STEVE JACKSON GAMES Written by VOLKER BACH and PETER V. DELL'ORTO Edited by NIKOLA VRTIS
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TM
TM
Written by VOLKER BACH and PETER V. DELL’ORTO
Edited by NIKOLA VRTIS
An e23 Sourcebook for GURPS ®
STEVE JACKSON GAMES ®
Stock #37-1642 Version 1.0 – July 2009INTRODUCTION . . . . 3
CONTENTS
2. STYLES . . . . . . 12 4. WE WHO 6. CAMPAIGNS . . . 40
About GURPS . . . . . . . . . 3 ARMATURAE . . . . . . . . . . 12 ARE ABOUT THE GLADIATOR
GURPS Martial Arts Hoplomachus. . . . . . . . . 12 CAMPAIGN . . . . . . . . 40
TO DIE . . . . . . 25
and This Book . . . . . . 3 Murmillo . . . . . . . . . . . . 12 The Games . . . . . . . . . . . 40
Publication History . . . . . 3 Provocator . . . . . . . . . . . 13
THE GLADIATORS . . . . . . 25
The Selection Process . . 25 First Blood
About the Authors . . . . . . 3 Murmillo Variations. . . . 13 and Beyond. . . . . . . . 40
Day-to-Day Life . . . . . . . 26
Retiarius . . . . . . . . . . . . . 14 Beyond the Arena . . . . . 41
1. GLADIATORIAL Thraex (Thracian) . . . . . 14
Built Like a Fighter. . . . . 26
Starting Characters . . . . 41
GAMES . . . . . . . 4 Security . . . . . . . . . . . . . . 27
Exotic Types . . . . . . . . . . 15 Walk the Walk
The Barley Crunchers . . . 27
HISTORICAL The Venator. . . . . . . . . . . 16 and Talk the Talk . . . . 41
ADVANTAGES, CHARACTER Adventure Seeds . . . . . . 42
OVERVIEW . . . . . . . . . 4
DISADVANTAGES, TEMPLATES . . . . . . . 28 THE LUDUS
POLITICS OF Gladiator. . . . . . . . . . . . . 28
THE ARENA . . . . . . . . 4 AND SKILLS . . . . . . . 17 CAMPAIGN . . . . . . . . 44
Doctor . . . . . . . . . . . . . . . 28
Rome: Imperial Advantages . . . . . . . . . . . 17 Lanista . . . . . . . . . . . . . . 29 The Customer Is
Splendor . . . . . . . . . . . 4 Perks . . . . . . . . . . . . . . . . 18 The Champions . . . . . . . 29 Everything . . . . . . . . 44
Spartacus and the Typical Gladiator Pugilist . . . . . . . . . . . . . . 30 No Business Like
Third Servile War . . . . 5 Advantages . . . . . . . . 18 Venator . . . . . . . . . . . . . . 30 Show Business . . . . . 44
Provincial Games. . . . . . . 5 Disadvantages . . . . . . . . 19 Vindex the Murmillo. . . . 31 The Cooperative
The Decline and Skills . . . . . . . . . . . . . . . . 19 Ludus . . . . . . . . . . . . 44
Typical Gladiator
SUPPORTING ROLES . . . . 32 Competitive Ludi . . . . . . 45
Fall of the Games. . . . 6 Animal
TIMELINE . . . . . . . . . . . . . 6 Disadvantages . . . . . . 19 No Expenses Spared:
Handler/Trainer . . . . 32
Techniques . . . . . . . . . . . 20 The Economics
FAMOUS Harenarius . . . . . . . . . . . 32
of Munera . . . . . . . . . 45
GLADIATORS . . . . . . . . 6 3. RULES OF Ludus Guard . . . . . . . . . 32
Musician. . . . . . . . . . . . . 32 TRANSPLANTING
Albanus, Seasoned
THE GAMES . . . 21 THE GAMES . . . . . . . 45
Professional . . . . . . . . 6 Paegnarius . . . . . . . . . . . 33
Commodus, Imperial BLOOD ON Physician . . . . . . . . . . . . 33 Fantasy . . . . . . . . . . . . . . 45
Amateur . . . . . . . . . . . 7 THE SANDS . . . . . . . 21 Stage Engineer. . . . . . . . 33 Science Fiction . . . . . . . 46
Galen, Gladiatorial Focused Defense . . . . . . 21 Summa Rudis . . . . . . . . 33 Supers. . . . . . . . . . . . . . . 47
Physician. . . . . . . . . . . 7 Sufficient Space Horror. . . . . . . . . . . . . . . 47
Modern Gladiators . . . . . . 7 to Die . . . . . . . . . . . . . 21 5. EQUIPMENT . . . 34 Infinite Worlds. . . . . . . . 47
Spartacus, Rebel Shifting Sands . . . . . . . . 22 WEAPONS . . . . . . . . . . . . 34
Gladiator . . . . . . . . . . . 8 The Crowd’s ARMOR . . . . . . . . . . . . . . 35
A DAY AT THE ARENA . . . . 8 Reaction . . . . . . . . . . 22 Helmets. . . . . . . . . . . . . . 35
Pompe and Asking for Mercy . . . . . . 22 Melee Weapon Table . . . . 35 GLOSSARY . . . . . . 48
Cena Libera . . . . . . . . 8 Stans Missus . . . . . . . . . 23 Other Armor. . . . . . . . . . 36 Pronouncing Latin:
The Morning OUTSIDE THE Shields . . . . . . . . . . . . . . 37 A Quick and
Program . . . . . . . . . . . 9 COLOSSEUM . . . . . . . 23 Armor Table . . . . . . . . . . 37 Dirty Guide . . . . . . . . 48
Gladiator Fandom . . . . . . 9 Gladiatorial Other Equipment. . . . . . 38
The Matches. . . . . . . . . . 10 Advancement . . . . . . 23 Medical Gear . . . . . . . . . 38 BIBLIOGRAPHY . . . 50
Female Gladiators . . . . . 10 Complementary Skills . . 23 Fighting Kit . . . . . . . . . . 38
Defending the Bridge . . . 11 Gladiator Prices . . . . . . . 24 Custom Equipment . . . . 39 INDEX . . . . . . . . . 51
GURPS System Design ❚ STEVE JACKSON Managing Editor ❚ PHILIP REED Director of Sales ❚ ROSS JEPSON
GURPS Line Editor ❚ SEAN PUNCH Art Director ❚ WILL SCHOONOVER Errata Coordinator ❚ WARREN
e23 Manager ❚ STEVEN MARSH Production Artist & Indexer ❚ NIKOLA VRTIS MacLAUCHLAN McKENZIE
Page Design ❚ PHIL REED and Prepress Checker ❚ WILL SCHOONOVER GURPS FAQ Maintainer ❚ –––––––
JUSTIN DE WITT Marketing Director ❚ PAUL CHAPMAN VICKY “MOLOKH” KOLENKO
Lead Playtester: Jeff Wilson
Playtesters: Richard Bing, Doug Caruso, Ken Clary, Chris Davies, The Denver GURPS Group
(Matt Denno, Tod Higman, Christopher Landauer, and Brian McCabe), Leonardo M Holschuh, Dan Howard,
Phil Masters, Joseph Reynolds, Hans-Peter Schöni, Emily Smirle, Shawn Stevenson
Special Thanks: Phil Dunlap (for reality checking); The Roman Army Talk community at romanarmy.com;
and Svenja Grosser from Ludus Nemesis (Volker Bach’s local gladiatorial group)
GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Martial Arts, Gladiators, Pyramid, e23, and the names
of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license.
