies characters a chance to improe their standing in the eyes of their public and their peers. Such tasks can earn a warrior great honor 8 or get him killed. #his kind of story takes fighters beyond the ring and into the realm of high drama. :isaster stories feature dangerous traps 8 falling debris, e%plosions, rising flood waters, etc. - and high leels of suspense. #he clock is always ticking during a disaster+ the players should be aware that eery second counts5 X A fighter stages a disaster in order to make himself look good. :o the players catch on9 $f so, how, and what do they do about it9 0any fans will not beliee that their faorite fighter could do such a thing, and may be really upset if some rial tries to tell them otherwise@ x #he team awakens to heay clouds of smoke and shrieking people. #he hotel is ablae, and neither the alarms nor the emergency fire hoses are working5 6ot only must the characters escape, they must help the other patrons trapped by the fire. #his story becomes een more challenging if the hotel is a high-rise or a real flea-bag loaded with criminal actiity. ho started the fire, and why didn't the alarms work9 as it insurance-motiated arson, engeance, or an attempt to stop the characters' team at any cost9
MYSTERY /ollins scratched his head and sighed. Thirty years on the force and they bump me aside for this, a girl not even
out of her teens. "hat could she discover that he hadn-t already? %e shoo his head and spoe up. '"ell, 6iss? +ound anything?* 'es, many things.
acting furtie. #he players will go nuts trying to figure out what's going on, especially when some shadowy stranger starts hanging around. $s it a set-up or just a game to catch another, hidden infiltrator9
EXPLORATION @rofessor 0aring pulled himself up the rest of the way, grasping at thin vines and grass. %e huffed and puffed, out of breath after the toughest climb of his career. But he was finally here, on the highest plateau in South 7merica. %e had done what no other e8plorer before him had 2 he was at the summit) %e reeled 1ust thining of it= the first man from civili&ation ever to reach this lost plateau. -Thin of the wonders never before witnessed-, he thought. -The discoveries awaiting me)- "ait 2 what was that? There 2 up ahead. 7 movement in the 1ungle 2 a figure maing its way toward him. -$ood $od,- 0aring thought -I-m the first to discover whatever strange life dwells up here, untouched by the rest of the world for centuries) "hat could it be? It-s bipedal, all right 2 even anthropomorphic 2 perhaps the missing lin)- %e turned around and helped his small entourage of native guides climb up behind him. @erhaps their language, although separated for eons, still retained enough similarities to permit communication. %e turned bac to the approaching figure, and his eyes widened in shoc. It was a man of sorts, yet more beast perhaps. $reen sin and red hair 2 what species of being was this? 7n australopithecine offshoot? 7 gigantopithecus? Suddenly, the natives began yelling a name= 'Blana) Blana)* The creature stopped, looed at them, and smiled. 0aring couldn-t believe it. "as this the name of a local deity that they were now attributing to this missing lin? '"ho is this?* 0aring ased his guide. The guide turned to him, smiling. 'It-s Blana) The best Street +ighter in South 7merica...* #he search for lost cities and fabulous treasures can be the focus of a whole Street Fighter subchronicle. ;erhaps the characters' special skills make them good recruits for a traeling treasure-hunter or thrill-seeker, or perhaps the characters loe the thrill of e%ploration themseles. 0aybe circumstances, like a plane crash or a marooning, leae the characters little choice but to search for escape 8 anywhere they can find it. An ?%ploration story gies the Storyteller a chance to create fabulous locations 8 haunted ruins, a rich shipwrecked essel, a mystic mountain retreat, a lost ciiliation in the Amaon ungle. #here are many uncharted reaches in the Street Fighter world, and plenty of chances to discoer #hat hich $s 6ot *et nown. (dd treasures, deadly traps, e%otic locales and fascinating lost tribes or hidden cults tempt the intrepid Street )ighter to e%plore the outer reaches of the world. ?%ploration need not be intentional. Stranding the characters on a desert island or in a hidden alley is a good place to start. But your players may &uickly ac&uire a taste for going where no Street )ighter has gone before. >et them. ?%ploration stories combine well with dilemmas, 7escue, 7eenge and 7omance. Any genre idea can be made more interesting with an e%otic setting and an air of
