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<p>1</p><p>INDEX</p><p>A WORLD TO LIVE ............................................... 5</p><p>MAGIC ............................................................................ 8</p><p>REGIONS AND ENVIRONMENTS ........................ 11</p><p>CONTINENTS ........................................................................................ 11</p><p>SEA AND OCEANS ..................................................................... 14</p><p>HABITATS .............................................................................................. 14</p><p>SURREAL ENVIRONMENTS ............................................................... 21</p><p>REGIONS ................................................................................................... 24</p><p>ROADS AND ROUTES ............................................. 28</p><p>MOUNTS .................................................................................................. 33</p><p>MEANS OF TRANSPORT .............................................................. 33</p><p>TRAVEL TIME DIVISION INTO PLAY ........................................... 34</p><p>CITIES ............................................................................. 38</p><p>NPCS ............................................................................. 50</p><p>CREATE A CHARACTER .......................................................... 52</p><p>ELEMENTS ................................................................... 56</p><p>TIMELINE .......................................................................................... 56</p><p>DEITY .......................................................................................................... 57</p><p>DIARY OF A WORLD AT ITS END ................. 60</p><p>About a World: a Worldbuilding Narrative Handbook</p><p>Funded on Kickstarter thanks to the help of 421 backers</p><p>© 2023 Ezd & Howl from Red Roots Studio, Kyacchan.</p><p>All rights reserved.</p><p>All the charts and cards present</p><p>in the book can be found here:</p><p>5</p><p>Building a story is a magnificent experience and, if you are</p><p>holding this little book in your hands, you are as convin-</p><p>ced of it as we are. Creating a world full of diversity is the</p><p>perfect way to get your story to be the best it can be. Out-</p><p>lining the facets of a territory, its connections, and filling it</p><p>with people, creatures, places and life gives a unique sati-</p><p>sfaction of its own kind, which allows you to deepen and</p><p>stratify any narrative experience, from the simplest story</p><p>to epics made to be faced by friends and various players.</p><p>A vibrant sea of events, cultures and foods truly experien-</p><p>ced by their characters will also be more satisfying to visit</p><p>(by us ourselves, as well) and will give you a canvas of infi-</p><p>nite possible colours with which to paint, over time, stories</p><p>and legends, real experiences, causes and effects, or just a</p><p>continuous series of expedients to be used in one’s adven-</p><p>tures.</p><p>In this book, we wanted to pour all our love towards this</p><p>amazing opportunity, and try to give you an additional</p><p>tool to organise and keep your own, very personal world</p><p>in order.</p><p>A world belongs to its creator just as</p><p>the latter belongs to the former.</p><p>I mean, through the</p><p>perceptions of a player placed in the situation they created.</p><p>Carried by the flow of imagination, he will also be a use-</p><p>ful resource in giving occasional advice, opinions and in-</p><p>put during creation (and maybe he will even meet some of</p><p>your characters, who knows!).</p><p>6</p><p>It can be difficult to set a starting point; yet, any will do.</p><p>For this and other choices, Keh, a tiny supernatural entity,</p><p>lover of worlds and eternal traveller, can help us:</p><p>Keh is, in the key of the book, a small creature capable of</p><p>using an almost absolute power to shift through the pa-</p><p>ges and realities, since it is connected to the imagination of</p><p>those who create the world.</p><p>The creature with the yellow hat moves in, out and throu-</p><p>ghout any possible scenario, acting as the eyes and sensory</p><p>avatar for the worldbuilder, touching the world around</p><p>him with his prehensile scarf and, at the same time, giving</p><p>an idea of how a place could render through the senses of</p><p>a player, although fictitio-</p><p>WHERE TO START</p><p>HEY!</p><p>7</p><p>Choosing where to start to set up your world, even if you</p><p>don’t have a rough idea of it yet, is always fun as well as in-</p><p>teresting. Literally any choice is valid, but when in doubt,</p><p>just use the little scheme below.</p><p>First step:</p><p>Roll a D6 or choose where to start among:</p><p>rock - water - tree - metal - sand - brick.</p><p>If you have already experienced some</p><p>adventures, write down all the places visited</p><p>by your party first and, when we go to face</p><p>the creation of the territories on the charts,</p><p>you will decide where to place them.</p><p>Now that the first step is decided, there are only two</p><p>things left to do: give it a name, and start taking a look at</p><p>everything else!</p><p>If rock, Keh will be on a mountain peak, under a clear sky.</p><p>If water, he will be on the shores of a vast beach.</p><p>If tree, Keh will be in a forest through which the sun’s rays</p><p>pass.</p><p>If metal, he will be sitting outside a tavern, watching a city</p><p>in full motion.</p><p>If sand, he will be among vast dunes and forgotten</p><p>canyons.</p><p>If brick, he will be at the gates of a small village with low,</p><p>white houses.</p><p>88</p><p>How to explain or decide a wonderful and irrepressible</p><p>force capable of acting directly on reality? Whether it is</p><p>omnipresent in your world or a silent and veiled echo, it is</p><p>good to outline it as one of the very first elements. The con-</p><p>cept of magic rotates and often changes according to the</p><p>media used to experience one’s world, each setting or RPG</p><p>tends to give it its own personal key, adapting its rules and</p><p>operations, and with them limitations or needs to avoid it</p><p>becoming too unbalanced an instrument within the setting.</p><p>How Does It Work?</p><p>Whether it’s divine grace, an ancient art</p><p>capable of manipulating invisible forces,</p><p>or the channelling of certain natural</p><p>elements, you’ll need to determine the</p><p>source from which magic originates.</p><p>The source is vital to delineating magic’s</p><p>boundaries, both for practical use and the</p><p>actual impact on the surrounding world.</p><p>You’ll need to answer several questions</p><p>to get your magic up and running:</p><p>How widespread is it? How well is it</p><p>tolerated? Does the perception of it</p><p>change depending on the place?</p><p>Multiple sources of magic may already</p><p>coexist, but their impact remains</p><p>unchanged. Magic can act directly</p><p>on the world around the players</p><p>and be used by them, too, if necessary.