General Wu used to be a dragon; then he found Sinanju.

F/Monk/Wu Jen(Fighting Monk) L11/2/1 NG Human

General Chuin Wu character sheet

Character History

Chiun Wu was a true dragon from Krynn. He was a singular Lung Tien dragon who seemed out of place among his dragon brothers due to his strange breed. His adoptive parents, a set of gold dragons always told him he was a gift from Paladine, but Chiun Wu knew he was different. Many years ago, while learning the fighting style of the dragons Chiun Wu knew he loved the way. He travelled the world of Krynn looking for more knowledge on martial arts. He wrote his first scrolls on the gladiatorial arena and there pugilist styles. The gladiators were direct and efficient, yet lacked the artistic style that the way of the dragon held so he continued his search. For many years he searched Krynn and found nothing and went into a great depression and slept. Before the war of the Lance he was again called on to teach young dragons the way of the dragon. He had no interest in the war, but as a dragon he felt obligated to teach the dragons of good. He happened across a Kensei named Akiro Habbakuk who was a wonder with the sword and also a practitioner of Kenjutsu. It was a wonder to Chiun Wu to watch Akiro with his sword. He travelled in human guise to study the man in person. Many adventures he had while watching Akirio’s fighting style, but in his travels, he came to the conclusion that he was limited in his ability to learn a humaniod art with his dragon self. He thus wished and prayed to Paladine with all his heart to be truly human and he was. He left his companions in search of something to fill his need to learn. He was able to live among the Silvenesti elves for many years, and although their skills with a bow were impressive he did not want to specialize in weapons like they did. He studied the ways of the elf blade dancers as well, but again, he felt a call to move on. A spelljammer from the Shou Lung fleet had docked in Silvenest and after talking to a crewman he decided to jump the ship to go to a monastery where they told him that there were monks that kept a full library on fighting styles. On Toril, he again lived for many years among the Monks of the Shou Path of Enlightenment. He was very lucky for not only did they have many ancient books on unarmed fighting styles, they started to teach him their Kung Fu. A great compliment, as he was not a monk of the order, however the master could see he was a seeker. During his 12th year there, the master called his best students on his deathbed and Chiun Wu was among them. He quietly told the master that he was a Lung Tien dragon from another world and thanked him for teaching him as a man. The master laughed and told him of another monastery in Kozakura. The monastery to the Way of Enlightenment, which was a variation of the Shou Path of Enlightenment taken to Kozakura by Shou missionaries many years before. It was said to house even older books. The master died that night and Chiun Wu left for Kozakura the next morning. Many adventures he had finding the monastery, but find it he did. There he proved himself worthy through combat and gained the right to look through the ancient scrolls for one year. It was there that Chiun found out about Sinanju. According to the texts, the other martial arts in the worlds (Kung Fu, Ninjutsu, etc.) are all seriously diluted imitations of Sinanju. Comparatively, all the other arts are like rays of sunshine while Sinanju would be the sun itself. Sinanju training enables one to hold one's breath over an hour, rip steel doors from their hinges, climb walls, dodge arrows (even at point blank range), overturn a loaded wagon, outrun a horse, seem invisible, overcome multiple opponents, etc. Chiun Wu then decided he wanted to find Sinanju. He left without an idea of where to go, but knew he needed to travel to where a Sinanju Kwoon could exist for a long time without being molested. He ended up on Rock of Bral looking for any word of a place that could fit this bill. It was there he learned of the Dragon Carrier of Krynn. This intrigued him, so he found his way back to Krynn. The devastation of the land was staggering and the news that the good dragons of Krynn were defeated saddened him greatly. He felt responsible in part, that he was not there to help fight. The Silvenesti were still holding out, so he again went to live with them and defend them from the dragon onslaught. He joined the refugees of Silvenest when the Free Imperia ships came to rescue them. As fate would have it, his old friend Akiro Habbakuk was cook on the dragon carrier. He learned of that the forces of good that had gathered from many places. So, he decided again that if he could he would help this fledgling group and surly there was a gathering of warriors there would be fighting styles to see. During a very heated battle he witnessed the emperor of the imperia fighting. His unarmed skill was wondrous and very uncommon for such a youthful elf. He was thus reminded of an ancient legend from the texts from Sinanju's past which predicted that the greatest master in the history of the art will be force for good that will unite the elves, men, dwarves and dragon kind. He will be a Sinanju acolyte “made whole by the art.” This new emperor was and elf and young. It was possible he even had time to learn the art as a whole. The General as the locals started to call him, because of his ability to point out weaknesses in defenses (Mostly pointing out the obvious that others missed) and his ability to take charge while philosophizing in a jovial manner… He made himself needed. He felt at home with the Imperia and he again concluded that his best way to find the Sinanju way was to watch this emperor. He thus has slowly studied him and started to write his biography. He has been working to gain access to the Imperial court. There are some that call Chiun Wu the imperial historian. Some from Kara-tur call him Sifu or Sensei Wu. Even the older dragons of Krynn remember his lineage as there is still a youngling that searches Master Wu to teach it the way once in a while. And once in a while, he teaches any race that has the patience to be his student.