timeless mystery. X (ne team sponsor is a long-time treasure-hunter who now wants the characters to join a dangerous !aribbean e%pedition in search of a huge pirate treasure. #he only complication is a deadly rial, who wants the treasure to herself and will do anything to get it. ho will find the treasure first9 And who can keep it longest9 X A new warrior appears on the scene. She's strange and e%otic 8 no one knows &uite what to make of her 8 and her fighting style is pretty uni&ue. A lot of people would do anything to find out where she came from... and the characters happen to be around when someone tries to find out the hard way. hen the kidnapping attempt fails, the warrior runs for it. ;erhaps she hires the characters to help her get home safely+ maybe they just follow out of curiosity, honor or een attraction. #he new warrior's homeland is biarre, a lost alley where the naties still practice an ancient fighting art designed to protect them from a rial tribe. 4ow do the player characters enter the alley9 (nce there, how do they leae9 0ore to the point, will they be allowed to9 ;erhaps the would-be kidnappers hae followed the characters+ what might happen when the two groups meet again9 #his kind of story goes well with 7escue and 7omance tales+ it's also a perfect adenture for fans of ?dgar 7ice Burroughs, 4. 7ider 4aggard, or other
FINISHING TOUCHES (nce you hae a story concept in mind, go ahead and flesh it out into the outline of a plot. #ry to work out the basics in your mind, or een write them down on paper. #ake a close look at your plot+ see if there are areas where you can add more suspense, or cool settings, or une%pected plot twists, or more opportunities for the characters' decisions to change the outcome of the adenture. #his last part is the most important 8 don't create a plot that can hae only one ending. #he purpose of a storytelling game is to create the story as you play. As the Storyteller, you only need an outline of what you think might happen during game play. :on't trap your players into a pre-made plot that will end the same way no matter what the characters do. Besides, the players are bound to miss clues that you thought would be obious or &uickly sole some mysteries before you thought they would. *our plot will ineitably change depending on what the players decide to do. After you hae a plotline in mind, go ahead and create the characters you'll need for the story. ot down some notes describing the settings you think the characters will isit during the adenture, such as a tournament's fighting grounds or the layout of a Shadoloo stronghold. *ou should compile enough notes to be comfortably prepared to run the story in front of the players. Some Storytellers make lots of notes and maps before running an adenture+ others make only brief notes and create many of the details during the actual running of the adenture. )ind what works best for you. #he process can be summaried as follows" x Plot: !hoose one of the story concepts gien aboe or make your own. X Setting: #he plot should help determine just where
the story will take place. :oes it take place in a single place, or do the characters trael to other locations oer the course of the story9 X Atmosphere: *ou should determine the atmosphere you want for your story. Atmosphere can also be described as mood. #he plot and setting help you formulate this" you don't want a dark brooding atmosphere for a 7omance story set in the Bahamas, but such an atmosphere would befit a 0ystery set on the misty moors of Scotland. X rea! the Story into Scenes: (nce you decide all the aboe, you can then lay out your story into scenes, the order in which you want eents to proceed. hen characters leae one area to go to another, such as leaing the whares to go to the illain's underground lair, the scene changes. #he passage of time can also change a scene. :on't get fi%ated on scenes, though+ they are mainly a method to enhance the storytelling. #hey are moments of releasing tension or building suspense. 6e%t time you read a book or watch a moie, try to figure out when the scene changes. 6ote how the author or screenwriter used a transition of time or place to enhance the story.
GO FOR IT! 6ow you're prepared to run your own story. Good luck. 7emember" the goals are to entertain and challenge the players. )inally, when you finish your story, try to decide which elements of the story you want to keep in your chronicle, and keep your notes on those illains, characters and settings you might want to use again.
CHARACTER STORY DEVELOPMENTS (nce a !hronicle has run for some time, some players may decide they would like their characters to moe on from Street )ighting into new phases of their lies.
RETIREMENT /;G p.DE2 ou see me now a veteran of a thousand psychic wars I-ve been living on the edge so long, where the winds of limbo roar. 7nd I-m young enough to loo at far too old to see. 7ll the scars are on the inside. I-m not sure that there-s anything left for me ( Blue :yster ult, '!eteran of the @sychic "ars* >ife on the circuit has an attraction for young fighters, which often fades as the fighter ages. ;erhaps the simple repetition of the matches wears on the Street )ighter, or maybe they hae seen one too many fighters crippled in the ring. #hen again, they could be simply getting old and slow. hateer the reason, fighters will think about life outside of the ring and retirement. *et many of these old war-horses are reluctant to leae the life behind altogether. 4ere are a few of the careers that retired fighters take up.