</p><p>9</p><p>Visual Aspects</p><p>Bluntly said, magic is one of the greatest aesthetic resources</p><p>available to a creator. From the introduction of supernatu-</p><p>ral environments, such as floating bridges or giant towers</p><p>filled with glowing glyphs, to the actual use of spells du-</p><p>ring a fight, it turns out to be alive and vibrant almost like</p><p>a character itself, becoming an actual element in the plot.</p><p>Magic can present itself with different descriptive aspects.</p><p>Don’t shy away from colourful recounts, describing a par-</p><p>ticularly successful spell with more detail than usual, or a</p><p>personal element of the one casting it. Lights, floating sym-</p><p>bols, sparks or words that can take shape – moulding their</p><p>appearance is as important as the spell itself!</p><p>A realistic world can also offer different interpretations of</p><p>magic and its use. What is seen as normal in the north can</p><p>be seen as heretic in the southern green lands.</p><p>Magic can also spring from the source of the</p><p>planet, or overflow from alternative planes of</p><p>existence. Don’t put a lid on your imagination!</p><p>1010</p><p>Magic Tips</p><p>- When you create a spell or an enchanted item, ALWAYS</p><p>ask yourself its worst possible use, not necessarily to use it</p><p>as a limit. In fact, some enchanted items can have hilarious</p><p>or very unique implications if left to a player’s imagina-</p><p>tion. But still, that’s something the master wants to know</p><p>before anyone can use two twin vacuum bags to generate a</p><p>particle accelerator and try to defeat a god with</p><p>it.</p><p>- While magic can have fascinating implications,</p><p>antimagic can do even better, throwing dismay and terror</p><p>even among the most seasoned. It simply occurs in an area</p><p>or situation where magical influence is partially or comple-</p><p>tely denied. It can be a very powerful spice when added to</p><p>the right situations, be it a fight or a puzzle in a trap-ridden</p><p>dungeon.</p><p>- Create and carefully choose the magical powers of any</p><p>enemies, especially if they play a decisive role in the plot.</p><p>The fact that the opponents have the same choices as the</p><p>players, except in cases of enormous power difference,</p><p>adds a sense of realism that will make the actions even</p><p>more impactful. Always ask yourself, beyond the scenic</p><p>scope of an action, how this can really be achieved!</p><p>- What influence can magic have on everyday life? From a</p><p>general point of view, even the current human technology</p><p>can be seen as a form of magic, sharing our knowledge</p><p>through small fragments of mirror composed of magical</p><p>lenses, able to show the most distant worlds thanks to a</p><p>technique refined over the millennia. Always consider its</p><p>direct impact on the surrounding world!</p><p>Magic doesn’t have to be pyrotechnic or dramatic.</p><p>It can also present itself in a more subtle way, such</p><p>as a rhythm that goes from stone to tree to creature,</p><p>giving strength in the darkest moments!</p><p>11</p><p>Continents</p><p>Continents are the basis of all life as we know it. These</p><p>immense, rocky territories, whether they’re fragmented</p><p>and semi-submerged with only a handful of archipelagos</p><p>out of the sea or boundless and unique macro continents</p><p>such as Pangea itself once was, provide the primal basis on</p><p>which to start determining the shape of our world. It does</p><p>not necessarily have to be the first step, but it’s pivotal no-</p><p>netheless, especially when we begin outlining the areas of</p><p>greatest interest such as kingdoms, cities and regions.</p><p>In the next two pages, you will find the real map of your</p><p>world, always ready to consult for any eventuality!</p><p>Here’s an explanation of the scheme:</p><p>1 - The name may be secondary initially, but a nice world</p><p>needs it.</p><p>2 - The core of it: your map. By joining points to form sha-</p><p>pes, you’ll put together the continents and formations of</p><p>the world, together with its oceans and most important</p><p>places!</p><p>3 - Through the key, you can easily keep track of the sym-</p><p>bols you are going to apply on your world, drawing them</p><p>or cutting them out and glueing them on the map from the</p><p>“World Key” card that you can find here:</p><p>3</p><p>1</p><p>2</p><p>14</p><p>Seas and Oceans</p><p>Except for extremely arid</p><p>worlds or surreal ones, life</p><p>requires a fundamental in-</p><p>gredient: water, lots of wa-</p><p>ter. Vast expanses of liquid,</p><p>sometimes deep enough</p><p>to become abysses where</p><p>even the light cannot reach,</p><p>able to unite every coast of</p><p>your world; what will you</p><p>name them? What details,</p><p>such as ship and island</p><p>routes, legends or huge sea</p><p>monsters, are you going to</p><p>place among those waves?</p><p>Habitats</p><p>Natural environments are</p><p>among the most complex</p><p>and richest aspects to be</p><p>developed. While it’s true</p><p>that a good story can be</p><p>such even with a simple,</p><p>standardised background,</p><p>creating a solid, natural sce-</p><p>nography where the cha-</p><p>racters can roam around</p><p>gives that extra edge to the</p><p>whole. Habitats can provi-</p><p>de depth, or simply make</p><p>a setting more realistic and</p><p>help those who live this ad-</p><p>venture to immerse them-</p><p>selves deeper in the situa-</p><p>tion. Like all aspects of</p><p>worldbuilding, an environ-</p><p>ment must meet two main</p><p>requirements: consistency</p><p>and layering.</p><p>15</p><p>Consistency</p><p>It is useful to keep the</p><p>suspension of disbelief con-</p><p>sistent, and not add discor-</p><p>dant notes that can make re-</p><p>aders/players turn up their</p><p>noses and interrupt their</p><p>experience in the adventure</p><p>you are weaving for them.</p><p>Studying the types of natu-</p><p>ral environments will help</p><p>you create a well-structured</p><p>scenography. If you’re crea-</p><p>ting a fantasy setting, don’t</p><p>fret: the real, actual world is</p><p>richer in absurd places than</p><p>you might think!</p><p>However, inconsistencies</p><p>are not forbidden; quite</p><p>the opposite! They can give</p><p>that extra bit of interest and</p><p>charm. For example, adven-</p><p>turers might come across a</p><p>swamp in the middle of the</p><p>desert. How is it possible?</p><p>How was it formed?</p><p>Perhaps it’s what remains</p><p>of an ancient, failed spell,</p><p>which aimed to repopula-</p><p>te the desert. It wouldn’t</p><p>hurt to investigate… But</p><p>we’ll talk more about the</p><p>surreal environments later.</p><p>Stratification</p><p>You can easily place the</p><p>characters in a forest and</p><p>that’s it.</p><p>But an ecosystem is made</p><p>up of several elements that</p><p>interact with each other,</p><p>and that’s what makes it</p><p>interesting. Don’t be afraid</p><p>to dive into details; is the</p><p>forest a labyrinth of tall</p><p>coniferous trunks, dotted</p><p>with moss-stained boul-</p><p>ders, or is it an intriguing</p><p>tangle of bushes, rotting</p><p>logs and broad-leaved tre-</p><p>es? Is it inhabited by do-</p><p>cile creatures with bright</p><p>colours, or is the predator</p><p>lurking on the shy and elu-</p><p>sive prey? Are there placid</p><p>and silent lakes, or noisy</p><p>streams?</p><p>In the next pages, there are</p><p>a series of questions you</p><p>can ask place yourself</p><p>when you are creating your</p><p>setting.