GURPS Martial Arts: Gladiators is copyright © 2009 by Steve Jackson Games Incorporated. Some art © 2009 JupiterImages Corporation. All rights reserved.
The scanning, uploading, and distribution of this material via the Internet or via any other means without the permission of the publisher is illegal,
and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage
the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.
CONTENTS 2INTRODUCTION
The word “gladiators” immediately conjures up a host of
violent images. The net and trident. Fans screaming for blood. GURPS MARTIAL
Patrician Romans sitting disdainful of the slaves who fight for
the crowd’s amusement.
ARTS AND THIS BOOK
The world of the gladiator is more than just slaves, swords, This work is a supplement for GURPS Martial Arts. It
and death. Gladiators were well-trained athletes competing in expands on the descriptions of the gladiators from that book
a most lethal sport. They were pampered and cared for like by offering a background history of the arena, several
racehorses, driven mercilessly like boot-camp recruits, and templates and template variations, and the equipment
then sent out to kill and die splendidly for the crowds. necessary for gladiators.
GURPS Martial Arts: Gladiators takes you inside the
world of the gladiator. You’ll enter the ludus, where raw slaves
and desperate freemen were transformed into cunning and art- PUBLICATION HISTORY
ful martial artists. You’ll go inside the arena, where they put on Gladiators drew on material in GURPS Martial Arts for
the show they trained for. You’ll travel to the Roman streets GURPS Fourth Edition and GURPS Imperial Rome for
and beyond, where gladiators were famed for their fighting GURPS Third Edition. Although Imperial Rome proved
skills, envied for their physical prowess, and wooed by their inspirational, the history, the styles, and the templates were
social betters. generated from the latest research and archaeological data
Now enter the arena, where the blood-soaked sand available. Where these books differ, it is intentional, revising
reveals the skills of some of the most renowned martial out-of-date information about the arena.
artists in history . . .
ABOUT THE AUTHORS
Joey, do you like movies about gladiators?
About GURPS – Captain Oveur, Airplane (1980)
Steve Jackson Games is committed to full support of GURPS players. Volker Bach is a relative latecomer to role-
Our address is SJ Games, P.O. Box 18957, Austin, TX 78760. Please playing, starting at age 24, though by now he
include a self-addressed, stamped envelope (SASE) any time you write us! has accumulated far more experience in it
We can also be reached by e-mail: info@sjgames.com. Resources include: than he will admit to in polite company. He
holds a degree in ancient history with a spe-
New supplements and adventures. GURPS continues to grow – see cialization in Roman studies. His personal
what’s new at www.sjgames.com/gurps. experience in combat is limited to being bul-
e23. Our e-publishing division offers GURPS adventures, play aids, lied in school. Volker has written several arti-
and support in PDF form . . . digital copies of our books, plus exclusive cles for Pyramid magazine, but this is his first
material available only on e23! Just head over to e23.sjgames.com. GURPS book. He lives in Hamburg,
Pyramid (www.sjgames.com/pyramid). Our monthly PDF magazine Germany, with numerous books, and he
includes new rules and articles for GURPS, systemless locations, adven- works as an English teacher and translator
tures, and much more. Look for each themed issue from e23! while pursuing an education degree. Aside
Internet. Visit us on the World Wide Web at www.sjgames.com for from roleplaying, his interests include history
errata, updates, Q&A, and much more. To discuss GURPS with our staff (both real and counterfactual), reenacting,
and your fellow gamers, visit our forums at forums.sjgames.com. The reading, and the culinary arts.
GURPS Martial Arts: Gladiators web page can be found at Peter V. Dell’Orto started roleplaying in
www.sjgames.com/gurps/books/martialarts/gladiators. 1981, with Dungeons & Dragons, and has
Bibliographies. Many of our books have extensive bibliographies, played GURPS since Man to Man. He has
and we’re putting them online – with links to let you buy the resources been active as a GURPS playtester, editor,
that interest you! Go to each book’s web page and look for the “Bibliog- and contributing author since 1996, and he
raphy” link. has written many GURPS articles for
Errata. Everyone makes mistakes, including us – but we do our best to Pyramid magazine. He is also the co-author of
fix our errors. Up-to-date errata pages for all GURPS releases, including GURPS Martial Arts with Sean Punch. Peter
this book, are available on our website – see above. is an enthusiastic martial artist. He currently
Rules and statistics in this book are specifically for the GURPS Basic fights amateur MMA, holds a shodan rank in
Set, Fourth Edition. Page references that begin with B refer to that book, Kendo, and trains Kachin Bando. His other
not this one. hobbies include fitness, reading, painting
miniatures, Japanese culture, and music.
Peter likes movies about gladiators.
INTRODUCTION 3CHAPTER ONE
GLADIATORIAL
GAMES
The myth and legends of the gladiatorial games intertwine makes for good gaming. (A glossary of terms found in this sup-
with the facts of history. Whether the information is deduced plement is on pp. 48-49.)
from inscriptions, graffiti, drawings, or literature, all of it
HISTORICAL OVERVIEW
Like most of the more baffling Roman customs, gladiator- cheering crowd. As these events became politicized, their reli-
ial combat has its roots in religious practices. The Campanian gious character increasingly fell behind their function as crowd-
tribes may have been the first in the region to force condemned pleasers, and aristocrats vied with each other to provide the
men to fight to the death in funeral games, perhaps as a form most spectacular entertainment. For example, at the funeral of
of human sacrifice, and the Campanians are still remembered Publius Licinius in 160 B.C., 60 pairs of gladiators fought in the
in Roman times as the most enthusiastic gladiatorial fans. It is Forum Romanum before huge crowds. By the first century
most likely from them that Roman aristocrats adopted the B.C., the munera (literally “gifts,” originally referring to the cer-
habit of including ritual combat to the death in their funerals. emonial handouts at funeral feasts) were often held at arbitrar-
Initially, these games were rare and small scale, part of the ily chosen memorial days for long-dead relatives during
elaborate ceremonies that accompanied the funeral of a power- election season and were regarded as something ambitious
ful man. In addition to distributing gifts of food and holding a politicians had to provide the electorate with. Laws were passed
lavish feast in honor of the deceased, a handful of fighters – intermittently to limit the expense permitted to candidates seek-
known as bustuarii (pyre men) – would kill each other before a ing office, but the upward spiral proved unstoppable.