TRAINING HALL $t is common for a fighter to establish a dojo or training hall to teach students the ways of their fighting style. #his allows the fighter to still be influential in the world he loes, een if he cannot continue in competitie matches. $t also pays the bills. A player may decide to retire a fighter who has been losing constantly and begin a new one. #he old fighter may start a dojo and assist in the training of the new one. ;erhaps the teacher has been hurt or forced off the circuit and is using the younger student to e%act his reenge. #his can establish a continuity to the chronicle, like passing the torch from one character to another. Building a training hall can help a fighter who is walking the path of the master. #hey may teach and learn at the same time. ;erhaps they hae not reached the point where they are willing to abandon their life for the seclusion of a master's retreat. 0any of these fighters become seduced by the success their students ac&uire. #hey turn away from the ;ath of 4onor and towards the ;ath of Glory. #hese fighters hae failed to become true masters but are still aluable teachers. Some Street )ighters maintain a dojo during their competitie career, although most find that the pressures of competing occupy all of their free time.
MARRIAGE 7unning the Street )ighting circuit brings you in contact with many, many people. $t is possible for a fighter to meet that one special person, whom he wishes to spend the rest of his life with. #his person can be another fighter, a manager, a spectator or een the rookie cop who raided your first match and threw you in jail. hoeer the person is, the attraction is undeniable, and your fighter considers marriage. #he circuit just doesn't seem as much fun as it used to. $t's all well and good getting punched in the head by Fangief, but if your loed one isn't there to kiss it better, what's the point9 0aybe you should just get out of it while you still can, get a real job and raise babies. Storyteller characters may be willing to settle down with a character you want to retire, but this doesn't hae to be the end of your character's inolement with the action. ?entually the character may hae children who are raised in the character's fighting style and eentually find their way onto the circuit. #his has great possibilities for an ongoing chronicle featuring a family legacy of fighters.
MANAGING A STABLE *ou'e seen how it's done, but you know you can do a better job. As a fighter, you took night classes in )inance and ;romotion and now you're ready to start up your own Stable. *ou'e got a bunch of inestors lined up, and all you need are the fighters. *our character may be reluctant to leae the Street )ighting life. 0anaging gies you an e%cellent opportunity to keep an old character around as an e%tra. Granted the manager might not show up in all the stories, but he can still be inoled in the action. #his is an e%cellent solution for a player whose time demands don't permit her to play
in all of the group's sessions, yet still wants to make guest appearances from time to time.
fighter must know eerything about all other martial art forms. #his isn't completely true, but a master must hae an e%ceptional knowledge of the other styles in order to be prepared to counter their specific maneuers. A master HOLDING A TOURNAMENT must hae fie dots in the nowledge of Style >ore in order to meet this demand. 0asters and training dojos commonly sponsor nowing the many opponents is not enough. #he master tournaments, but there is nothing stopping your fighter must also hae keen wisdom when dealing with people. from holding one. A lot of prestige is gien to the holder of She must be able to look deep within a person and a tournament. 0any retired fighters are able to remain ery recognie what she sees there. 4ow will a student know if influential in the Street )ighter circuit this way. she has potential if you yourself are unable to see it9 A *our character will need to hae the facilities to hold a talent for $nsight is re&uired to plumb the depths of a tournament, such as the Arena Background of at least four disciple's essence and recognie the potential inside or the dots. *ou will also need at least three dots of 7esources influence of eil. A master must hae at least four dots in /or Backing2 to finance the tournament. #hen you will need $nsight. to supply the prie. A purse usually refers to a sum of Strange happenings hae a particular attraction to money which is won by the best fighter, although masters. #hey beliee that what has happened in the past sometimes jewelry and other objects are awarded. (ther has a direct connection to eents which occur in the tourneys hae more esoteric pries, such as an old scroll present. #o be ignorant of the past is to be obliious to the with an ancient maneuer inscribed on it or an opportunity present. ;laces of ancient times are attractie to masters to study with a master. $n any case, you will hae to and are fre&uently sought out for their powerful influences. arrange for the prie. A master must hae at least four dots in 0ysteries. #o hold a tournament, a fighter must hae at least si% 0asters must also hae the ability to coney their dots of Glory for the tournament to attract fighters. Any lessons to their students, otherwise a master's knowledge less and few fighters will een hear about the eent. A will die with her. nowing the roots of a 0aneuer o r fighter with the ;romote Ability may add their dots in #echni&ue is useless if you cannot e%press this knowledge ;romote to their Glory total for the purposes of adertising in a way that your students can understand. A master must this tournament. sing promotion will attract more fighters, hae at least four dots in $nstruction. but the better competitors will realie that this is more hype than substance and think twice about attending. #he fighter must also hae at least fie dots of 4onor to hae fighters trust the tournament to be fair. #here hae been incidences of rigged or biased tournaments, and 0asters must hae four of their #echni&ues at a managers are always on the look out for these. #he fighter minimum of fie dots. #he other two may not be less than holding the tournament may in fact be ery honorable, but three. A number of orld arriors are already masters in if they haen't had a chance to demonstrate this fact /i.e., their own rights. 6one of them are willing to forsake their ac&uired enough 4onor2, many managers will be reluctant lifestyle to become a master. 4oweer, no one is closer to to take a chance on it. retiring than 7yu. A great number of masters hae 4olding a successful tournament will fie the fighter /and #echni&ues higher than fie, and one or two of the greatest the tournament itself2 fie temporary dots of 4onor and are rumored to hae #echni&ues beyond eight5 $n order to Glory. #here are adantages to holding tournaments. 0any master a style a character must hae also learned all of fighters see it as a form of immortality as well as an honor the Special 0aneuers associated with that style. (nly to hae a tournament held in their name. ;erhaps there then can they call themseles a master. will be a !hun >i $nitational or an 0. Bison !up tournament.