</p><p>16</p><p>- What is the climate of the</p><p>place? It’s very important</p><p>to determine what elemen-</p><p>ts and weather adversities</p><p>the characters will face. At</p><p>what height is the habitat</p><p>in question? Does it rain</p><p>often? Do adventurers risk</p><p>serious illness if they are</p><p>not properly equipped?</p><p>- What are the natural dan-</p><p>gers that the characters</p><p>can run into? Are the high,</p><p>rocky walls of the moun-</p><p>tain prone to collapse at the</p><p>slightest stimulus or vibra-</p><p>tion? Does the red mist pre-</p><p>vent you from breathing,</p><p>making the paths of Mor</p><p>deadly? Is the desert dotted</p><p>with quicksand?</p><p>- What plants and creatures</p><p>inhabit the area? How are</p><p>they affected by their sur-</p><p>roundings? How do they</p><p>interact with each other?</p><p>Do they pose a risk to the</p><p>characters?</p><p>- Who is the apex preda-</p><p>tor? Again, a good piece</p><p>of advice is to study real</p><p>habitats and how the food</p><p>chain works within them</p><p>but (especially if you are</p><p>writing a fictional work)</p><p>don’t be afraid to indul-</p><p>ge yourself; the apex pre-</p><p>dator in question could</p><p>be a plant. Immobile, but</p><p>whose insidious and vo-</p><p>racious roots travel fast</p><p>underground for miles.</p><p>Be careful not to overdo</p><p>it, however, if you want to</p><p>keep the suspension of di-</p><p>sbelief intact. A predator</p><p>that is too big, too strong,</p><p>too voracious, too numerous,</p><p>would lead to the collapse</p><p>of the local fauna… or you</p><p>might be aiming for that,</p><p>letting your players enter</p><p>an area where the natural</p><p>balance has been broken.</p><p>17</p><p>- What resources can the</p><p>characters encounter?</p><p>What will they need to travel</p><p>the region? Will fresh and</p><p>drinkable water be abun-</p><p>dant thanks to the nume-</p><p>rous and clear streams? Will</p><p>they risk collapsing under</p><p>the scorching sun? Or will</p><p>cold and hunger put them</p><p>to the test? In any case, the</p><p>equipment must always be</p><p>taken into account and, with</p><p>it, rations of food and water.</p><p>- Tourism is important: what</p><p>is that region or area known</p><p>for? For the active, yet har-</p><p>mless volcano, or for the</p><p>expanse of vineyards from</p><p>which a very sweet wine</p><p>ferments? For the skull-sha-</p><p>ped mountain, or for the</p><p>bottomless pond? Or may-</p><p>be because in the northern</p><p>seas of Quan, delicious giant</p><p>blue prawns proliferate,</p><p>with which they make out-</p><p>of-this-world skewers. This</p><p>is, of course, not an essential</p><p>question, but it can add an</p><p>extra touch to your story.</p><p>18</p><p>Savannah</p><p>In the savannah, tempe-</p><p>ratures are high all year</p><p>round and there are two</p><p>seasons: the rainy one du-</p><p>ring the summer months,</p><p>and the dry one during the</p><p>rest of the year. Characteri-</p><p>sed by grassy expanses, the</p><p>few trees grow far apart,</p><p>and during the rainy sea-</p><p>son their leaves and herba-</p><p>ceous plants explode into</p><p>rapid growth.</p><p>To help you get an idea of the types of environments to</p><p>take advantage of in your story, here is an essential and</p><p>simplified list of the biomes present on our planet:</p><p>Tropical rainforest</p><p>So named</p><p>after the fre-</p><p>quent rainfall, which often</p><p>turns into heavy monso-</p><p>ons. Temperatures in the</p><p>tropical rainforest are very</p><p>high. The greatest variety</p><p>of fauna can be found in</p><p>this environment and the</p><p>vegetation is stratified and</p><p>complex. At ground level,</p><p>due to the dense and high</p><p>vegetation, there is little</p><p>light, and plants such as</p><p>ferns prevail.</p><p>The rainforest is a burst of life and noise,</p><p>whether from creatures or from violent rains.</p><p>What would happen if these noises suddenly</p><p>stopped? What or who could have stopped them?</p><p>19</p><p>Desert</p><p>There are numerous types</p><p>of desert: sandy, with mas-</p><p>sive dunes; rock deserts,</p><p>salt deserts, scorching hot</p><p>or freezing cold ones. What</p><p>characterises them are the</p><p>strong thermal excursions</p><p>and extreme aridity.</p><p>The creatures that inhabit</p><p>these deserts, plants and</p><p>animals, are well adapted</p><p>to the hostile environment</p><p>and make the most of the</p><p>limited resources.</p><p>Temperate forest</p><p>The “classic forest”. The</p><p>climate is temperate and</p><p>there are four seasons,</p><p>with moderate rainfall</p><p>and the absence of a dry</p><p>season. Usually, they are</p><p>stratified in three levels:</p><p>the undergrowth, the</p><p>shrub level and the tree</p><p>level. Even if there are</p><p>mixed woods, there is</p><p>often a prevalent species</p><p>of tree, which dominates</p><p>the others (beech woods,</p><p>oak woods, etc.).</p><p>They say that in that de-</p><p>sert north of Kayeh there</p><p>is only frost and death, but</p><p>those few who managed</p><p>to return feverishly tell of</p><p>hundreds of suspended</p><p>doors, each capable of</p><p>leading to a different and</p><p>very distant place.</p><p>20</p><p>Steppe</p><p>This type of setting is</p><p>found in continental areas,</p><p>far from the ocean, and is</p><p>composed of vast lawns of</p><p>herbaceous plants, shrubs</p><p>and a few trees along the</p><p>waterways. Winters are</p><p>very cold and summers</p><p>are hot and rainy.</p><p>Resources are scarce.</p><p>Taiga or boreal forest</p><p>The taiga is formed by vast</p><p>coniferous forests with</p><p>sparse undergrowth. Al-</p><p>though rainfall is scarce,</p><p>the soil is highly humid,</p><p>thus hosting swamps,</p><p>ponds and peat bogs in the</p><p>clearings. The dry, cold and</p><p>harsh climate gives little</p><p>space to a short, cold, yet</p><p>sunny summer.</p><p>Tundra</p><p>The tundra is an expanse of pe-</p><p>rennial ice, where trees are absent</p><p>and the vegetation is represen-</p><p>ted by herbaceous plants, mosses</p><p>and lichens that grow during the</p><p>partial summer thaw. The annual</p><p>temperature is below zero, with</p><p>freezing winters and short, cold</p><p>summers with little rainfall.</p><p>21</p><p>Surreal Environments</p><p>So far we have explored known environments, mirrors of</p><p>a life very similar to our planet. But what happens when</p><p>the unknown, magic, or some external force changes these</p><p>landscapes? Floating mountains, lakes of fiery lava over-</p><p>flowing with creatures capable of adapting to them (such</p><p>as the renowned cast iron fish of the Loustrar), or climbing</p><p>ecosystems in immense chasms that, feeding on the solar</p><p>energy coming from their rocky walls, ended up forming</p><p>the endless vertical forest known as The Long Well.</p><p>Changing a place only requires our imagination and a few</p><p>mental tricks. Here are a couple:</p><p>- Always ask yourself “how” a given surreal environment</p><p>can exist! For example, if you find plants where there is no</p><p>sun, ask yourself what they feed on. Or again, in the case</p><p>of a floating mountain: perhaps a seal was placed under</p><p>it centuries before, or its own stones have an intrinsic an-</p><p>ti-gravity power.