Way of the Dragon /2/1d6/AC 4 Kung-Fu /2/1d6/AC5 Kick 1, 2, 3 Movement 1, 2, 3, 4, 6 Lock 2 Throw 1, 2 Weapon 3, 4 Mental/Physical 1, 2, 4, 5 The Way of the Dragon & Kung Fu Dragons, being the most ancient race, have the time and discipline to create their own hand-to-hand combat system. This is a very secretive form of martial arts, and a character must befriend a dragon before he can learn this ancient fighting style. Special Maneuvers (each one of these has a poetic dragon name) “Double dragons play with pearl.” -Kick 1 (Circle Kick) “Single dragon emerges from the sea.” -Kick 2 (Flying Kick) “Old dragon takes on water” -Lock 2 (Locking Block) “Angry dragon stands his ground.” -Movement 3 (Immovability) “Fierce dragon races across stream.” -Movement 6 (Speed) “Spiritual dragon rises towards sky.” -Throw 2 (Instant Stand) “Swimming dragon plays with water.” -Weapon 4 (Improvised Weapon) “Dragon's chi spreads across river.” -Mental/Physical 2 (All-Around Sight) “Dragon resists mortal knife.” -Mental/Physical 5 (Iron Skin) Most Wyrm's know this artform, but many are reluctant to teach just anyone. Most characters must complete a quest for their dragon masters before they will be taught this ancient martial art. Kick 1. Circle Kick In this dramatic kick, the attacker builds up power and momentum by spinning in a complete circle before landing the kick (usually on the side of the head or body). If successful (a normal to hit roll), the kick does twice the normal damage. If unsuccessful, the character loses the next attack he is normally allowed as he tries to recover his balance. 2. Flying Kick This spectacular kick requires at least five feet of running space. The character leaps high into the air and leads with a powerful kick to the head (or head height for larger than man-sized creatures). If the kick connects, the character does triple normal damage. If unsuccessful, the character falls to the ground adjacent to the intended target and must spend a round getting back to his feet (unless he also has Prone Fighting or Instant Stand). 3. Backward Kick This seemingly innocuous kick is extremely difficult to master. The character attempts a normal attack at any creature directly behind him, either kicking his foot over behind his head or lashing out straight backward. He does not have to turn around to face his opponent. The kick does normal damage, but a failed attempt has no ill effects. Lock 2. Locking Block This action can be taken instead of a normal attack. It can be used against unarmed fighters or melee weapon attacks. A normal to hit roll is made. If successful, the character has trapped his opponent's weapon, arm or leg in a scissors arm-lock and it cannot be used to make attacks. In addition, so long as the victim is so trapped the character can make attacks (using the feet only) with a +4 on his chance to hit. The victim can break the lock by expending an attack and making a normal to hit roll for success. The locking block does not cause damage. When used against an unarmed fighter, an unsuccessful locking block cause no penalty other than the attack has been lost and no damage is done. However, when used against a weapon, an unsuccessful locking block results in the character taking damage from the weapon. In attempting to make the block, the character has only managed to get himself hit by the weapon. Movement 1. Feint A feint is a trick where the character begins an attack in one direction and at the last minute changes it to another direction. When done successfully, the opponent is out of position to the new attack and cannot defend as effectively against it. A feint requires one melee attack to execute. A normal to hit roll is made and if successful the character's next attack gains a +2 on the chance to hit. The feint itself does no damage, If unsuccessful, the character suffers no penalty other than the loss of the attack. 2. Prone Fighting Prepared for any circumstance, the character is able to fight effectively even when lying on the ground. This maneuver is constant–it applies any time the character is knocked from his feet. The only limitation is that the character can perform no other special maneuver (except Instant Stand) when prone. 3. Immovability By carefully positioning his feet and learning to tense and relax various muscles, the character can avoid being knocked, lifted or thrown off his feet. Any time these would occur, the character is automatically allowed a saving throw vs. paralyzation. If the save is successful, the character remains where he is. 4. Missile Deflection Relying on the speed of his reflexes and the nimbleness of his footwork, the character is sometimes able to avoid non-magical missile attacks (including magical arrows, bolts and bullets). This ability is constant although the character must be aware of the attack. The character is allowed a save vs. paralyzation against each attack. If the save is successful, the character has dodged the missile; if not, the missile hits normally. 