Lin Ru-Fang:
Yes, but you are talking about western weapons here-- two-bladed straight weapons cabale of stabbing as well as cutting and built thick and pointed enough to be able to stab someone.
You'd be surprised. Extremely surprised.
I'm not terribly expert in oriental weapons or their use, but I've a fair bit of practical experience in the occidental traditions of interpersonal mayhem and there's one fundamental rule that underpins every single one of them from Pancration to Talhofer.
If it's stupid and it works... it isn't stupid.
In other words, from a given series of techniques and styles, any series of actions that harms the foe and protects the user from harm is 'valid'.
I can't imagine Miyamoto Musashi disagreeing with that one for a minute.
Translating this basic understanding to Rokugan, where a fight can in fact take some time to resolve from the initial exchange of psychological intimidation through 'showing of stance' and finally the exchange of blows between warriors that are as well versed in defensive techniques as offensive ones... Well, merely saying that 'you have to use the sword like this, it's the only way it works' is utterly without basis in either my own limited real-world experience or (rather more relevently) the rules of L5R.
Lin Ru-Fang:
But to spend your life studying different examples and being able to identify small differences is contingent upon examples of those differences being readily available for demonstration and dissection by the onlookers, does it not?
No, not really.
Actually
performing a school technique requires that you learn it from the masters of the school, are taught the secrets of posture, balance, meditation and harmony that turn mere skill into the sublime. You can have ten ranks in Kenjtsu, and still not turn that mastery into a school technique without great investments of time, insight and the blessing of the fortunes.
Merely demonstrating the posture used to
employ that technique however is far, far easier. I can take up the half-dozen or so basic stances of two different western sword schools well enough to be identified as using them, but I'm rubbish at taking them much further into implementation.
Lin Ru-Fang:
If you look at a UFC fight for instance or a mix martial arts contest, it would be fine to intellectually know what the ideals for differnet styles are-- but when you actually see them in action they all fight similarly enough that whatever that ideal was, it is quickly thrown out the window and the fighters end up using almost exclusively the most basic and crude, but effective attacks.
Curiously, this point is neatly destroyed by something some other fellow said a while back... dragons tend to stick with dragons, cranes tend to stick with cranes, crabs tend to stick with crabs, etc.
People just don't have the open exposure to other peoples innermost techniques, and therefore there isn't the fervant cross-pollination of ideas between the schools that exists in reality.
Also of course, school techniques exist on a level beyond merely 'being seen and copied'. They possess an inherent spiritual element that is not susceptable to being duplicated through mere observation.
Lin Ru-Fang:
Of course, in the game system I believe there is an advantage called "Know the School" which covers whether or not a character has seen a proper enough demonstration of any given style to be able to have any real hope of identifying and countering it, isn't there?
No, you're very slightly mistaken... what there
is is a set of skills called 'Know the School' that cover whether or not a character has studied another school in sufficient depth to receive a significant bonus to countering it and its techniques.
Simply identifying what school another character is using without gaining a major dice advantage is not covered by these skills, so we're looking elsewhere for it.
This message was last edited by the player at 00:57, Fri 10 Apr 2009.