HSING I CHUAN

3 points

styles. “Soft” suggests a preference for grappling (Judo, Sumo
Wrestling, and Wrestling skills); Aikido (p. 149), Chin Na (p. 154), Pa
3 points
Kua Chuan (pp. 187-188), and T’ai Chi Chuan (pp. 200-201) are good
Hsing I Chuan (also known as Hsing-yi or
examples. “External” and “internal” are used the same way by every-
Xingyichuan) is one of China’s three main
one but purists.
“internal,” or Taoist, styles. Unlike its sister arts
Pa Kua Chuan (pp. 187-188) and T’ai Chi Chuan
(pp. 200-201), Hsing I Chuan is linear and
direct. Modern research traces its origins to a teacher in
mid-17th century Shanghai, who developed it from spear
techniques. However, legend attributes its invention to
General Yue Fei in the Song Dynasty (960-1127), who creat-
ed it as a style for army officers. Supposedly, masters passed
down the art in secret until the mid-1600s, when it became
widespread.
Hsing I Chuan is organized around five “fists” (strikes)
and 12 animal styles. The fists are named for the five tradi-
tional Taoist elements and the type of strike used: water
(“drilling”), wood (“penetrating”), earth (“crossing”), metal
(“splitting”), and fire (“pounding”). This focus on strikes
makes Hsing I Chuan unusual for an “internal” style. The
style is linear and depends on very firm stances; Hsing I
Chuan fighters are famously hard to budge. The stylist
relaxes his body until the last instant, when he tenses to
strike, defend, or throw. In training, forms are less common
than two-person drills aimed at teaching the proper feel for
combat.
External vs. Internal,
Hard vs. Soft
Hsing I Chuan is an offensive-minded martial art. Its
normal stance is compact, faces the foe, and keeps the
hands up to defend the vitals and face. Practitioners seek to
attack first. If this is impossible, the stylist attempts to avoid
his enemy’s attack and then launch an overwhelming coun-
terattack into his assailant’s motion. The most common
methods of doing so are the Counterattack technique and
the Riposte option (pp. 124-125). Typical follow-ups to par-
ries include Exotic Hand Strike (usually aimed at the torso),
Sweep, and Arm Lock.
Hsing I Chuan makes more use of the hands than the
feet, and kicks are uncommon. The style also favors crip-
pling and killing attacks over throws and merely painful
locks. After injuring a foe with a lock, a Hsing I Chuan styl-
ist releases his grip in order to free both hands for defense.
Practitioners tend to favor a single, powerful attack over
multiple strikes; a straightforward Attack or Committed
Attack (Strong) is common, only rarely with the Rapid
Strike option.
Hsing I Chuan formerly used many weapons, including
the spear, staff, various edged swords, the hook sword, and
the halberd. Modern schools often omit weapons training.
Advanced students sometimes still learn these traditional
weapons, though.
Cinematic Hsing I Chuan masters are said to be unmov-
able after settling into a stance, capable of defeating foes
with a shout, and able to sense danger as it approaches.
They often perfect Power Blow in order to deliver body-
shattering strikes.
Hsing I Chuan and Pa Kua Chuan share a history. Past
masters of these arts befriended one another and exchanged
techniques and forms. Students of one style often train in
the other, and some forms of each school are amalgama-
tions of both. Hsing I Chuan schools aren’t common, but
there are instructors worldwide.
Skills: Judo; Karate.
Techniques: Arm Lock; Counterattack (Karate); Exotic
Hand Strike; Sweep (Judo or Karate); Trip.
Cinematic Skills: Breaking Blow; Immovable Stance;
Kiai; Mental Strength; Power Blow; Pressure Points;
Pressure Secrets; Sensitivity.
Cinematic Techniques: Lethal Strike; Pressure-Point
Strike; Springing Attack; Timed Defense.
Perks: Style Adaptation (Pa Kua Chuan); Technique
Adaptation (Counterattack).
Optional Traits
Secondary Characteristics: Improved Per.
Advantages: Danger Sense; Enhanced Parry (Bare
Hands).
Disadvantages: Bloodlust.
Skills: Breath Control; Broadsword; Polearm; Savoir-
Faire (Dojo); Shortsword; Spear; Staff.