</p><p>- How common is surrealism? Perhaps in your world the</p><p>exception is the norm, and people have adapted to it, like</p><p>the pirates of Sangral sailing through the water swirls that</p><p>cross the whole planet. Or maybe the unique wonder of an</p><p>inaccessible place has contributed to making it legendary,</p><p>even mystical, and a destination for difficult pilgrimages!</p><p>Adapt the challenge to the environment. Climbing a magi-</p><p>cal mountain could be child’s play due to the dimensional</p><p>shortcuts between its ravines, but maybe the real risk is</p><p>going back down.</p><p>22</p><p>The charts’ task is to guide you in taking note of the world</p><p>(or worlds) that you create, allowing you to form a set of</p><p>precise and always available data.</p><p>In particular, in the pages containing them, it will be pos-</p><p>sible to easily connect the points together and enrich the</p><p>maps with various symbols, in order to also have a tidy</p><p>graphic representation for your creations.</p><p>On the opposite page, you will find the chart for creating</p><p>natural zones within your world.</p><p>1 - The name of your habitat, perhaps based on an aesthetic</p><p>characteristic, on a legend or event.</p><p>2 - Its type, like the ones provided by the manual: savan-</p><p>nah, steppes, surreal, etc.</p><p>3 - The most common weather of the environment.</p><p>4 - The bar refers to its climatic conditions, from an extre-</p><p>me frost to a scorching sun (or a perpetually-on-fire habi-</p><p>tat).</p><p>5 - Minimum and maximum temperatures: how much can</p><p>they change in this area?</p><p>6 - On the left, a summary, even only from an aesthetic</p><p>point of view, of the species of plants and flowers that</p><p>make up the habitat. On the right, you can describe the</p><p>creatures of the area instead.</p><p>7 - A more personal, brief description of the area and, for</p><p>example, of some of its details or dangers.</p><p>1</p><p>3</p><p>7</p><p>6</p><p>5</p><p>2</p><p>4</p><p>24</p><p>Help yourself by trying to define your world (or what</p><p>you would like it to be) in two or three sentences.</p><p>“Yamdu, a world full of magic and ancient rites, broken by a</p><p>calamity of which the memory has been lost.”</p><p>“Lishamsara, a world divided and torn apart by wars</p><p>and conflicts, where nature is being devoured more</p><p>and more every day.”</p><p>“Gash, the golden world, dominated by powerful</p><p>empires and a wild magic that has changed its balance</p><p>many times already.”</p><p>Having an idea of the world you want to create will help</p><p>you to better establish your goals!</p><p>TIPS AND SHORTCUT: CONCISE DEFINITION!</p><p>Regions</p><p>The region is a giant set of places, habitats and cities.</p><p>It’s a territory that can extend from a few hundred km</p><p>or become half of a continent, holding an equally large</p><p>amount of environments in it.</p><p>25</p><p>It’s also an extremely important “glue” during the creation</p><p>of a world, as it helps a lot in its particularization and is</p><p>able to spontaneously form as you define more and more</p><p>areas, paths and lore!</p><p>The scheme of the region is thought to best outline the</p><p>enormous set of habitats and places that make it up.</p><p>1: The name of your region; it’s often chosen by those</p><p>who live there, or perhaps attributed by an enemy.</p><p>2: The types of habitats (and/or their names) that it</p><p>contains.</p><p>3: The climates that the region hosts in its territories,</p><p>often influenced by habitats.</p><p>4: The cities within it, their type and their borders.</p><p>5: The myths that go around this enormous place,</p><p>the mysteries present in it or hints of its history.</p><p>6: The map of the region and everything inside it.</p><p>You can customise it by arranging the symbols of the key</p><p>on it, drawing them or taking them from the “Region Key”</p><p>card that you can find here:</p><p>7: This area allows you to keep track of the meaning of all</p><p>the symbols placed on your map.</p><p>2</p><p>1</p><p>4</p><p>5</p><p>3</p><p>7</p><p>6</p><p>28</p><p>Of rock and stones, beaten by ancestors and merchants or</p><p>discovered by the player, able to connect places from any</p><p>distance, and often the scene of the most central part of a</p><p>journey: here are paths and roads, and their paramount</p><p>importance in your world!</p><p>In the vast majority of medium-length sessions, the im-</p><p>portance of an actual path is very often overlooked and</p><p>dismissed as a waste of time, sometimes disrupted with</p><p>occasional clashes. But these are actually very useful and</p><p>central tools in the gaming experience.</p><p>Also, a common mistake made is planning a single path,</p><p>from point A to point B that players are supposed to follow</p><p>step by step. Spoiler: they won’t.</p><p>Your world is three dimensional, and as such, it has a vast</p><p>choice of roads, turns, avenues, unsafe paths, and is full of</p><p>opportunities. It’s always good to be well prepared for all</p><p>eventualities, and above all, one thing is crucial: the player</p><p>must be free to make their</p><p>own choice.</p><p>29</p><p>The best way to prepare for</p><p>this part of the journey is to</p><p>have your compiled scheme</p><p>on hand, so you can track</p><p>the road the characters are</p><p>following. Mark the possi-</p><p>ble paths, consider possible</p><p>derailments from it due to</p><p>the attack of a monster or</p><p>a player’s madness and do</p><p>not get lost (and don’t lose</p><p>the thread of the narrative!).</p><p>Let’s take three different</p><p>travel examples:</p><p>A short trip</p><p>Brick or dirt, from a nearby</p><p>town or through the wo-</p><p>ods, a few days or hours to</p><p>actually enter the walls or</p><p>get to the nearest tavern, to</p><p>rest your bones or do a little</p><p>exploration - you can easily</p><p>be tempted by the shor-</p><p>tcuts, focusing on the desti-</p><p>nations. Try to take advan-</p><p>tage of this time instead:</p><p>let the path crossed be</p><p>actually experienced, with</p><p>brief descriptions of the</p><p>landscape or of an event</p><p>that will make it more</p><p>memorable. We are talking</p><p>about a movement from</p><p>point A to point B, but it’s a</p><p>great opportunity to insert</p><p>small detours, offer more</p><p>controlled exploration choi-</p><p>ces to the players, seemin-</p><p>gly superficial encounters</p><p>or plot nodes (how many</p><p>would expect to stumble</p><p>across a powerful demon</p><p>king on a country road?).</p><p>A child might have lost</p><p>their friend in the nearby</p><p>forest or, at sunset, our</p><p>heroes may spot the</p><p>torches of a distant party</p><p>and decide to take a</p><p>look. Being able to ma-</p><p>nage a path more slowly</p><p>can help enrich it! Here</p><p>is the beauty of moving</p><p>in a living world!