POLITICS OF THE ARENA
During the Late Republican period (about 200 B.C. to 50 Marius drafted gladiatorial trainers to drill their unseasoned
B.C.), candidates for political office often took on huge debt to recruits in swordsmanship. Despite its risks, the business
finance lavish gladiatorial games as parts of their campaigns. thrived and grew.
Providing fighters, gear, and the managerial and choreo-
graphic skills required was the task of a highly specialized pri-
vate industry that sprang up in and around Rome. The cost of ROME: IMPERIAL SPLENDOR
setting up training centers (ludi), armories, and menageries; Aware of the potential political status and military muscle
buying suitable slaves; and employing trainers (doctores), an unregulated ludus could place in the hands of potential
physicians, and entertainers was huge. Nevertheless, the popu- rivals, Augustus took control of the major gladiatorial schools
larity of the games justified it: In 160 B.C., the mere rumor of soon after he became emperor, and he regulated the number
nearby gladiator fighting emptied the seats of a theater pre- and size of shows that would be permitted in Rome. From now
miere by Terence, an author of great stature. on, the right to hold munera was limited to praetors, and they
The presence of a large number of armed and trained men were restricted a maximum of two a year and 60 pairs of glad-
so close to Rome, traditionally without any form of military iators. Private funeral games, still allowed by Augustus,
presence, brought risks of its own. Gladiators were used as petered out after his reign. By contrast, the emperors were free
bodyguards, assassins, and foot soldiers in factional infight- to hold games of any size they chose and used this privilege to
ing. Spartacus’ revolt in 73 B.C. left no doubt that armed the hilt. Augustus boasted of having held eight grand games at
slaves also had revolutionary potential. There were some which 10,000 gladiators fought, and later emperors did their
unexpected side benefits, too: In 105 B.C., the armies of best to set new records.
GLADIATORIAL GAMES 4At the same time, the haphazard system of Republican
munera was brought under a system of strict rules. Games PROVINCIAL GAMES
continued to be held in improvised or adapted venues until While the games in Rome turned from rowdy electioneering
Titus opened the Colosseum in 79 A.D., but the audience was into imperial spectacle, gladiator fighting spread into the
now allotted seats according to rank and status. Front rows provinces. It had always been popular in Central Italy, but now
were reserved for senators and knights (equites), while women arenas sprang up from Gaul to Syria. Wealthy town councilors
were banished to the rear. Gladiator classes (known as and newly rich freedmen mostly financed these munera; the
armatura) were standardized, their armament regulated, and upper class used them to boost their prestige and electability.
the pairings of fighters formally fixed. All this was probably The scale of these games was far more modest than in Rome,
simply the outcome of imperial control over the great gladiato- with even a rich city like Pompeii considering 35 pairs of fight-
rial schools (which independent provincial establishments ers a lavish display.
copied). It eventually created an empire-wide gladiatorial cul- Provincial munera continued to be arranged by lanistae,
ture with its own rules, traditions, and fan culture. private ludus entrepreneurs who rented out their gladiators
Gladiatorial shows were rare. No more than a handful and animals for pay. The lanistae purchased or hired and
occurred in a year – sometimes none at all. Despite this fact, an trained their troupes at their own risk and expense, and they
impressive capital outlay went into them. The Colosseum often traveled long distances to their shows. Few provincial
(properly called the Flavian Amphitheater after the dynasty aristocrats would have had the money to maintain their own
that built it) was one of the largest buildings in the city and the fighters, but when they hired in, they were prepared to spend
greatest arena in the Roman world. The compounds of the large amounts. Being tight-fisted on such occasions was a
imperial gladiatorial schools surrounded it, a permanent naval major faux pas, and the lanistae would offer all manner of
detachment was kept on hand to operate its canvas sunroof, attractions to impress the public.
and large numbers of wild animals were brought in from all A gladiatorial munus was announced months in advance
over the Empire and kept in readiness for the great day. This and drew spectators of people from the surrounding country-
was partly a display of imperial patronage, the kind of luxury side and neighboring towns. If everything went well, the spon-
only the greatest power in the world could offer its citizens, but sor (known in Latin as the editor) could bask in the adoration
it also reflected the immense popularity of the munera. For of the cheering multitude. The memory of particularly suc-
something this important, nothing less would do. Provincial cessful games could buoy a political career for decades. This
cities that could easily have improvised a venue for the one or also meant that unsuccessful munera could seriously damage
two small games they held each year often built expensive not only the sponsor, but also the reputation of a town.
amphitheaters for much the same reason.
Spartacus and the Third Servile War
Large-scale slave revolts occasionally occurred in the and Asia Minor at the time. The slave army defeated two
Roman Republic (they were known as bellum servile – Roman expeditionary forces, the first under Propraetor
servile or slave wars). However, one revolt in particular was Claudius Glaber and the second under Praetor Publius
larger, closer to home, and more dangerous to Rome than Varinius. Besieged on the mountaintop by the hastily raised
any previous one had been. militia force of Claudius Glaber, they used improvised rope
At the height of the Late Republic’s conquests in 73 B.C., ladders to quietly slip behind his back and destroyed his
when the life of a slave was cheap and regular supplies came army in a night attack. They overcame Publius Varinius’s
to Rome from all over the world, a gang of around 70 slave force in open battle by a quickly growing slave army then
gladiators escaped from the ludus of Lentulus Batiatus in numbering in the tens of thousands. At this point, one part
Capua. They armed themselves with knives and cooking of the slave army, under the leadership of Crixus, decided to
spits and plundered a consignment of gladiatorial weapons. try to escape to Gaul. They were cut off and defeated by
Plutarch, a later historian, writes that they were unwilling Roman troops. Spartacus’ army was luckier. He ultimately
prisoners of war from Gaul and Thrace who plotted to became the leader of a vast rebel force. In 72 B.C., his
escape. The plot was discovered by their guards, which led followers defeated the armies of both Roman consuls. They
to a desperate breakout. One of this band of fugitives was may have come close to threatening the city of Rome itself.
called Spartacus. His name would become legend. The tide of war turned when Marcus Licinius Crassus
The escaped gladiators took refuge at the summit of took command of Rome’s forces against the rebels. He bru-
then-dormant Mt. Vesuvius. From this base, they managed tally enforced discipline and led his legions south in a sys-
to repel several attempts to recapture them and recruited tematic effort to trap Spartacus’ army. Eventually, he
more fugitive slaves into their force. The gladiators among succeeded in bottling up the rebels in Bruttium, in the “toe”
them trained other escapees in combat. This turned a of Italy, by building a chain of field fortifications across the
potential liability (masses of untrained slaves) into an asset peninsula, and blocked efforts to escape to Sicily by sea. In
(an army). Spartacus was either their leader or one of their a final attempt to break out, the slave army was annihilated
co-leaders, along with two Gauls, Crixus and Oenomaus. by the legions. The survivors, some 6,000 men, were
Early on, the rebels experienced success. Rome’s most rounded up and crucified along the road between Capua
experienced troops and best generals were engaged in Spain and Rome. No further gladiator uprisings are recorded.
