There are many other animal and non-animal Kung Fu styles, far too many to list extensively here.
However, in addition to the styles listed above, several others deserve a brief mention: Bul Mu Do or Buldo Mu Sool (a Korean Buddhist temple style, supposedly derived from Shaolin fighting arts); Ch'a Ch'uan (a style from Mongolia, popular among Chinese Muslims and known for its acrobatics and flying kicks); Ch'o Chiao (a northern style featuring high kicks); Choy Mok (a combination of two southern styles, Choy Gar and Mok Gar); E-mai Shan Pai (a style supposedly created on the sacred mountain of the same name; known in Vietnam as Nga Mi Phai); Fan Tzu (a simple northern style); Fong Ngan (the "Phoenix Eye" style, which relies almost entirely on hand attacks, including a distinctive raised-middle-knuckle punch); Hop Gar (a fighting art derived from Tibet; it is a practical fighting style and is also known as Lama kung fu); Hung-Chia (a southern style which emphasizes powerful hand attacks delivered from low stances; it is said to have been created by one of the Venerable Five); Hung Fut (a 300-year-old southern style which combines two other styles, Hung Gar and Fut Gar; practitioners always use their left hands to strike and are trained to use their clothing as a weapon); Kuo-Ch'uan ("dog boxing," an unpopular northern style in which the practitioner stays low to the ground, barking and growling like a dog, hoping to antagonize and distract his opponent); Liang I (an internal northern style which uses double-fist attacks); Li-Chia Ch'uan ("short hand" boxing, a southern style involving slapping and poking attacks, close infighting, and almost no kicks; also known as Li Gar); Liu-Ho-Pa-Fa ("six harmonies, eight steps," a soft northern style); Mien Ch'uan ("cotton fist" style, a soft northern style); Mi Tsung-I (the "labyrinthine art," which uses rapid turns, changes of direction and attacks to confuse the enemy); Poc Khek (a Malaysian style); San-Hwang Pao-Ch'ui ("cannon fist" style, also known as Hsing-Kung-Ch'uan); Ta-Cheng Ch'uan ("great achievement," an internal style derived in part from Hsing-I); T'an T'ui ("Deep Legs" or "Springing Legs" Kung Fu, which uses very low kicks and legsweeps) and T'i T'ang (a fighting style which trains the student to fight while on the ground).
As you can see, there is considerable overlap between the maneuvers required for the various styles. If a character wishes, he can consider himself a practitioner of multiple styles if he knows the minimum required maneuvers and Skills for each; in combat, he can describe how and when he switches between styles. This will not, however, have an impact on an enemy's KS: Analyze Style roll; to cancel the effects of such a roll, a character would have to switch to another style in which he has a separate Knowledge Skill.
A character wishing to confuse an opponent with KS: Analyze Style should buy a separate Knowledge Skill with each sub-style he wishes to switch between. If the character can make his KS roll, his opponent must re-make his KS: Analyze Style roll. Of course, if the character switches back and forth between only two styles, his opponent may be given a bonus to the KS: Analyze Style roll as he gets used to the character's pattern.
For more information on the main "soft" Chinese styles, refer to the descriptions of Hsing-I, Pakua, and Tai Ch'i Ch'uan.
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