</p><p>30</p><p>A journey between two</p><p>distant places</p><p>Here we get to one of the</p><p>most-faced scenarios by a</p><p>party moving across a</p><p>country (or continent):</p><p>a quest. Always keep in</p><p>mind the environment our</p><p>heroes will have to go</p><p>through, and the likeliho-</p><p>od of a consequent chan-</p><p>ge of path. The ability to</p><p>make a choice, recurring</p><p>in all games with a narrati-</p><p>ve component, is an incre-</p><p>dibly fun tool, and taking</p><p>advantage of this type of</p><p>path brings up the best of</p><p>it! So, give your players</p><p>more options after prepa-</p><p>ring multiple courses:</p><p>- Before leaving, show</p><p>them different itineraries,</p><p>with their pros and cons.</p><p>One road might be faster</p><p>but more exposed to thre-</p><p>ats; another might be sa-</p><p>fer, but the longer time to</p><p>walk it could be crucial, or</p><p>even just a waste.</p><p>- Throughout the journey, let</p><p>them observe the places you</p><p>pass through. Make sure that</p><p>detours, efforts and clues</p><p>interact with the daily life</p><p>of the party. The time spent</p><p>together is also an excellent</p><p>glue for group relationships,</p><p>or useful to sharpen the ba-</p><p>lance. Facing a long journey</p><p>together day after day neces-</p><p>sarily forces interaction, if</p><p>the master creates the right</p><p>scenarios!</p><p>Moments of travel can be</p><p>an opportunity for a cha-</p><p>racter to tell a flashback</p><p>or a personal anecdote!</p><p>These paths can present</p><p>themselves in an almost infi-</p><p>nite number of ways, requi-</p><p>ring you to change transpor-</p><p>tation means multiple times</p><p>and search for clues. But once</p><p>the main routes and, above</p><p>31</p><p>all, the environments crossed</p><p>have been defined, it will be</p><p>much more intuitive to crea-</p><p>te new and alternative roads,</p><p>integrating them with one</p><p>another. Help yourself by</p><p>using the Map scheme.</p><p>A long journey into</p><p>the unknown</p><p>One of the most captivating</p><p>experiences in many games</p><p>and stories is the feeling</p><p>of actually discovering so-</p><p>mething for the first time.</p><p>At some point, whether it’s a</p><p>good game or a good script,</p><p>an indissoluble bond is cre-</p><p>ated between characters as</p><p>well as players. A very distant</p><p>land, perhaps only heard of</p><p>in legends, an unknown goal</p><p>beyond one’s means, or the</p><p>sole desire for total freedom.</p><p>This type of path can be mo-</p><p>dulated similarly to the one</p><p>between two simple distant</p><p>places, but it shines with its</p><p>own light if split into pha-</p><p>ses, alternating actual travel</p><p>sessions, moments of arrival,</p><p>and plot development.</p><p>Players will have to pre-</p><p>pare themselves in order</p><p>to face certain roads, find</p><p>the right way and face the</p><p>outside world in all its vo-</p><p>racity.</p><p>In this dynamic you can</p><p>also experience the thrill</p><p>of gradually discovering</p><p>your own path or putting</p><p>together a map of the di-</p><p>scoveries along with the</p><p>players, if you prefer a</p><p>more laid back approach.</p><p>It’s also an excellent</p><p>opportunity for the</p><p>Master to actually</p><p>test the limits of their</p><p>world and go fur-</p><p>ther, describe absurd</p><p>ecosystems, test its</p><p>nature or very distant</p><p>civilisations.</p><p>32</p><p>From here, we can review a key element of the itineraries:</p><p>actually living and perceiving the surrounding world,</p><p>a topic that will often come back as the backbone of the</p><p>experience. As you build your roads, remember that long</p><p>distance travel environments tend to change often.</p><p>Bridges, rivers, stone paths and dark roads in the depths of</p><p>the earth; moving around a world can require you to take</p><p>advantage of all these alternatives, putting a strain on the</p><p>resources and skills of our adventurers.</p><p>Keep in mind that changing landscapes and habitats will</p><p>also change the conditions of everything else!</p><p>Crossing inaccessible places may require you to risk your</p><p>life several times, monsters or weaker opponents can turn</p><p>out to be very dangerous threats in the right environment.</p><p>Remember to always set challenges and bring them on as</p><p>you advance to make the experience more stimulating!</p><p>Crawling creatures will be easier to deal with</p><p>in the open than inside the dark walls of a cave!</p><p>33</p><p>Mounts</p><p>Much of the road, espe-</p><p>cially how it is perceived</p><p>or the challenges it entails,</p><p>depends on how you are</p><p>actually moving. A steed</p><p>will certainly help speed-wi-</p><p>se, but it might be proble-</p><p>matic in difficult territories.</p><p>Some magical beasts may</p><p>move easily but have huge</p><p>problems with elements of</p><p>the environment. Remem-</p><p>ber to give space to the</p><p>mounts. Don’t treat them</p><p>as mere objects; instead try</p><p>to characterise these impor-</p><p>tant companions. You will</p><p>be surprised by how much</p><p>a journey changes based on</p><p>the presence or absence of</p><p>even a single, secondary cre-</p><p>ature. Also, remember that</p><p>it’s not just about the creatu-</p><p>re’s speed, but the overall ca-</p><p>pacity and adaptation skills.</p><p>A giant sea turtle might be</p><p>able to carry small groups</p><p>but at a very slow pace, or a</p><p>bunch of huge, susceptible</p><p>red-cloaked monkeys might</p><p>be the only allies able to</p><p>reach an elevated city.</p><p>Means of transport</p><p>Your characters may de-</p><p>cide that their feet (or</p><p>paws) are too swollen and</p><p>won’t hear a thing about</p><p>a 15-day-long journey,</p><p>and that’s when they can</p><p>contemplate public tran-</p><p>sport. Consider carefully</p><p>the travel times and costs</p><p>of each (unless you decide</p><p>to jump on a freight car il-</p><p>legally…). A fun little part</p><p>of creating stories is also</p><p>imagining new means of</p><p>transportation! You can</p><p>use the classic telepor-</p><p>tation, be it a fantasy or</p><p>sci-fi story, or efficient air-</p><p>ships enhanced with ma-</p><p>gic crystals, or the simple</p><p>cart of a passing woodcut-</p><p>ter ready to be used as a</p><p>collective skateboard for a</p><p>descent.</p><p>34</p><p>A smart way to understand the distance of places is</p><p>to consider that a healthy horse can reach 50 km per day,</p><p>and travel between 200 and 350 km per week on average.</p><p>Help yourself with a map or any mapping system to get</p><p>a real idea of what 50km as the crow flies looks like, and</p><p>consider that an average loaded steed can get there in</p><p>about a day. When you think of creatures with different</p><p>or higher abilities, imagine them in motion. Picture how</p><p>quickly they can walk the roads, how they move and how</p><p>far they can go!</p><p>Travel time division into play</p><p>It’s very important to decide, even if only indicatively, the</p><p>length of a path based on the time needed to travel it.</p><p>It might seem obvious, but you can easily lose the rende-</p><p>ring of distances by moving narratively through a world.</p><p>Thinking about the distance in time, we will also know</p><p>what kind of route to prepare or how complex to make it!</p><p>35</p><p>The roads and paths remain a great, unique tool to give</p><p>life to the most extreme corners of our world and, if used</p><p>properly, they will fill the minds of every single player and</p><p>reader with</p><p>vibrant memories.</p><p>TIPS AND SHORTCUT: REFERENCES!