GLADIATORIAL GAMES 5A particularly disastrous example took place in Pompeii in 59 image of the Roman as conquerors and civilizers, triumphing
A.D., when local rivalry with the nearby town of Nuceria trig- over wild animals and savage tribes alike. It also showed off
gered riots in which several spectators were killed. A less-than- the near limitless wealth of the Empire with hugely expensive
amused emperor banned games in Pompeii for 10 years. novelties such as ivory fences to protect the audience, per-
Nevertheless, even nonviolent urban crowds could be fume dispensers, and raffles of valuable prizes for spectators.
volatile and hard to please. Modern event and marketing man- For the grandest kinds of games, artificial lakes were used to
agers would not find the world of the provincial arena strange. stage naval battles with hundreds of men fighting on ship-
board. The arena of the Flavian Amphitheater could be
flooded for this purpose.
THE DECLINE AND Eventually, though, economic decline and political crisis
FALL OF THE GAMES caught up with the games. Emperors spent less and less time
in the capital, and money was in ever-shorter supply. The
Throughout the first and second centuries and well into the munera dried up until, in the course of the fourth century,
crisis-ridden third, emperors threw lavish munera featuring they disappeared from the Roman scene. Under Emperor
thousands of gladiators along with barbarian captives to be Honorius, all gladiatorial games were prohibited throughout
executed and wild beasts for the hunt. All of this reinforced the the Empire.
TIMELINE
4th century B.C. – First depictions of gladiatorial fights in 42 B.C. – Gladiatorial fights are first organized by the state, not
Campania. private donors.
264 B.C. – First recorded gladiatorial fight in Rome at the 36 and 31 B.C. – Augustus holds huge naumachiae to cele-
funeral of Didius Iunius Brutus Petra. brate naval victories.
206 B.C. – Scipio Africanus has deserters killed by wild c. 0-30 A.D. – Development of the formal gladiator types
animals. (armaturae).
186 B.C. – First lion hunt in the arena in Rome organized by 14-37 – Reign of Tiberius; collapse of the wooden amphithe-
Fulvius Nobilior. ater at Fidenae said to kill 10,000 spectators.
166 B.C. – First gladiatorial fights in Asia Minor under 37-41 – Reign of Caligula; he causes a scandal by having wild
Antiochus IV. animals fed on the meat of executed criminals.
105 B.C. – Marius recruits gladiatorial trainers to drill Roman 59 – Riots at gladiatorial games in Pompeii; the city is banned
levies for the war against the Cimbri and Teutones. from holding munera for 10 years.
80 B.C. – Amphitheater in Pompeii is built. 80 – Emperor Titus opens the Flavian Amphitheater in Rome.
73-71 B.C. – Spartacus’ Rebellion. 109 – Emperor Trajan celebrates his victory over the Dacians
50 B.C. – Pompey neutralizes Caesar’s gladiatorial bodyguards; by having 10,000 gladiators fight on 123 days of festivities,
5,000 men are disarmed and arrested. the largest such event ever.
46 B.C. – Caesar organizes the first naumachia (staged battle 177 – The prices of gladiators are capped by Senate decree.
on an artificial lake). 180-192 – Reign of Commodus; the emperor fights personally.
438 – Emperor Valentinian outlaws gladiatorial games.
FAMOUS GLADIATORS
Little is known about the career of any gladiator, but a thraex named Severus (himself a veteran with 13 victories to
handful of them are commemorated in gravestones, depictions his name); the bout ended in death.
of fights, and fan graffiti. One even came from the ranks of the Albanus’ career likely began as a slave – young, in good phys-
emperors of Rome. ical shape, and with the necessary aggressiveness and drive –
purchased by one Scaurus for Pomponius Faustinus, a local
powerbroker who owned the Pompeii ludus. (As he was a freed-
ALBANUS, SEASONED man, he cannot have been a volunteer initially.) After rigorous
PROFESSIONAL physical training in the prison-like ludus, he must have proved
himself in his early fights and repaid the (considerable) invest-
Albanus is one gladiator known from graffiti. His name is ment handsomely. Nineteen victories (the number of reprieves is
mentioned in an epigraph on a wall in Pompeii, where an eager not listed) represent a career spanning many years It is likely he
devotee of the sport scratched a quick sketch of his idol in the earned his liberty at some point. From then onward, he fought
process of defeating an opponent. It depicts him fighting as a in the arena of his own volition, lured perhaps by the fame or the
murmillo, and his opponent in this particular fight was a large premiums that could be won, or by the risk of death.
GLADIATORIAL GAMES 6Encountered Encountered
Fighting on the provincial circuit in south Italy, Albanus Physically – contrary to recent Hollywood depictions –
probably still works for Pomponius Faustinus and holds a high Commodus is a very handsome, well-muscled young man, tall,
rank in his ludus. His 19 victories – one of the best records blond, bearded, and supremely fit (he devotes much of his time
known – means his reputation is considerable. A match to physical exercise and combat training). Vain, self-centered,
between Albanus and an equally seasoned veteran would and a coward, he overcompensates for his weakness by fright-
almost certainly represent the high point of the day. Scurrilous ening people around him, and he enjoys being feared. With his
graffiti found elsewhere in Pompeii suggest not everyone friends, he is trusting to the point of naiveté, but vengeful and
rooted for him, and some supporters of his opponent ruthless with real or perceived enemies.
expressed their dislike in strong words. As a star, Albanus earns
large sums for every fight and, now free, shares them with his
lanista on an equitable basis. Soon enough – prompted by the GALEN, GLADIATORIAL
onset of old age, an injury, or simply to enjoy his wealth – he
may retire and become a doctor, training young gladiators. As PHYSICIAN
of now, he enjoys his status and earning power. He is probably Gladiators represented considerable investment and needed
too old to move to Rome and play on the biggest stage, though to be in peak form if they were to recoup the outlay by winning
a sufficiently large sum might tempt him to try a new venue. If fights. The ancient world had a long tradition of sports medi-
he stays in Pompeii long enough, he may be unfortunate cine, developed mostly in Greece, that the Roman schools
enough to be caught in the eruption of Mount Vesuvius . . . could tap into. Any ludus worth its salt had a medical profes-
sional to supervise training and diet, treat injuries, and keep
the troupe healthy. Modern scholars do not know much about
COMMODUS, these men, but it so happens that one of the most influential
physicians of antiquity worked in a gladiatorial school: Galen.
IMPERIAL AMATEUR Born in 129 A.D. as the son of a Greek architect, Galen
Everybody remembers Commodus from the silver screen – received an education in technical and mathematical subjects.
the poster child for depravity and decadence. Unusually for He then went on to study medicine under teachers in Smyrna,
Hollywood, this comes pretty close to being right. Commodus Corinth, and Alexandria.
was one of the worst emperors Rome ever had.