TECHNIQUES
EXPLORE!
WALKING THE PATH OF AN HONORABLE MASTER The penetrating brilliance of a sword wielded by a man of the way stries at the evil enemy luring deep within one-s own body and soul. ( 6orihei eshiba ACCD 2 FG, founder of 7iido Street )ighters often dream of attaining the rank of master in their particular style. )ew hae the will or discipline to actually attain this goal, but for many, the ery pursuit of this foal is as good as attaining it. 7yu plans on becoming a master when he retires.
ABILITIES REQUIRED TO BECOME A MASTER $t is said that to become a master of any gien style, a
#hese are just a few of the story options and character arcs your players may wish to e%plore, and no doubt you can think of many more. 7emember that the only limit is your imagination5
So there we have it! Street Fighter: The Storytelling Game 20th Anniversary Edition. Putting this proet together has "een a learning e#periene $or me in a lot o$ ways% $rom omputer and layout s&ills to a variety o$ trivia and &nowledge a"out Street Fighter itsel$ and ' hite 'ol$(s history. ) hope the end result is something you will $ind use$ul in reating new Street Fighter memories. As you(ve read through this te#t% )(m sure you may have notied errors here and there% and &now that ) plan to ontinue leaning up this te#t $or the $oreseea"le $uture. This game was originally released in *++,% "ut is still "eloved "y many. )(d li&e to onlude this proet "y pointing you to some other e#ellent Street Fighter resoures% as well as ta&ing the time to desri"e some deisions that were made over the ourse o$ the proet.
RESOURCES Though the roleplaying sene around Street Fighter had seen dereased ativity% there are still a num"er o$ solid sites availa"le that may stri&e your $any. Also% with the release o$ Street Fighter ,% and Street Fighter - urrently in eta testing as this proet ompletes% the world o$ Street Fighter itsel$ is healthier than ever! /ew haraters and new anon world events are soon to un$old. )$ you(d li&e to &eep up on all o$ this% here are some reommended sites:
STREET FIGHTER: THE STORYTELLING GAME SFRPG.COM: http:s$rpg.om 1 Formerly &nown as 3att(s 4onversions Page5% this site is without a dou"t the most ative site urrently dediated to the roleplaying game. The site ontains a num"er o$ use$ul utilities and errata regarding the game. Additionally% 3att &eeps up to date on the latest happenings in the world o$ the video games% and has managed to even land an interview with one o$ the authors that wor&ed on the roleplaying game. The main original purpose o$ the site% however% was to reate versions o$ all o$ the Street Fighters not overed "y the o$$iial "oo&s. This wor& ontinues in the e#ellent G6 File5% a P7F e6"oo& with stats on various Street Fighters% and additional details on the styles% maneuvers and e8uipment used "y those $ighters. The $onts made availa"le at the site% as well as the "eauti$ul $ormatting o$ the G6File served as an inspiration $or the Street Fighter: The Storytelling Game 20 th Anniversary Edition proet. )$ you are interested in more sites and resoures aside $rom those listed here% 3att(s lin&s provide a good hu" x
where you an reah sites live and dead that were dediated to the game throughout its history. x Musashi's Unread Street Fighter STG Page: http:mu.ranter.netategorystreet6$ighter6the6storytelling6 game 6 )n addition to errata% this site provides an e#ellent analysis o$ the styles% maneuvers and supplements. Solid ritiisms o$ the 9ni8ue a&grounds are provided% and did they need it! 3usashi also shows a num"er o$ highly e$$etive and possi"ly a"usive; om"os and "eginning haraters. The site also provides in$ormation on the Steve 'ie& version o$ 4artwheel
STREET FIGHTER: THE VIDEOGAME x Shoryuken: http:shoryu&en.om 6 Perhaps the "est &nown site overing not only Street Fighter% "ut many other $ighting games as well as the tournament sene. The latest video game news% om"o videos% and a variety o$ tutorials an all "e $ound here. Also% a thriving $orum ommunity. x Eent!u"s: http:www.eventhu"s.om 6 4overing similar territory as Shoryu&en% Event>u"s is also &nown $or their harater Tier listings and providing a num"er o$ guides% statistis and math6up data $or haraters in Street Fighter% as well as other games in the same genre. x Ga#eF$%s: http:www.game$a8s.om 1 This site primarily provides FA?s% guides and wal&6throughs $or video games o$ all types. This means you an also $ind guides $or playing the various Street Fighter games% as
well as some resoures suh as the Street Fighter 4anon Plot Guide.