</p><p>Take full advantage of the real, surrounding world,</p><p>especially of the art around you. Integrate as many</p><p>inspiring references and images as you can.</p><p>If it falls within your possibilities, commission an artist</p><p>or try your own hand at it; never worry about using</p><p>visual references in your private sessions. We’re talking</p><p>about an amazing kind of game and an adventure</p><p>to live together! Seeing related art will help</p><p>both you and your players!</p><p>Some reference images can also be perfect for</p><p>introducing certain moods during a session, to help</p><p>players move from a moment immediately after a</p><p>battle to one that is more about the storyline, or to put</p><p>more emphasis on the presentation of a certain scene.</p><p>36</p><p>The routes’ chart is designed to give you more choices of</p><p>paths to analyse and compare them with each other.</p><p>You can also use this to propose it to your players, so that</p><p>they can decide their path in complete autonomy.</p><p>1: The region in which your roads are.</p><p>2: What type of route is it? Is it a short trip or a long jour-</p><p>ney between two distant places?</p><p>3: A map key that explains the different symbols that can</p><p>be applied. You can draw them or cut them out from the</p><p>“Route Key” card that you can find here:</p><p>4: The unit of measurement of the distance between a dot</p><p>and another (in km, feet or miles) which determines its</p><p>length.</p><p>5: The graphic representation of the route (or routes). It</p><p>allows you to have in front of you all the alternatives of</p><p>each road so you can consult, compare and/or show them</p><p>in a simple and intuitive way.</p><p>1</p><p>3</p><p>2</p><p>4</p><p>5</p><p>38</p><p>Receptacles of society and history, cities mark the begin-</p><p>ning of something beyond simple civilisation.</p><p>They represent an idea, a desire for union (not always in a</p><p>positive way) and some form of control and social balance.</p><p>Urban agglomerations are the mirror of a set of elements,</p><p>mainly those who live there and the conditions in which</p><p>they are placed; but they’re also the result of recent history,</p><p>the economic management or neglect by those in power!</p><p>Figuring out how these mechanisms work and if they’re</p><p>balanced allows you to know your city and better outline</p><p>it. Speaking of social nests, however, we must, first of all,</p><p>distinguish the different types.</p><p>Let’s see some examples:</p><p>Village</p><p>Whether between five and fifty houses or up to a thousand</p><p>inhabitants, simple settlements born from a small immi-</p><p>grant community or gathered around a founder, villa-</p><p>ges usually need a lot of labour from their inhabitants to</p><p>support themselves.</p><p>They normally don’t have an actual guard force, but rather</p><p>a bunch of armed big guys or a couple of battle veterans.</p><p>Important decisions are made either after a discussion</p><p>among the villagers or by a council.</p><p>While it can happen in larger cities too, the charismatic fi-</p><p>gures linked to the foundation of a village usually have a</p><p>leading role in its government.</p><p>39</p><p>Where they shine</p><p>It particularly stands out when you let the players observe</p><p>the villagers; whether they are a secret and possessed cult</p><p>or a small community dedicated to frugality, villages cre-</p><p>ate the perfect scenario for sessions of investigation, dialo-</p><p>gue or discovery of a terrible secret held by the elders.</p><p>Hamlet</p><p>A set of intertwined roads that shape a medium-sized</p><p>borough with houses often built close to each other, the</p><p>hamlet can have a few thousand inhabitants and usually</p><p>relies mainly on the geography and resources of the area,</p><p>such as fishing, agriculture, hunting or manufacturing.</p><p>At its defence there’s almost always a group of guards,</p><p>often on quiet patrols or simple watch duties, and one or</p><p>three people are recognised by the community as promi-</p><p>nent members.</p><p>Where they shine</p><p>Hamlets are perfect spots for quick stops while on a jour-</p><p>ney, perhaps by a retired hero’s home. They are excellent</p><p>battle-of-attrition settings if equipped with walls, or even</p><p>just great opportunities to learn more about the history of</p><p>the kingdom you’re travelling across.</p><p>40</p><p>Small town</p><p>Medium in size but largely dependent on trade with other</p><p>communities, small towns are able to offer more a speciali-</p><p>sed variety in a specific sector of commerce.</p><p>The small town setting is useful for those who visit it</p><p>for more specific exchanges or materials.</p><p>It has a leading figure such as a mayor or a vicar of power</p><p>mandated by the crown, flanked by a small council and</p><p>major defence forces able to protect the assets sold and face</p><p>any threat.</p><p>Where they shine</p><p>Here we are approaching the concept of a more classic ga-</p><p>thering place. More people means more events.</p><p>Maybe the place is famous for a particular fair or race or,</p><p>in the case of a geographically and culturally distant city,</p><p>it will have unknown traditions and rituals, even if only in</p><p>marking the time of the day. In these scenarios, given their</p><p>versatility, it’s important to let your players run freely.</p><p>Give them opportunities or let them follow a track, and</p><p>you can make them fully empathise and have fun.</p><p>41</p><p>Commercial city</p><p>Large in size, commercial cities are metropolises split into</p><p>several areas, well organised and with specialised cen-</p><p>tres for sales such as markets and fairs. Sometimes they</p><p>are marked by a bellic context, such as iron metal-produ-</p><p>cing, guerrilla-ridden cities. A considerable bustle fills the</p><p>streets and alleys, allowing a greater stratification of social</p><p>levels or the existence of castes. It’s often the guilds that</p><p>manage these cities directly, sometimes associated with a</p><p>neighbouring kingdom and other times completely free.</p><p>They have a small army and a system of ranged guards,</p><p>particularly specialised against thieves.</p><p>Where they shine</p><p>Even just trying out new taverns can become the main</p><p>quest of the session. Enrich the streets with different types</p><p>of shops or peculiarities, take the time to describe multiple</p><p>shop windows even in a few sentences and give the diffe-</p><p>rent areas their own identity!</p><p>Or, push the overcrowding to the limit on a structure that</p><p>cannot support it, creating order difficulties that require a</p><p>kind of management that might be interesting for the cha-</p><p>racters living there. A riotous crowd is always an excellent</p><p>channel of events from a narrative point of view (a little</p><p>less if you are one of the aforementioned characters, but</p><p>you’ll see, they will do very well... maybe.).</p><p>Commercial cities also lend themselves particularly to</p><p>complicated robbery plans if you are struggling with a</p><p>party of thieves, or if the group bard has a debt that turns</p><p>out to have too many zeros.