Unlike Nero, who fancied himself an artist, or
Elagabalus, who was into religious mania,
Commodus was crazy about the arena. This infatu-
ation went so far that some contemporaries specu- Modern Gladiators
lated his father was not emperor Marcus Aurelius, Although the gladiators of ancient Rome may seem distant from
but a gladiator his mother had had an affair with. modern day, combat sports are alive and well. Modern fans flock to
Amateurs were nothing new to the world of the professional boxing, professional wrestling, and more recently,
gladiator. Bored rich men trained with them and mixed martial arts events.
sometimes – scandalously – even fought in public. Much of the atmosphere of an ancient day at the games remains
Nonetheless, most of them were relatively harmless. in these events. Fighters enter to fanfare and music, and wave, bow,
Commodus was far from that. He was known for or otherwise salute the crowd before they engage in combat. Rules
training with real weapons and injuring or killing emphasize safety, but not at the expense of a good choke, a bone-
his sparring partners, and anyone facing him in the crunching body slam, or a bloody broken nose. Scantily clad ring-
arena could only hope to survive by surrendering. girls mark the rounds as they go by, corporations looking to sell to
Fighting as a secutor (left-handed, as he proudly the crowds sponsor fighters, and teams eagerly show their best
emphasized), the emperor also favored this fighters to their advantage. The stretch from the trappings of a mod-
armatura in his games, often rigging contests ern fight to the sandy Colosseum is not such a long one, after all.
against opponents. He also played the role of a Many modern fighters hearken back to the gladiators for inspi-
venator, killing animals in inventive ways (often to ration, or consciously draw a parallel to their ancient counter-
the distaste of the audience). Fittingly, he eventually parts. Unlike in the past, though, these fighters are not slaves
fell victim to a court intrigue, strangled by a fighting to the death. In fact, very few participants suffer serious
wrestler he trained with. or life-threatening injuries.
The political career of Commodus was undis- One current event has a close resemblance to ancient Roman
tinguished: He rose to power in 180 A.D. at the gladiator fights: The Spanish bullfights replicate the atmosphere
young age of 19 by virtue of being the son of an and challenge of the venatores, fighting trained animals for the
emperor. He spent most of his reign indulging his entertainment of the crowd. The torero replaces the slave gladiator,
bloodthirsty hobbies. In political matters, he was but the spectacle and the bloody death of the bull are still the same.
naive and depended on corrupt and sycophantic In addition, some modern reenactment groups put on gladiator
advisers, chief among them his freedman shows. The combat is not real, and there is controversy over how
Cleander. His reign saw rebellions in the provinces accurate they represent the real games. Nevertheless, for a GM,
and riots in the capital. In the last years before his reenactors, bullfighters, and modern combat sports all provide a
death in 192 A.D., he developed into a megaloma- potential source of inspiration for their own munera.
niac, identifying himself with the demigod
Hercules and renaming Rome in his own honor.
GLADIATORIAL GAMES 7After his return to his hometown of Pergamum at age 28, he of a ragtag army numbering tens of thousands of escaped
became physician to the local gladiator school. A young medical slaves and disaffected paupers. He bested Roman armies in the
man would not consider this a desirable position, but it seems to field, and he besieged and took the city of Thurioi. He only
be an acceptable starting point, and it did not hinder his mete- went down in defeat to a vastly superior force of battle-hard-
oric career later in life. After four years at the ludus, he left ened legionaries under the command of Crassus, one of
Pergamum to settle in Rome, where he became imperial physi- Rome’s most powerful men at the time. It is thought that he
cian to Marcus Aurelius and a medical writer whose texts died in battle, but his body was never found.
shaped Western medical thought for many centuries. Much of
the experimental work they are based on was done on gladiators. Encountered
Spartacus at the time of his rebellion is likely in his late 20s
Encountered to late 30s, in good physical shape, and a competent fighter. If
Galen at the Pergamum ludus is a young man on the make, he were a Thracian, he would have looked like an average
strikingly intelligent, well-read, inquisitive, and combative. His Greek or Roman. Early in the course of the war, he probably
treatment of the gladiators is often unconventional – and usu- wears gladiatorial gear taken from Capua, but later, he could
ally effective. In keeping with the Hippocratic tradition, he be equally dressed in captured military equipment or even the
pays particular attention to diet and lifestyle, but he is an finery of Roman officers. He must have been an inspiring fig-
equally competent surgeon and can suture wounds, set frac- ure, easy to trust and like, and able to impress his authority on
tures, and restore patients to health and fitness. his followers. It is his personality above all that holds together
a disparate assembly of angry men and instills in them the dis-
cipline, training, and esprit de corps that turned them into an
SPARTACUS, army capable of defeating Rome’s legions.
REBEL GLADIATOR If he were indeed an enslaved Thracian nobleman, he
would have military experience and a Greek education, be lit-
For a figure of such historical significance, very little is erate and numerate, and be able to organize a fighting force
known about Spartacus. Ancient historians mention that he and develop and execute military plans. He speaks Greek and
was a Thracian from the Maedi tribe. Modern scholars have Latin along with his native language. He most likely com-
cast this into doubt; they believe that he may, in fact, have been mands his army in Greek (still widely spoken in southern Italy
a condemned criminal fighting as a thraex. Others suggest he and the lingua franca of the eastern Mediterranean).
may have been of royal blood, a descendant of Spartokos V of Plutarch mentions Spartacus’ wife, a Thracian prophetess,
the Bosporan kingdom (c. 160-150 B.C.). He may have served joining him in his enslavement and being at his side as a rebel
as a Roman auxiliary soldier before being either captured in leader. This is not corroborated by other sources and too con-
war or sentenced to the arena for some unknown crime. venient a literary trope to be very trustworthy. Nonetheless, it
Historical records indicate that Spartacus was a gladiator in may be true. In that case, Spartacus may be self-consciously
Capua in 73 B.C. when he was involved in plotting a mass Thracian, wearing Greek-style armor and long hair and a
breakout. On being discovered, about 70 men seized what beard. Harsh self-discipline and austerity would be consistent
weapons they could and made for the hills. See Spartacus and with a soldierly ethos and inspire loyalty in his followers. Since
the Third Servile War (p. 5). Spartacus probably never was the sole and uncontested leader
Over the coming three years, Spartacus would prove him- of his army, that would be a wise choice.
self a skillful guerilla tactician, inspiring war leader, and ruler
A DAY AT THE ARENA
The spectacle of munera included far more than just gladia- their weapons and armor, other performers, and whatever
tor fights, though they were at the center. It was a daylong dis- animals or machinery was deemed sufficiently impressive.
play of power and luxury where the audience felt part of the It was led by civic officials and the donor, and it included
world-conquering community of Romans. It was a lavish mix of statues of deities (especially if the games were in honor of a
the Superbowl and a Thanksgiving Day parade. At the same religious holiday), musicians, flowers, and shiny orna-
time, a dedicated fan culture carefully studied fighting tech- ments. The fans had the chance to look at their idols, com-
niques, eagerly followed the careers of star gladiators, and mer- ment on their physical shape and mental state, examine
cilessly criticized the weaknesses of any match. The munera their weapons and horses, and marvel at the things the
would be preceded by weeks of advertising. show held in store for them. For those who could not attend
A munus had a specific routine that casual and dedicated the games themselves, this was an opportunity to take in
fans alike would be familiar with. some of the atmosphere and join in the excitement with
their luckier fellow citizens. At the time of the parade, the
organizers also presented the program of the games, includ-
POMPE AND CENA LIBERA ing which gladiators would be paired with each other. This
The munera traditionally began with the pompe, a big compositio was studied attentively, especially by those who
parade. The pompe included the gladiators, servants carrying intended to bet on the fights.