6. Speed The character has developed lightning fast reflexes and powerful muscles mainly by concentrating and learning how his body controls its movements. The character gains twice the normal amount of melee attacks (both with martial arts and normal combat) and moves at double the normal combat movement rate (only). The increase in movement rate does not apply to normal movement nor can the movement speed be maintained for more than five rounds. This special maneuver is difficult and tiring. It can only be done once a day and can only be maintained for five rounds. At the end of this time, the character must rest for 1-3 rounds or suffer a -2 to AC, attack and damage rolls and ability checks. Strike 1. Iron Fist Through various toughening exercises, the character has hardened his hands so much that they feel like steel. The character does 1d10 points of damage on each punching attack. This power is constant. 2. Crushing Blow The character is able to shatter or break objects with a blow of his hand. This includes wood, ceramics and masonry but not metal. The character can break 1/2“ of wood or 1/4” inch of brittle stone per level. The DM can modify this based on the shape, hardness and age of the object. If used against a living target, the character causes damage plus points equal to his level. The Crushing Blow requires great concentration and is the only action the character can do in a round regardless of the number of attacks normally allowed. In all cases a normal to hit roll must be made. The DM must determine the number needed to hit a stationary object (based on its hardness). If the die roll is failed and the character is striking a hard object (such as stone), he has seriously hurt his hand. He suffers damage equal to what he would do on a normal attack and the hand is useless for 24 hours. 3. Eagle Claw Through physical exercise and concentration, the character can summon immense crushing strength into his hand. On a successful to hit roll he can shatter objects (snap spear staffs, crush stones, ect.), crush metal items, and cause 3d10 points of damage on an attack. This requires great concentration and is the only action the character can take in the round. Throw 1. Fall The first maneuver any student of this style learns is how to fall correctly. He learns to fall and roll, taking the impact of the fall on the safest areas of his body. Once learned, this maneuver is constantly in effect. Thereafter he suffers only 1/2 the normal amount of damage from a fall. 2. Instant Stand After learning to fall, the character learns how to gain his feet quickly either by rolling up into a standing position or using an acrobatic jump. Normally one round is required for a character to gain his feet, but a character knowing this maneuver can regain his feet automatically instead of making an attack. He may do other actions in the round if he has attacks available. 3. Hurl This throw relies a great deal on strength and less on leverage. The character can attempt to pick up an opponent and throw him to the ground 1d4 feet away. The victim suffers double damage. Characters with immovability can resist this maneuver. A successful to hit roll must be made for the Hurl to work. If the roll is failed, the character loses all remaining attacks for the round and automatically loses initiative for the next round. 4. Great Throw Using leverage and his opponent's momentum, the character is able to throw his enemy a great distance. A normal to hit roll must be made. If the victim is stationary, the character can throw him one foot per level. If the victim is charging the character, the distance thrown is 6 feet plus one foot per level. The victim suffers triple normal damage from the throw. If the hit roll was unsuccessful, the opponent has countered the move and the character has been knocked off his feet, automatically losing initiative next round. Vital Area 1. Pain Touch Simply by pressing his finger against specific points of the body, the character can cause great pain in his victim. This can be done in place of a normal attack. It cause no damage, but if the to hit roll is successful, the victim feels as if he is on fire. Thereafter, he will be -2 on his chance to hit and a +2 on chance of being hit. The effect lasts for 1-3 rounds. There is no adverse effect on the victim if the to hit roll is failed. 2. Stunning Touch With a light slap of his fingers in the correct place, the character can stun and daze his opponent. This can be done in place of a normal attack and causes no damage. A normal to hit roll must be made. If successful the victim is allowed a saving throw vs. paralyzation. If this is failed, the victim is stunned for 1d4 rounds, unable to take any action, However, if the to hit roll is failed, the stunning touch is unsuccessful. 3. Paralyzing Touch By placing pressure on specific nerve junctions, the character can paralyze his victim, leaving him unable to move for 1d6 turns. A normal to hit roll must be made and the character is allowed to make a saving throw vs. paralyzation. If the attack fails or the saving throw is made, no damage is done. 4. Distance Death This is the ultimate skill of this method and requires great practice and concentration. To learn it, the character must practice at a pool of water, driving his finger at it without touching it. As he does so, he concentrates on his own power, trying to extend it from his finger. When he can hear the echo of his thrust rebound from the water, he has mastered this maneuver. Distance Death requires great concentration and is the only action the character can make during the melee round. It has a range of one foot per level of the character. With it the character can choose to apply the effects of Pain, Stunning or