</p><p>42</p><p>Capital</p><p>The beating heart and nerve centre of a bigger power, the</p><p>capital exceeds in relatively chaotic areas and larger and</p><p>more specific buildings. Its creation, like in the example</p><p>we will see shortly, embodies the management of a very</p><p>solid (or very exploited) commercial apparatus, but with a</p><p>much more evident social identity. Usually, it’s the head-</p><p>quarters of kings and emperors or whatever the country’s</p><p>form of government is, with enormous armed forces and</p><p>offensives.</p><p>Where they shine</p><p>Even after an entire book or campaign set entirely within</p><p>its walls, a capital is still able to reveal hidden passages,</p><p>power plays, or just areas that you didn’t know existed.</p><p>Dedicating a session to unravelling its secrets or using it</p><p>as a background for more minute issues, the opportunities</p><p>for the creator and their characters can range from the</p><p>darkest to the most chivalrous scenarios, passing through</p><p>the narrowest alleys to the highest towers.</p><p>City State - the Kingdom</p><p>Almost not definable as a city but more an immense</p><p>place, a real bulwark, Kingdoms are completely colonised</p><p>areas capable of incorporating more than one habitat</p><p>within their borders. Going from one district to another</p><p>is the equivalent of a long journey, and usually this type of</p><p>settlement ranges between two extremes: very organised</p><p>and structured in their entirety, or in a constant state of</p><p>chaos caused by the difficult</p><p>handling of power it takes to</p><p>rule over such a huge territory.</p><p>43</p><p>This titanic form of society is quite rare in itself due to the</p><p>difficulties of narrating and managing it, but it’s always</p><p>very fascinating for the unique level of depth that can be</p><p>reached in its exploration.</p><p>Now that we have outlined the basic focal points of size</p><p>and complexity of a human settlement, let’s analyse the in-</p><p>dividual parts that will go into building its real soul.</p><p>Structure</p><p>Here we’re going to choo-</p><p>se the architectural compo-</p><p>sition of the place, whether</p><p>it’s low houses with tall</p><p>chimneys, underground</p><p>dwellings dug among</p><p>mines or floating circles</p><p>among the clouds. Defi-</p><p>ning the structure of a pla-</p><p>ce means composing a real</p><p>map based on the actual</p><p>places and spaces that you</p><p>will describe. Especially in</p><p>the case of agitated action,</p><p>having a structure that’s</p><p>solid, (mostly) consultable</p><p>and freely manageable,</p><p>really comes in handy!</p><p>Consider the environment</p><p>in which a city has been</p><p>erected, what threats or cli-</p><p>matic phenomena it may face</p><p>or have faced. Houses and</p><p>roads built on the mountains</p><p>will have different characte-</p><p>ristics from the downstream</p><p>ones; intricate villages foun-</p><p>ded on elevated stilts will</p><p>require an evacuation plan</p><p>in case of recurring floods;</p><p>some towns will be protected</p><p>by thick walls to avoid at-</p><p>tacks from ferocious beasts</p><p>or divided into labyrinthine</p><p>streets to defend themselves</p><p>in the event of an invasion.</p><p>A place always changes de-</p><p>pending on where it stands!</p><p>44</p><p>The luxury and perfection of an aesthetically radiant</p><p>area may require a high price from some of the citizens,</p><p>or might have required the help of neighbouring peoples.</p><p>Creating a structure helps make everything more</p><p>realistic and gives the story more to tell.</p><p>Society</p><p>The true core of any place is</p><p>its population, and wherever</p><p>there are social interactions,</p><p>there’s also the concept of tra-</p><p>des, interactions and power.</p><p>From the animal kingdom to</p><p>the divine realm, from crea-</p><p>Age</p><p>All the categories men-</p><p>tioned so far, while diffe-</p><p>rent, share one characte-</p><p>ristic: they started with a</p><p>first step, and from there,</p><p>the succession of even-</p><p>ts and people over time</p><p>have gradually created</p><p>larger and more complex</p><p>structures (even if it mi-</p><p>ght happen to find a spar-</p><p>se but millenary village).</p><p>Always ask yourself the</p><p>age of an urban settle-</p><p>ment to help outline its</p><p>current state and history,</p><p>and think about its for-</p><p>mation. While going back</p><p>in time to trace its ori-</p><p>gins, be clear about its</p><p>values over the narrative</p><p>timeline.</p><p>Appearance</p><p>Having a picture that’s as</p><p>clear as possible in your</p><p>mind is very helpful! What</p><p>materials is the city made of?</p><p>What colours enliven it and</p><p>what lights shine on it?</p><p>It is useful to ask, in short,</p><p>“What’s the aesthetic that my</p><p>city wants to convey?”</p><p>While deepening its lore,</p><p>one can also ask themselves</p><p>about the whys: high walls</p><p>suggest the will to defend the</p><p>settlement from something,</p><p>or keep something trapped.</p><p>tures to monsters, each ag-</p><p>glomeration of beings pro-</p><p>duces automatically, or by</p><p>imposition, some dynami-</p><p>cs! Ask yourself about the</p><p>dynamics of the social core</p><p>of your city and, along</p><p>with it, what makes them</p><p>possible.</p><p>An important question is:</p><p>who is thriving in these</p><p>places? Who lives in the</p><p>worst conditions? Why?</p><p>What are their conditions</p><p>due to? What inequalities</p><p>do the people who live</p><p>there encounter and how</p><p>do they present themsel-</p><p>ves?</p><p>The social framework,</p><p>whether it is an egalitarian</p><p>community or divided</p><p>into unfair social ranks of</p><p>power, is vital to take into</p><p>consideration, since it’s a</p><p>theatre where everyone</p><p>performs, including your</p><p>characters.</p><p>Also, ask yourself the re-</p><p>action that your protago-</p><p>nists might have to the</p><p>values that they’re going</p><p>to meet.</p><p>Power</p><p>Everywhere you go, the-</p><p>re is a handling of internal</p><p>balances. It’s always good</p><p>to identify a core in the sy-</p><p>stem that is going to be cre-</p><p>ated, be it one single indi-</p><p>vidual or a whole class that</p><p>holds the sceptre of power.</p><p>Are there princes driven by</p><p>noble ideals or terrible ul-</p><p>terior motives, enlightened</p><p>councils, complex bureau-</p><p>cratic labyrinths, or draco-</p><p>nian despots? Ask yourself</p><p>who bears this heavy bur-</p><p>den, and above all, how</p><p>(by whom is this allowed?)</p><p>or what factors it depends</p><p>on (how did it get to this</p><p>point?).</p><p>Also ask yourself how</p><p>accustomed they mi-</p><p>ght be to foreign visi-</p><p>tors. How the people</p><p>perceive and frame the</p><p>travellers will be criti-</p><p>cal for the atmosphere</p><p>that will be created!</p><p>46</p><p>portant nonetheless: the</p><p>places where you can</p><p>restock your backpack.</p><p>Quaint and chaotic ba-</p><p>zaars capable of hiding</p><p>small treasures, or gigan-</p><p>tic shops with rows of re-</p><p>fined and perfectly classi-</p><p>fied potions. Players tend</p><p>to love the shopping fac-</p><p>tor if you give it the right</p><p>amount of space! Create</p><p>options that are imagina-</p><p>tive or that adventurers</p><p>might not expect; rarities</p><p>or supplies for the battle</p><p>and the journey to come;</p><p>give clues about items to</p><p>search for, or just make</p><p>interesting and temporary</p><p>shifts in the dynamics of</p><p>the group. Also weapons,</p><p>clothing, books, amulets</p><p>or specialties of the place</p><p>where you are!