GLADIATORIAL GAMES 8The next occasion was the cena libera, the gladiators’ pre- During the venatio, exotic or aggressive beasts were made
fight feast. The public was invited to watch. Spectators tried to to fight against each other or against trained venatores, or sim-
pick up clues from the behavior of the men: too little appetite ply slaughtered for the amusement of the public. The Roman
indicated fear, while a gladiator who ate and drank too heavily stereotype has lions, leopards, and bears fill this role, and in the
might already have despaired of his survival chances. Winners grand spectacles of the Flavian Amphitheater, they did. Smaller
ate and drank sparingly, but sufficiently, it was believed, trying munera often had to make do with less exotic bulls, boars,
to avoid hunger, lethargy, or hangovers. In films and novels, the wolves, and dogs. Inscriptions from Pompeii mention only bulls
cena libera has been depicted as anything from a demeaning in one event, and bulls, boars, and bears in another.
display with the gladiators behind bars and a gaping public The demand for wild animals was such that an entire indus-
outside, to an orgy where jaded noblewomen threw themselves try dedicated to their supply sprang up. Bears and aurochs
into the arms of seasoned killers for animalistic sex. Very likely were brought from the forests of Germany. Lions, crocodiles,
neither is true, but since there are no good sources on what the and elephants came from Africa. Even more exotic tigers,
event really looked like, GMs are free to use either, both, or rhinoceroses, and polar bears were transported thousands of
something in between. miles to be shown off and often killed. For more details, see
Animal Show: Venatio and Executions (below).
Finally, along with the prolusio and venatio, there could be
THE MORNING PROGRAM other acts. Just about anything that could wow the audience
The organizers of gladiatorial games were well aware of the was possible – acrobats, trained animals, music, dance, even
value of good showmanship. Munera never began with the gladiator clowns and dwarves. Provincial arenas probably were
main event but slowly built up to a crescendo, starting the a bit more intimate than the Flavian Amphitheater with its
morning with lighter entertainment. The early show included audience of 50,000, but the entertainment tended toward phys-
several elements: the entrance of the fighters, the prolusio ical comedy and large-scale showmanship. Individual comedi-
(mock combat), the venatio (wild animal fights), executions, ans, singers, or mimes would have seemed lost on a stage
and assorted other entertainment. where many in the audience could barely see, let alone hear,
A typical show – and there were plenty of atypical ones – the action, and the Romans had neither microphones nor cam-
began with a procession of the gladiators. All fighters scheduled eras to bring them closer. This phase was also when public exe-
for the day marched into the arena to be inspected and admired. cutions could be scheduled. Roman criminal justice believed in
This was also the opportunity for a speech by the editor and deterrence, and a delinquent sentenced to death ad bestias was
cheering (or booing) by the populace. Wild animals, too, were executed publicly and spectacularly in the arena, usually being
paraded at this point if the organizers thought they would draw killed by wild animals.
attention. Boars or wolves were too commonplace, but bears,
lions, or beasts that are even more exotic generally qualified. Animal Show: Venatio and Executions
In the prolusio, the fighters would entertain the crowd with
Animal fights and the execution of convicted felons pro-
mock combat using wooden practice weapons. This gave them
vided part of the entertainment of munera. Serious fans might
the opportunity to show off their skill and technique, impress
deliberately miss it and only come for the gladiators.
the audience, and build up the popularity that could save a
Animal handlers and beast-fighting venatores took care of
defeated gladiator’s life in the real bouts. No doubt it was also
the animals used in the arena, trained them, and where the
used to develop their “stage personalities” – daring or cautious,
show called for it, killed them. No proper games were consid-
vicious or chivalrous. Spectators often bet large sums on the
ered complete without the deaths of at least some animals.
outcome of fights based on their observations here.
Gladiator Fandom
All the girls sigh for Celadus the Thraex. line among these fans was not along different troupes or
– Graffiti in Pompeii individual fighters (though it appears some could attract a
following), but by fighting styles. Parmularii fans preferred
The Romans knew a business opportunity when they
gladiator classes that used small shields, while scutarii sup-
saw one. Archeologists have unearthed what can only be
porters cheered for those who carried the scutum. Tradi-
described as fan articles all over the Empire. Perfume
tional pairings often pitted these types against each other,
flasks shaped like helmets; toy figures; lamps; water flasks;
and the rumor that an editor favored one over the other
and tableware decorated with scenes of gladiatorial fights
could lead to angry outbursts.
and arena hunts have al been found. On one oil lamp, the
The success of gladiators with women was a stock theme
wick extended from the gladiator’s oversized erect penis,
of Roman satire and humor. A great deal of exaggeration
neatly combining usefulness and smutty humor. As far as
was likely involved, but no doubt, arena groupies did exist.
anyone knows, there were no restrictions on names or
Sometimes a wealthy and respectable woman actually
designs. Anybody could make and sell these items.
eloped with a fighter. Popular culture certainly held up glad-
Gladiators, much like many modern athletes, also
iators as symbols of virility and sexual prowess. The fact that
attracted a dedicated fan base that studied their sport in
a woman’s skeleton was found in the gladiator barracks at
detail and enjoyed talking about it at length. The dividing
Pompeii has only fuelled this particular stereotype.
