Part of the art of learning to use a sword properly is studying the sword forms. These forms proscribe particular maneuvers that can be used to gain advantages in combat at certain times and against those less skilled in the art of the sword. Only one form may be used per round of hand-to-hand combat, and this form must be declared before any dice are rolled. Note that only warriors armed with one sword (not a two-handed sword, and not two single-handed swords) or a Weapon of Fire/Air may use these forms. Mounted warriors may not use sword forms - a mount does not permit enough freedom of movement.
Only
the greatest of swordsman earn the right to be called Blademasters. Invariably
they are armed with a Heron marked blade – the sign of one who has truly
mastered the art of the sword.
A vertical slash, but one that can quickly alter course mid-swing. Starts high and ends low. Used with two hands on the hilt, bringing the blade down with all the power of the back and arms.
Attacks made by a swordsman
using The Boar Rushes Down the Mountain are difficult to predict and possess
great strength. While using this form, a swordsman’s attacks may not be
parried.
More of a way to walk and move than an official form. Extreme care is taken in how to move and the placement of footing and body position.
A swordsman using Cat Crossing the Courtyard may not run, but gains a 5+ save against any and all damage in that turn (shooting and hand-to-hand combat). This save is not modified by strength.
This is an intricate collection of twists and blade movements. A swordsman must have good wrist dexterity and quick feet for this one. Only one hand is on the sword as the free hand will be used to counter balance and to pull the opponent off balance if need be. Used for buying time it is a series of short thrusts, slashes and parries.
The Cat Dances on the Wall
consists of so many movements, an opponent is kept occupied avoiding the
attacks of the swordsman. This form reduces the opponent’s Attacks by 1, down
to a minimum of 1.
Starts
in a high guard stance sweeping the blade back and forth, slashing in diagonal
motions from low to high and high to low. The Falling Leaf is a great way to
parry against opponents.
This form allows a swordsman
to re-roll any failed parries for that turn of hand-to-hand combat.
Additionally, it is possible to parry hits that achieved a to-hit roll of 6 by
rolling a 6 to parry.
A
circular motion when blades are locked, used to disarm an opponent.
If the to-hit roll is
successful when performing The Grapevine Twines, the swordsman and his opponent
each roll a D6 and add their Strength characteristics. If the swordsman's
result is lower than his opponent's, nothing happens. If, however, the
swordsman equals or beats his enemy, he may choose one of his opponent’s
weapons to be lost. Warriors who lose weapons in this manner may not regain
them until they are no longer engaged in hand-to-hand combat (or if the battle
ends). Note that a warrior using The
Grapevine Twines is focusing on disarming his opponent, and so even on a
successful to-hit roll, no wounds are caused.
With a great deal of practice and training, the greatest Blademasters can master the art of using two swords at once while dancing the forms. They become a whirlwind of death, the dance both more beautiful and deadly then ever before.
This
form involves a quick thrust to the face of a charging opponent. Will often
kill a charging opponent outright! The blade should start from shoulder height,
though it may be performed from any level less quickly.
Hummingbird Kisses the
Honeyrose will allow a swordsman who is charged to attack first in the ensuing
round of hand-to-hand combat. This form is only useful in the turn that the
swordsman is charged.
A
powerful movement. Begin with both hands on the hilt of the sword, leaning
slightly forward, with your knees bent in the ready position. In one movement
the blade is unsheathed by performing Unfolding the Fan and brought overhead. A
strike with all your power is concentrated downwards.
This form grants the
swordsman +1 Strength in close combat, but forces him to attack last in
hand-to-hand combat, regardless of other factors such as initiative and
charging.
A
great mid-level technique, used solely against two or more opponents. Begin
with a thrust to the chest, then pivot and kneel with either a slash or a
thrust. Most experienced swordsmen have mastered this form.
Lizard in the Thornbush may
only be used if the swordsman is in combat with more than one opponent. If this
is the case, the swordsman will gain +1 Attack as long as the form is used.
Note that a swordsman using this form must split his attacks up against as many
opponents as possible.
Can be performed from any stance including sitting. Most commonly starts from a low crouch. A diagonal slash, bringing the blade up using a reverse grip from low to high and rising cleanly. Most commonly used to return to a guard stance after a form such as The Grapevine Twines, or after having been knocked over.
Used in the round in which a
swordsman recovers from being knocked
down, Low Wind Rising allows the swordsman to strike in Initiative order,
rather than being forced to go last as usual.