ERRORS, CORRECTIONS & DECISIONS STYLES Those o$ you with e#periene with the original Street Fighter "oo&s will reall that there were a variety o$ errors and disrepanies in the Power Point osts o$ 3aneuvers "etween what was listed in a Style(s desription and what was said in the Speial 3aneuver(s desription. Additionally% there were errors li&e the $at that the @4ommon 3oves@ list on p.*0 o$ the main rules did not seem to inlude all o$ the 3aneuvers with an @Any@ ost. ) resolved these on$lits in this proet "y using the $ollowing guidelines: x )n$ormation in the Speial 3aneuvers themselves overrules in$ormation $ound in the Style desriptions. x )$ a 3aneuver is given a ost $or the same style twie in the 3aneuver desription% "elieve the designers intended to di$$erentiate the styles over ma&ing them similar to eah other. x o#ing is a speial ase where the Style desription is used to determine whih 3aneuvers a Style has at what ost% as it appears o#ing was a late addition to the main rules and was perhaps originally intended to "e inluded in Serets o$ Shadoloo. The individual deisions: Styles and Maneuers o& Street Fighter x Caoeira: Bightning Beg is listed at ost -% the Speial 3aneuver itsel$ does not give the style the move 3y opinion: Aside $rom o#ing% ) tend to side with what a Speial 3aneuver says over the Style lists. )n this ase% ) suspet someone saw the word @Bightning@ and imagined Sho& Treatment or something. Bightning Beg does not repliate any move lan&a does in the video game. ) do not "elieve 4apoiera is meant to have the maneuver and removed it.; x (ung Fu: 7run&en 3on&ey Coll is listed at 2% the Speial 3aneuver gives it to
it appears they gave the maneuver to Shoto&an ead utt% >yper Fist% Ce&&a ead ite 3y opinion: 4learly they were meant to "e% and so you use the osts listed in the o#ing Style list. )$ you didn(t% -0 o$ their moves would "e gone. This is the main e#eption where ) "elieve a style list over the Speial 3aneuvers themselves. o#ing must have "een a late addition% and may"e they were thin&ing a"out putting it in Serets o$ Shadoloo with the other oss 4haraters( styles or something...; $lso: The o#ing Style list re$ers to a Humping >ead utt. Everywhere else% this appears to "e re$erred to as Humping Shoulder utt even in Serets o$ Shadoloo% where Thai urriane urriane ayma&er is listed at 2% "ut the Any ost o$ >ayma&er is also 2! 3y opinion: Savate is poorly made! ) removed >ayma&er $rom the style list% "eause it serves no purpose.; 'idowma&er is listed at 2% "ut the Any ost o$ 'idowma&er is *! 3y opinion: Cemoved it $rom the style list and they an "y it at the heaper @Any@ ost.;
Toughs&in is listed at ,% "ut the Any ost o$ Toughs&in is ,! 3y opinion: Stri&e Toughs&in o$$ the style list% as it also serves no purpose.; 7isplaement is listed as a lo& 3aneuver% while in the Speial 3aneuvers setion it is $iled as an Athletis 3aneuver. 3y opinion: A lear error. ) ust moved it to Athletis and $i#ed the error... The 3aneuver desription depits an Athletis maneuver that gets no "lo& soa& or speed "onus ne#t round% et. so it ertainly isn(t a lo&; x -initsu: Shi&an6&en is listed at 2% the Speial 3aneuver gives it to /initsu at . 3y opinion: ) de$aulted to the Speial 3aneuver desription as ) normally would. Bi&e most other /ina moves% no other style gets this. =verall% ) don(t have a strong opinion on this issue. )t is $or that reason ) de$aulted to my @elieve the Speial 3aneuver over the Style Bist@ stane.; alane is listed at % the Speial 3aneuver gives it to /initsu at 2. 3y opinion: ) still deided to "elieve the Speial 3aneuver(s ost o$ 2. This also ontri"utes to di$$erentiation o$ ost% and it ma&es sense $or /inas to have it at the lowest ost. )n this ase 6 /initsu% 'u Shu 2%