GLADIATORIAL GAMES 9Trainable ones often were deliberately made aggressive while fight for their lives. These unfortunates could, by dint of skill
less biddable ones were simply starved, hurt, and goaded into and luck, sometimes win a reprieve and become gladiators.
fighting. Often, they were tied together or penned into narrow Most of them, though, did not survive their first fight. The rest
confines to force them to fight. Much of this was not very dif- of the delinquents were simply offered up to the animals to be
ferent, except in scale, from medieval bear baiting or modern killed. The lanista who received the prisoners would decide
dog fighting. For the animal handlers involved, these fights who was merely killed and who fought as venatores.
were incredibly dangerous as their job was to control and goad Arena executions were cruel and creative, with the aim of
the terrified, enraged, and often injured beasts into providing providing entertainment as much as deterrence. Far from the
the best possible entertainment. Venatores armed with bows or somber spectacle of the gallows or guillotine, they often relied
spears were kept ready in case anything went wrong. on technological gadgets or decorative surroundings to create
Not all beasts – especially expensive, exotic ones – were killed a sense of novelty. Prisoners were dressed as Orpheus to be
as part of the show. Roman audiences especially hated to see ele- torn to pieces by wild animals, dropped from cranes as Icarus,
phants harmed (trained ones were a staple of arena shows). or raped to death by bulls as Pasiphae. Less imaginative set-
tings included tying victims to stakes – sometimes on
small carts ready to wheel into the arena – and having
predators take bites out of their bodies. The handlers also
Female Gladiators had to cage the animals again after the last victim was fin-
ished – the training was too valuable to waste.
Female gladiators – gladiatrices – are one option for female
characters in a historical Roman gladiatorial campaign. Glad-
iatrices certainly existed – Roman authors who mention them
usually profess themselves shocked and appalled at this
T HE M ATCHES
offense against morality and tend to associate them with At the heart of every arena show were the bouts
decadence and bad emperors. Juvenal even mentions – with between gladiators. These fights with actual weapons
disgust – wealthy women who practiced gladiatorial fighting could end with participants being injured or killed
as a hobby in the first century A.D. (though they probably did (though that was far from always the case). Except in very
not perform in the arena). large and extravagant shows (the kind that emperors
What no one knows is whether gladiatrices were accorded could occasionally lay on), these matches were between
the same status as men. Some historians believe that they individuals or small groups that followed specific rules;
were only part of the morning show, a curiosity like fighting they were not the free-for-all melees shown in some
dwarves or counting elephants. The only surviving image of movies. There were fixed pairings of gladiator types (mur-
gladiatrices (a relief from Ephesus) shows two of them – their millo fought thraex and hoplomachus, secutor fought
stage names are Achillia and Amazon – in the pose of regular retiarius, provocator fought provocator) and traditional
fighters. That makes it believable that women fought as regu- setups for group combat.
lar contestants in the arena, although they were only paired Fights were scheduled in increasing order of
with other women. The practice was hardly common, if an importance. The later in the afternoon (and the closer to
inscription from Ostia – in which an editor boasts that he had the great dramatic finish of the day) a fight was sched-
women fight for the first time since the founding of the town uled, the more prestige it brought. The more dangerous
– can be believed. and experienced the opponent, the greater the rewards
of victory. The larger the city and the grander the occa-
sion, the more important the victory and the more dam-
aging the defeat.
In addition to animal-animal fighting, so-called hunts The summa rudis and his assistant, the secunda rudis, ref-
were arranged in which venatores battled with beasts. These ereed all fights. Dressed in white tunics and equipped with long
fights – more slaughter than contest – symbolized the tri- staves, they were easily recognizable in the arena and could
umph of man over nature, but the risk to the fighters stop bouts if any rules were broken. They stood close to fight-
nonetheless was great. Some of them faced bears, wolves, or ing pairs, ready to intervene much like the referee in a modern
lions with nothing more than a sword or spear. Usually the boxing match. Before the beginning of each fight, the referees
chances were more unequal, and the show focused on the ele- checked weapons and armor. The area within which the fight-
gance and skill with which the gladiators dispatched wild ers were allowed to move was then designated (they could not
creatures. In extreme cases, animals were simply run into the roam around the arena at will) and the opponents announced.
arena and killed by archers from the safety of the audience – Refereeing was apparently not considered demeaning to the
a sport that Emperor Commodus (p. 7) is said to have honor of good citizens the way actual fighting was, and some
enjoyed greatly. However, when the fighters were down in the very respectable people worked as referees.
arena, measures were taken to protect the men.
Naturally, the danger of working with animals specifically
taught to maim, rape, and kill humans was considerable. Even
Individual Fights
so, the life of a venator was nowhere near as dangerous as that On a signal from the summa rudis, the fight began. This fol-
of a main-event gladiator, probably more akin to that of a mod- lowed certain rules. Strikes to the groin were not allowed (exca-
ern torero. vated gladiator remains show no wounds there). Immediately
Additionally, animals were used in executions. Some con- lethal strikes were permitted, but they were discouraged. They
victs were offered a slim chance by being armed and trained to cut short the fight without giving the audience a chance to judge.
GLADIATORIAL GAMES 10Longer bouts were interrupted by breaks during which ers were killed. However, being too free with pardons opened the
wounds were bandaged and drinks were provided to refresh the editor to the suspicion of parsimony. The death of a gladiator
fighters. If a bout went on too long, though, the gladiators could was expensive, but the audience expected it. Especially during
have their shields taken away by the referees to produce a quick the Late Republic, killing a large number of fighters was seen by
result. The crowds did not like overly defensive fighting, and the some as a sign of generosity. Even in the much less competitive
organizers aimed to give the people what they wanted. political atmosphere of the Empire, some fights were expressly
If a gladiator was too badly injured or too exhausted to con- sine missione, without the option of mercy. Emperor Augustus
tinue fighting, he surrendered to his opponent by throwing away forbade the practice, but that didn’t make a lasting impression.
his weapon and raising his hands or kneeling down. The win-
ner now had to wait while the editor decided the fate of the
loser. See Asking for Mercy (pp. 22-23). Killing a surrendering
opponent outright was a severe breach of the rules (difficult
to avoid for characters with Bloodlust), as was resuming the Defending the Bridge
fight after surrendering. Traditionally, a thrust to the neck or In addition to regular bouts, organizers tried to offer the
chest ended the life of the loser mercifully quickly. audience creative twists on the theme. The most popular
If the audience spared him, the loser was allowed to and best documented of these was the pons (bridge). A
leave the arena to cheers and applause. The winner then retiarius was placed on a man-high platform (the pons)
received his due from the editor’s servants: a palm frond as with two ramps leading up to it. Two secutores attacked
a sign of victory and a sum of money as his prize (much of him from below, trying to force their way onto the platform.
which would eventually go to his lanista). If he fought par- The defender was given a supply of stones to throw at the
ticularly well, he also accepted a corona (laurel wreath, also attackers along with his regular weapons (the secutores
called a victory crown) in recognition of skill and bravery. were not allowed to throw them back). Some gladiators
After a lap of victory through the arena, bathing in the roar- seem to have specifically trained for this scenario, and it is
ing applause, he left the ring to the next fighters. expressly mentioned in some inscriptions.
If both parties had fought well, the editor could end the Some evidence exists of other variations. Gladiators
fight during a break by declaring a draw – the Latin phrase could defend gates or hurdles or fight blindfolded, shield-
for this was stans missus (dismissed while standing). It less, or otherwise impeded. Inventive lanistae needed to
was a great boost to the reputation of both gladiators. See remember, though, that the public expected primarily to see
Stans Missus (p. 23). single combat matches.