A very controlled backhanded horizontal slash, used as a well-timed block or strike. Directed at the abdomen this is a good move to inflict non-lethal damage on an opponent. It is like a spinning back-kick but with the blade.
This form is used to stun an
opponent so that you can move on and engage more important targets, or slip by
and escape. If the attack wounds, the enemy is automatically stunned. Note that
it is against the code of a swordsman to use this form to take down and scrag
an opponent (i.e. you can't stun your opponent and then remain in combat to
take him or her out of action in the next close combat phase - you must move
on).
A
series of fast and well-controlled thrusts directed towards the head and
stomach of the opponent. Intended to drive the enemy backward to gain breathing
and thinking space. Care should be taken not to overextended on the thrusts.
If the swordsman makes a
successful attack roll when using Seamstress Skills, his opponent is
immediately moved 1” backwards, breaking combat. If the swordsman attacked
first, his opponent may not attack him back. Both warriors no longer count as
being in close combat. If the swordsman using Seamstress Skills is involved in
a multiple combat, simply move him backward 1” rather than his opponents. All
other members of the multiple combat remain where they were, and fight as
usual. Note that this form may not be used if the swordsman himself is being
attacked by more than one opponent.
More of a concept than a sword form, this is used when what you can gain is greater than or equal to what you may lose in the process of gaining it. This might be using Heron Wading in the Rushes like Rand Al’Thor, or it might be using Lizard in the Thornbush to take down two major opponents when you know a third, less important one is coming up behind you.
The model opposing the swordsman gains a single automatic hit against the swordsman. Roll to wound and work out the effects of the wound as per usual. Once the wound has been resolved, and regardless of its effects, the swordsman gains an automatic hit against his opponent. Note that this hit is resolved even if the swordsman is taken out of action by his opponent. Can only be taken by someone with the Blademaster skill, and may not be combined with any other forms.
A series of powerful overhand blows in rapid succession, best begun on the return swing of a slash like Low Wind Rising or The Heron Spreads Its Wings. If you’ve got stamina this can win a battle for you.
The flurry of blows that
result from Striking the Spark make it very difficult for a swordsman to miss
his opponent, but are quite tiring. On the turn that the swordsman charges, he
may re-roll any missed attacks.
An advanced combination of movements starting with a front vertical slash, moving forward to a spinning back swing, to a side kick, to a forward thrust. The whole time move forward and swing strongly, with a fast, short swiping motion that won’t behead someone but might slit their throat.
Swallow Rides the Air is a
complicated form, requiring the Blademaster skill to be used. It may not be
combined with any other forms, as there is no time in between the various
maneuvers to insert anything different. It grants the swordsman +1A.
A short-ranged jumping spin-swipe, used for beheading. Best if done by surprise, and therefore an opening move in most cases. The sword should not move more than a foot or so; the main force is provided by the spin of the body. The blade should be close to the body, approximately chest high.
Thistledown Floats on the
Whirlwind may only be used in the turn a swordsman charges. It grants the
swordsman +1 Strength in close combat for that turn only.
This form is used when the swordsman is outnumbered, and generates a lot of power. It consists of a quick, continual rotation of the body, using slashes and short thrusts to counter or attack as the situation dictates.
A swordsman must be
outnumbered to use this form. It grants him 1 Attack against each close combat
opponent (regardless of his normal Attacks stat), but due to the hurried nature
of these attacks, the count as –1 Strength.
A complicated form. Most commonly begun with Parting the Silk, this form follows through with multiple short thrusts or quick overhead blows.
A swordsman must have the Parting Silk form in his repertoire (and the Blademaster skill in order to combine the forms). Grants an additional attack in addition to the effects of Parting Silk. Note the additional attack can only be used in the attempted stun from Parting the Silk – Wind and Rain cannot be used to kill an opponent.
Bring the blade upward in an arc. Once it comes up to the peak of the arc reverse grip and strike over the horizontal block of the defending opponent. Step to the left to avoid any slash that might come.
This form is used to force an
opponent to attack in a particular fashion so that you know exactly where the
next blow will come. For the duration of this hand-to-hand combat phase,
neither you nor your opponent may land any blows. Note that Wind Blows Over the
Wall may not be combined with any other forms (since no blows are actually
struck), and can only be used to stop one enemy from attacking you - in
multiple combats, other warriors could still attack you freely. Used as a
delaying move to wait for help to arrive.