an use all the help it an get% so not having to spend 2 worthless points on Es8uives and getting 7isplaement $or heaper than other styles gives it... the smallest "it o$ something to ta&e oy in. x Sontaneous Co#"ustion: This is an Elemental Fire; maneuver with some $laws. The more minor $law is that it does not have a listed Cange and does not desri"e itsel$ as $untioning as a Proetile 3aneuver. The latter is $ine% as it re8uires a ontested roll to ativate anyway... "ut without a range it apparently means you an set anyone you an see on $ire! Kou ould argue that it should have a standard Fire"all type 'its D Fous range% " ut the maneuver was le$t as is. The ritial $law with this maneuver% however% is that it has no listed Speed modi$ier! ) deided to provide a 62 Speed modi$ier to the maneuver. 3y reasons... as tenuous as they are% $or tossing a 62 Speed on it inlude: *. >ey% it has a Speed% so you an atually use it! 2. The 3aneuver has a 62 3ove modi$ier% and so% li&e% )(m ust pretending that same num"er applies to the Speed as well. . 3ost o$ the Fire"all maneuvers also have a 62 Speed% so this seems li&e a solid guess ompared to other ranged% damage dealing Fous 3aneuvers. X *ido/#aker: 3uh li&e Forward a&$lip ug was misspelled as ear >ugh 3y opinion: Fi#ed it!; x Tai Chi Chuan: rea&$all is listed at *% the Speial 3aneuver itsel$ does not give the style the move. 3y opinion: Again% ) "elieved the Speial 3aneuver! rea&$all
is an Any 2 maneuver as it is. Also% Tai 4hi 4huan has a surprising num"er o$ moves it gets $or less than any other style. 3y opinion was not strong here% so ) stu& with the onsisteny o$ hoosing to "elieve Speial 3aneuver desriptions over Style lists $or osts.; x *restling: Ground Fighting is listed as a Gra" 3aneuver% though it is $iled in Speial 3aneuvers as Athletis 3y opinion: Hust $i#ed it. Ground Fighting is de$initely an Athletis 3aneuver% re8uiring , Athletis and no Gra"!; Flying >ead utt is listed as osting *2! 3y opinion: They were trying to deide whether the move should ost * or 2. As it is% Flying >ead utt osts Sumo 2% Any . This made me inlined to thin& it should "e pried at 2 $or 'restling. 'restling is not su$$ering $or moves when ompared to poor old Sumo% and Flying >ead utt is a signature E. >onda move% so ) didn(t thin& 'restling should get it $or less than Sumo. ) hose a ost o$ 2.;
THE WILLPOWER QUESTION The rules surrounding 'illpower in Street Fighter% as written% are a hopelessly on$used mess. 3uh more than with maneuver ost deisions% ) $elt li&e there was very little support giving any partiular interpretation o$ the rules the nod over others. )n the end% ) loo&ed at other Storyteller games o$ the era to in$orm my $inal deision. Bet(s e#plore what the rules say% and why the deision was made to settle the 8uestion the way ) did. X Core Rules4 .55: >ere the "asi Storyteller rules are desri"ed. This setion o$ the "oo& desri"es two methods "y whih one may automatially sueed in a test. The $irst method is $or your Attri"ute D A"ility to e8ual or e#eed the di$$iulty o$ the test normally M;. This option $or suess is desri"ed as a sa$e alternative to rolling. Kou would ahieve only one suess% and so the suess would not "e spetaular. )$ one wanted more suesses% they(d have to ta&e the hane and roll. All other 2 nd Edition Storyteller games and Iampire: The 3as8uerade 20th Anniversary Edition desri"e the same e#at methods% e#ept that 4hangeling perhaps inorretly states that one must e#eed the di$$iulty and ust not meet it.; The seond method% more relevant to the disussion% states that one an spend a 'illpower $or the same e$$et. Some am"iguity here is that the rules state =$ ourse% the 'illpower e#penditure only ounts $or one suess i$ multiple suesses are re8uired.5 and Kou won(t want to do this o$ten% "ut it an "e very advantageous to do so when see&ing to aomplish ertain di$$iult% heroi $eats.5 )$ one spends a 'illpower% does one also roll die on the he&J The te#t never learly says. That ' illpower e#penditure is mentioned as a seond method to ahieve automati suess and the $irst method seems to indiate it is in lieu o$ rolling;% there is on$usion here. An additional ompliating $ator is that the hart desri"ing various test types Simple% E#tended% Cesisted% et.;% states that Automati Suess is possi"le in Simple tests% "ut it is not mentioned as "eing possi"le in other test types. y the rules as written% there is no Simple test that re8uires more than one suess to sueed. )$ we are to "elieve that hart% then what possi"le reason would there "e $or the game to mention =$ ourse% the 'illpower e#penditure only ounts $or one suess i$ multiple suesses are