The fate of a defeated gladiator rested in the hands of the
editor who had paid for the games (and would have to fully
reimburse the lanista for all gladiators who were killed). The
audience would not be denied its say, though, and a sponsor Mass Fights
would be a foolhardy to neglect their opinion. Traditionally, they If a sponsor wanted to give the public something truly spec-
signaled their preference by gestures, though it is unclear what tacular (and he had the money for it), a mass fight could be laid
they were. The “thumbs up, thumbs down” beloved of on. These melees dispensed with many of the usual rules, pitting
Hollywood is unlikely, given that the sign had to be unambigu- one group of fighters against another without referees or bound-
ous across a large arena. Stabbing the thumb toward the throat aries. They could be crowd-pleasers, though they were hugely
may have signaled death, and lifting the hand high, mercy, but more expensive than regular fights given that they used 10 or 20
all such reconstruction is speculation. However it was expressed, (in extreme cases, hundreds of) gladiators in the time that a sin-
the public expected its decision to be respected, and the editor gle fight would normally take. Established stars were unlikely to
usually would prefer even financial ruin to countering them. take part in such organized slaughter, but beginners had the
A loser who impressed the crowds was pardoned (missus – opportunity to get their first taste of real combat, while con-
literally, “dismissed”). (The crowd’s reaction would depend on victed felons were sometimes sentenced to participate. The
his previous reputation, his showing during the prolusio, how largest such events – held by the emperors in Rome – depended
well he had fought and how popular his opponent was.) He on a supply of prisoners of war that were effectively free.
could leave the arena to fight another day. If he had displeased
the audience, his life was forfeit, and the last test of his courage Naumachiae
would be how he received the killing blow. It fell to the winner
The ultimate in extravagance was a naumachia, a staged sea
to slay him with a stab to his neck or chest. A man who could
battle. The cost and scale of such a show meant that this was
muster the strength to take the blade to his exposed neck with-
out of reach of anyone but the likes of Caesar and Pompey or
out flinching could draw cheers. His body was carried out of
– after Augustus – the emperors. Even they could not afford
the arena and buried respectfully – at least if he or his friends
them with anything approaching regularity. The first challenge
and family could afford the funeral.
was usually an engineering one – getting a body of water to
Exactly how many fights ended in death is unknown, but it
where the audience was. Augustus had an artificial lake dug
seems to have been less common that many writers and
near Rome and facilities built for the audience to hold his
moviemakers think. Gladiators recorded their careers in the
games. Later, the Flavian Amphitheater could be flooded for
numbers of victories and pardons they received (much like mod-
the purpose. Ships had to be built (full-size warships were too
ern win-loss records for professional fighters). A man could eas-
big for these venues), and hundreds, sometimes thousands, of
ily rack up as many of the latter as the former! Especially in the
fighters kitted out. They usually represented historic sea bat-
early Empire, professional gladiators could hope for reprieve
tles. The sources mention 10 such events in over 200 years, so
regularly. Some academics think that as little as one in four los-
seeing a naumachia was a one-in-a-lifetime opportunity.
GLADIATORIAL GAMES 11CHAPTER TWO
STYLES
Gladiator styles were specialized by a specific set of other in as evenly balanced – and exciting – a match as possi-
weapons, armor, and tactics. The origins of this tradition prob- ble. The traditional distinction of classes – probably going
ably lie in the Roman habit of having prisoners of war fight in back far into Republican times – was between defensive,
the arena in their native weapons and armor, as the names of heavily armed scutarii (“large-shielders”) and aggressive,
the most traditional gladiator types – the thraex (Thracian) and more mobile parmularii (“small-shielders”). Fans also
samnes (Samnite) – suggest. It seems, though, that until the roughly divided along those lines (it appears that the scutarii
end of the Republic, a certain amount of leeway was allowed were usually more popular) and cheered for their favorite
in the equipment of many arena fighters. The influence of the style. The Republican-era samnes, the murmillo, the secutor,
great imperial gladiator schools then led to the standardization and very likely the essedarius counted among the scutarii,
of the armaturae that was to hold true, with only small varia- while the thraex, the hoplomachus, and the retiarius (despite
tions, until the end of the munera in the fifth century. having no shield at all) were parmularii. Provocatores, equi-
The point to arming gladiators in different fashions was a tes, and the more exotic types are harder to class and may
sporting one – to pit fighters with different styles against each simply never have fit the scheme.
ARMATURAE
The five most common types of gladiator styles are There is no body of legend surrounding the hoplomachus.
described here, as well as several versions that are more exotic. Therefore, cinematic hoplomachi should be much like realistic
Fighters usually trained in one armatura only, though there are stylists, only more so. Higher skill, ST, and better movement
gravestones of rare individuals who fought professionally in will be their mainstays in combat.
two or three.
Skills: Knife; Shield (Buckler); Spear.
Techniques: Feint (Spear).
Cinematic Skills: Immovable Stance; Power Blow.
HOPLOMACHUS Perks: Style Adaptation (any other gladiator style); Sure-
4 points Footed (Sand).
The name of the hoplomachus refers to the classical Greek
fighting style of Hoplomachia (see GURPS Martial Arts, Optional Traits
p. 161). This armatura likely goes back to Republican tradi- Secondary Characteristics: Improved Basic Speed.
tions and was already well established as an opponent for both Advantages: See Typical Gladiator Advantages (p. 18).
the thraex and murmillo by the early Empire. The hoplo- Disadvantages: See Typical Gladiator Disadvantages (p. 19).
machus, like the thraex, was armored with a crested helmet, Skills: Brawling; Performance; Shield Art; Shortsword;
long greaves on both legs, and a manica on the sword arm. He Spear Art; Wrestling.
carried a thrusting spear as his main weapon and a small, Techniques: Retain Weapon (Shield or Spear).
deeply dished round shield on his left arm. His secondary Perks: Naval Training; Off-Hand Weapon Training (Spear).
weapon was a dagger or very short sword.
The hoplomachus, like all parmularii, depends on superior
mobility in his confrontation with scutarii. Stylists keep their MURMILLO
small shield held chest high, ready for active blocks, and use 3 points
their spears to exploit openings in their opponent’s defenses. The murmillo was one of the most common armaturae,
This is best represented by Defensive Attacks with the spear, usually paired off against a thraex. His weapon was the short
coupled with Deceptive Attack. Hoplomachus will use long, sword, and he wore a short metal greave on his left leg, a man-
overhand stabs (Committed Attack or All-Out Attack (Long)), ica on his right arm, and a crested, broad-brimmed helmet
or try to lure his opponent into exposing himself in an unwise with a fully enclosed faceplate. His shield was the large scu-
attack or shield strike (a Feint). The dagger is mainly intended tum. The murmillo, as a scutarius, was the more powerful and
for the deathblow, but it could also be used to defend the less agile part of his traditional pairings.
hoplomachus if he loses his main weapon.
STYLES 12You can also read