Paralyzing Touch or he can choose to do three times the normal amount of damage on the attack. If pain is chosen, the victim is not allowed a saving throw; for stunning the saving throw is -2 on the die roll. In all cases a normal to hit roll must be made. Weapon (note that these maneuvers can be done unarmed) 1. Weapon Catch All weapons are routinely used to block and parry an opponent. The weapon catch maneuver teaches the character how to use the special martial arts weapons to catch and lock his opponent's weapon in place. Here weapon includes not just melee weapons but also the arms and legs of an unarmed opponent. A weapon catch is made in place of a normal attack and a to hit roll must be made. If successful, the character has caught the opponent's with his weapon and has locked it in place. The opponent cannot use that weapon to fight with. Furthermore, the character can make further attacks on the opponent with a +2 on his chance to hit, if he has a body part free to hit. The opponent can break the catch by either dropping his weapon or spending a melee attack to attempt to break free. If he attempts the latter, he must make a normal to hit roll to succeed. If the weapon catch attempt fails, the character has managed to foul his own weapon on that of the opponent's. With a quick twist the opponent pulls the character's weapon from his grasp, leaving the character disarmed. 2. Weapon Breaker Just as martial arts weapons are designed to catch weapons, they are also capable of breaking them. Indeed, students are often taught this art as it gives them an advantage in combat. The breaking action is a swift blow or twist with the weapon. It can only be used against melee weapons, not unarmed fighters. The character can also use this maneuver when fighting with a bo stick against a sword. A normal to hit roll must be made. If successful, the opponent's weapon must save vs. crushing blow or be broken. If the to hit roll is failed or the save is made, the maneuver fails. This maneuver does no damage. 3. Steel Cloth With this maneuver, the character need never be without a weapon. Taking a 6- to 10-foot piece of cloth, the character whirls and snaps it tight, keeping it in constant motion, giving it the rigidity of a spear. The cloth is treated as a spear, except that it cannot be thrown. This maneuver is automatic, no die roll is made for success unless making an attack which is a normal to hit roll. 4. Improvised Weapon What does a chair, a ladder and a bucket have in common? They can be used as improvised weapons. Using this maneuver, normal everyday objects can be used as weapons. The DM must decide the speed factor and weapon damage for objects, but here is a rough idea of what most objects would be. Small DMG 1d4, SF 2 Medium DMG 1d6, SF 5 Large DMG 1d6, SF 7 As always, a normal to hit roll must be made when attacking with these improvised weapons. Mental and Physical Training 1. Meditation Meditation is a state of deep concentration. By meditating, the character focuses and regains his energies. One hour of uninterrupted meditation is as restful as two hours of sleep. While meditating, the character is oblivious to hunger, thirst, heat and cold. He is still conscious and aware of his surroundings, however, so he does not suffer any penalties on surprise or initiative rolls. 2. All-Around Sight The character's training makes him more attuned to his immediate surroundings. He is able to detect opponents on all sides of him, provided the are not invisible. The character can never be struck from behind or suffer a penalty from a back attack. This maneuver is constantly in effect. 3. Mental Resistance The mental exercises and ordeals of the character's training have toughened and strengthened his will. He receives a +2 on all saving throws against mental attacks including charm, illusion and hold spells. This maneuver is constantly in effect. 4. Blind Fighting Under his master's guidance, the character has trained for long periods while wearing a blindfold or in darkened rooms. This has given the character the ability to detect his foes with his other senses. The character only suffers a -1 penalty when fighting in the darkness, when blinded or facing invisible opponents (while the blindfighting proficiency gives -2 and none gives a -4 penalty). However, any of these in combination with a silence spell render the character effectively blind again. This maneuver is constantly in effect. 5. Iron Skin Rigorous physical training has toughened the character's muscles to the point where he can harden them like iron. The armor class of the character is improved by 2, but only when he is not wearing any other type of armor. 6. Levitation This is perhaps the rarest of all the martial arts maneuvers, since it requires the utmost of concentration and mental discipline. Daily the character practices making his body feel lighter, using his mental power to negate his own weight. Finally, the character succeeds in overcoming all his weight. At this point he can levitate. This maneuver requires one turn of concentration before it can be done. Thereafter the character can move up, down or sideways at five feet per round. He can take no actions while levitating and if his concentration is broken, he falls to the ground. Upon completion of the levitation, the character must rest for one round before doing any other action.