re8uired.5J The writers seem to "e implying rules they a re not stating% or they are on$used. )$ we are to assume that we an ust spend 'illpower $or an automati suess and also roll our die pool whih is never stated one way or the other;% we still have the 8uestion o$ whether *s an anel the suess granted "y a 'illpower e#penditure. )n any event% the "oo& says these rules as pain$ully am"iguous as they are; wor& well $or a"ilities% "ut do not lend themselves well to om"at. They reommend the use o$ the om"at rules in 4hapter N o$ the main rules rather than the automati suess rules. A review o$ other Storyteller games provides mi#ed interpretations% "ut leans heavily towards allowing the use o$ 'illpower $or an Automati Suess plus rolling your 7ie Pool. 'raith 2nd Edition p.N, says you an. oth 3age 2 nd p.2* and 'raith 2nd p.2M+ provide e#amples. Sadly% in the 3age e#ample% 'illpower is e#pended a$ter the results o$ a roll are seen% "ut this is e#pliitly $or"idden in Iampire: The 3as8uerade 20th Anniversary Edition. As $or *s aneling 'illpower granted Automati Suesses% the evidene leans towards them /=T "eing aneled. 'erewol$ 2nd p.*-N says =nly one point o$ 'illpower an "e thus used per turn% "ut it gives a single guaranteed suess5. =ther games re$er to 'illpower granted suesses as not only Automati "ut Guaranteed. Iampire: The 3as8uerade 20th Anniversary ma&es this e#pliit on p.2M. Also% many Storyteller games e#pliitly mention the use o$ 'illpower in e#tended or resisted rolls and none prohi"it it.; x Core Rules4 .67: >ere the ' illpower trait is desri"ed. 9n$ortunately% the one solid rule it mentions is learly not true: =nly one 'illpower an "e spent during a single turn5. This rule is e#pliitly "ro&en "y all Speial 3aneuvers osting more than one 'illpower namely: Great 'all o$ 4hina% Tiger ammer;. Perhaps there is evidene in the other Storyteller games that ould h elp usJ All other Storyteller games% inluding Iampire: 20th mention that only one 'illpower an "e e#pended in a turn to gain an automati suess. They are rather spei$i a"out that% mentioning automati suess eah time and not any other uses o$ 'illpower. )t appears ompletely legal to spend a point o$ 'illpower $or an automati suess while also possi"ly using ' illpower to ativate a 'erewol$ power% resist $renLies% or use a Iampire 7isipline suh as 4himestry% et.; x Core Rules4 .859: >ere we learn what 'illpower is to "e used $or while in om"at. As $ar as ) an tell% i$ we ta&e what p. says as true that we should not use those rules $or automati suesses% and should u se the rules given here instead;% there are only two supported uses o$ 'illpower in om"at. *. Some Speial 3aneuvers re8uire the e#penditure o$ 'illpower to ativate. 2. A"ort 3aneuvers re8uire the e#penditure o$ one 'illpower i$ you hoose to a"ort to them. That(s it! =hO e#ept $or one thingO x Core Rules4 .878: >ere we have the E#ample o$ Play $rom the 4om"at hapter. This e#ample o$ play has a $ew strange errors in it that needed orretion% "ut it does mention one strange use o$ 'illpower that is not supported "y the rules anywhere else. )n Turn M% Hade e#eutes a Spinning
added to her pool;. /ot only does this appear to violate the rule $rom p.M, that only one 'illpower an "e spent per turn% whih was a rule already "ro&en "y selet Speial 3aneuvers anywayO;% "ut it seems to introdue an additional rule. /owhere else is a ' illpower desri"ed as adding an additional die to a pool in all o$ the "oo&s released $or Street Fighter% or in any o$ the other Storytelling games% $or that matter. X Con,lusions: There were two interpretations that ) $elt were $airly well supported% then an interpretation my loal group used as our own house rules that ) slightly pre$er. ) an "asially sum these interpretations up as Strit Street Fighter5% Storyteller )n$ormed5% and Storyteller )n$ormed% "ut *s an anel 'illpower granted Automati Suesses5. Stri,t Street Fighter: *. =utside o$ 4om"at% a 'illpower an "e e#pended to Automatially Sueed at any Simple Test. This is treated as a 3arginal Suess as i$ one suess had "een o"tained on the test;. 2. )n 4om"at% a 'illpower an "e e#pended to ativate an A"ort 3aneuver% or to ativate a Speial 3aneuver. This seems to "e onsistent with everything said in the rule "oo&% leaving only the p.M, mention o$ one 'illpower per turn "ro&en "y the $at that some Speial 3aneuvers ost more than one 'illpower to ativate. 'e also ignore the odd e#penditure o$ ' illpower $rom the 4om"at hapter(s E#ample o$ Play as it is e#ample te#t% not rules te#t. The is pro"a"ly the most hands6o$$ approah to resolving the various issues.; Storyteller n&or#ed: 'illpower an "e e#pended to ativate a Speial 3aneuver or an A"ort 3aneuver. Also% one 'illpower an "e spent per turn on any test to gain a n Automati Suess that may not "e aneled "y *s. This option seemed more onsistent with other Storyteller games and even some o$ what the te#t seems to imply "ut never says. ) hose this option over the Strit Street Fighter5 interpretation% as ) pre$er the $eel o$ spending 'illpower in 4om"at "eause a $ighter really needs to sueed% whih is not possi"le under the previous interpretation.; Storyteller n&or#ed4 "ut 8s ,an ,an,el *illo/er granted $uto#ati, Su,,esses: )n our personal house rules% we allowed *s to anel even the Automati Suess granted "y a 'illpower. This $elt nie and pain$ul when it happened% and we pre$erred the idea that there was no guarantee that you would "e a"le to sore a &no&down or other speial e$$et through the use o$ a 'illpower% even i$ it did inrease your hanes o$ suess. ="viously% ) did not hoose this option as the one to settle on% as it has no support in the rules o$ either Street Fighter or the other Storyteller games.
EXAMPLE OF PLAY To orret errors and support a rules deision% the E#ample o$ Play in the 4om"at hapter had to "e altered in the $ollowing ways: x )n Turn % Hade is 7iLLied and >ugo steps in to per$orm a /e& 4ho&e whih is a Sustained >old; and deals some damage to her. Then% even though >ugo is not desri"ed as releasing the 4ho&e% "oth >ugo and Hade hoose new maneuvers $or Turn ,. To lari$y the rules% ) added a setion detailing the time a$ter Turn % "e$ore Turn
,% where Hade suess$ully manages to esape $rom the /e& 4ho&e% as it seems unli&ely that >ugo would have released it intentionally. X )n Turn M o$ the original e#ample% Hade e#eutes a Spinning ugo spends a 'illpower and is granted an Automati Suess. Hade(s usage in the original e#ample does not appear to "e rules legal. )$ we permit Hade to use 'illpower in aordane with the rules that were settled on $or the proet% then she ould not have "othed the roll. The simplest solution was to let >ugo spend the 'illpower in the revised e#ample.
OTHER MINOR REVISIONS The integration o$ 4hapter N: 4om"at o$ the original ore "oo& with Part 2: 4hapter 2: 7uelists $rom 4ontenders led to e#tensive modi$iations to the hapter to $it the piees together. For e#ample% all weapons desri"ed in the "oo& de$ault to using the Tehni8ues as desri"ed in 4ontenders. Bi&ewise% i$ there was an entry $or a weapon elsewhere that was dupliated in 4ontenders% the 4ontenders version was used. /ote that the ?uartersta$$ $rom the 4ore Cules is idential to the Sta$$ $rom 4ontenders. X The modi$iers $or Strong Stri&e and Fiere Stri&e $rom Part 2: 4hapter 2: 7uelists $rom 4ontenders appear to have "een reversed Strong was shown as slower and more damaging than Fiere;% this has "een $i#ed in this doument. X )n Part 2: 4hapter 2: 7uelists in 4ontenders% a num"er o$ Tehni8ues are omitted $ rom the weapons ta"le on p.*20. They have "een added here as $ollows: Capier Sword;% Sta$$ Sta$$;% Swith"lade
THANKS & ENJOY )(d li&e to than& . >onda and 3att 3eade $or their aid in editing% as well as their ontri"utions in transription and image wrangling. )t helped to &now that ) was not ta&ling this proet ompletely alone% and their assistane helped lear up hundreds o$ errors that would otherwise have "een pu"lished here. Sorry $or everything ) missed or did not inlude $rom your notes! )t is my hope that the rest o$ you $ind this wor& use$ul and go on to have a "last running Street Fighter adventures well into the $uture. This game has " rought me many good times over the years and )(d li&e to see it "ring good times to others $or many years to ome. Enoy!