</p><p>Cooking</p><p>This is something that can</p><p>reveal rather amusing or</p><p>even simply interesting</p><p>details about an area’s cul-</p><p>tural background: food.</p><p>Whether it’s a restaurant</p><p>Economy</p><p>How does a place work?</p><p>What goods does it produ-</p><p>ce? What does its existence</p><p>stand on? You might en-</p><p>counter a city entirely de-</p><p>voted to the cult of the Blue</p><p>Monkey that only comes back</p><p>to life one week a year, or a</p><p>village that has been erased</p><p>from the maps because it has</p><p>been isolated in the moun-</p><p>tains of Xol for two hundred</p><p>years. Whether they are co-</p><p>dependent villages from the</p><p>surrounding world, or for-</p><p>ced to rely on themselves</p><p>alone, the population might</p><p>have needs that, if not met,</p><p>will generate situations of</p><p>imbalance, ghettos and so-</p><p>cial failings - in one word,</p><p>suffering. The most valued</p><p>thing in one place may be</p><p>gold. In another, a promise</p><p>made long ago. In a city of</p><p>faes, a memory.</p><p>Shops</p><p>Here’s a dynamic that is</p><p>often unbalanced but im-</p><p>47</p><p>run by draconian triplets, decorated with ash and burnt</p><p>wood, or a tavern inside a huge mushroom where a kappa</p><p>named Koko serves fermented drinks in hollow branches,</p><p>describing dishes and drinks is an excellent creative exer-</p><p>cise and is often appreciated as an interesting insight. Food</p><p>always speaks of the land in which it was made, even when</p><p>eaten on the other side of the planet. Include ingredients</p><p>that are out of this world or simple and common raw ones.</p><p>Give it bright or bizarre colours and spend a few words</p><p>to describe the taste and texture of the food. The more we</p><p>tell, the more that taste will be perceptible. Everything tells</p><p>something, but food always says a little more!</p><p>The city sheet is useful for understanding how to move</p><p>around it or where and which key points to position, as well</p><p>as to better fit it among the ones that make up your world.</p><p>1: The map of your city, where to mark the places of inte-</p><p>rest like taverns, shops, etc. thanks to the symbols you’ll</p><p>draw or cut out from the “City Key” card.</p><p>2: Its name. The name is usually representative of the</p><p>place or descriptive of one of its qualities.</p><p>3: The type of your city: village, hamlet, capital, etc.</p><p>4: The natural habitat in which it’s inserted. Is it built in</p><p>the middle of the desert? Does it stand in a forest?</p><p>5: A list of the main inhabitants or important NPCs in the city.</p><p>6: The most important points of interest of the city.</p><p>7: Descriptive section of the city where you can add</p><p>details, characters, and take note of its history.</p><p>8: List of symbols that you can put on the map.</p><p>1</p><p>8</p><p>Try to vary the shapes that</p><p>make up its structures every</p><p>now and then, especially in the</p><p>case of particular cities or places</p><p>far from each other!</p><p>2</p><p>3</p><p>4</p><p>6</p><p>5</p><p>7</p><p>50</p><p>Heroes and passers-by, shaped by a value or by the mono-</p><p>tonous pace of everyday life, souls and hearts</p><p>beating in</p><p>chests of flesh, scales, metal, stone: people.</p><p>To explain the best of the characters, we’d need another</p><p>volume entirely on this subject, but we still can reconstruct</p><p>the key points that’ll allow us to create or exploit them to</p><p>the fullest, especially because of the impact they can have</p><p>on the surrounding world. Let’s get into the main types!</p><p>Citizens</p><p>Normally, they’re the ca-</p><p>tegory of characters you</p><p>tend to interact with less</p><p>in depth. Often represen-</p><p>ted as “normal” or more</p><p>ordinary people, they tend</p><p>to become a background</p><p>fog in the description of a</p><p>scenario, which ends up</p><p>relegating them to a more</p><p>marginal role in the narra-</p><p>tive. However, citizens can</p><p>be a unique resource to en-</p><p>rich the atmosphere of a</p><p>place, whether it’s with cu-</p><p>stoms, behaviours or even</p><p>just shared feelings.</p><p>A city where jovial</p><p>laughter and melodies</p><p>echo in the crowd will</p><p>certainly be more wel-</p><p>coming than one where</p><p>whispers and tired looks</p><p>dominate the scene!</p><p>Also, interacting with ci-</p><p>tizens, whether through a</p><p>quest or even just overhea-</p><p>ring a conversation, can tell</p><p>and give depth to the hi-</p><p>story and reality of a place</p><p>and further diversify your</p><p>adventure.</p><p>51</p><p>Travellers</p><p>Free spirits, fortune se-</p><p>ekers or those with a</p><p>specific task to follow,</p><p>adventurers with whom</p><p>to share part of the road</p><p>or sworn enemies, fall</p><p>into a completely unique</p><p>category of characters,</p><p>made up of people who</p><p>can face the outside</p><p>world on their own. In-</p><p>teracting with a traveller</p><p>can provide details on</p><p>distant places, critical</p><p>help in times of need or</p><p>an opponent who was</p><p>only waiting for the ri-</p><p>ght opportunity to catch</p><p>your heroes off guard!</p><p>Seeing a friendly face in</p><p>a different place helps</p><p>you feel like you’re in</p><p>a real world, where not</p><p>only the characters live,</p><p>but where everyone is</p><p>on their own personal</p><p>adventure!</p><p>Important Characters</p><p>Those around whom one or</p><p>more plot events revolve are</p><p>the important characters;</p><p>they may have vital informa-</p><p>tion to continue the quest, a</p><p>problem that moves our he-</p><p>roes to pity or they may be</p><p>hiding terrible secrets. Out-</p><p>lining these characters in the</p><p>best possible way helps us to</p><p>paint a picture with more in-</p><p>teresting and interactive nar-</p><p>rative dynamics than a basic</p><p>exchange of information.</p><p>Shopkeepers</p><p>Retired heroes, now innkee-</p><p>pers of immeasurable power</p><p>who have chosen for a well-</p><p>deserved and peaceful retire-</p><p>ment; avid collectors of very</p><p>rare ingredients or little tra-</p><p>vellers with huge backpacks</p><p>on their shoulders; shop ma-</p><p>nagers represent an emotio-</p><p>nal range of differentiations</p><p>and distinct personalities.</p><p>If in a fantasy world you</p><p>decide to sell coloured am-</p><p>poules or dangerous items,</p><p>you may have seen more</p><p>than you might think.</p><p>52</p><p>Power keepers</p><p>Kings, lawmakers or centuries-old undead looking for so-</p><p>mething – always take into consideration the actual abili-</p><p>ties of a character. Power tends to change the very structu-</p><p>re of the brain and thought process; the way one thinks</p><p>has to be seen in the context of one’s position, which ends</p><p>up overlapping with their personality itself, whether it is</p><p>deserved or not. What are these characters in power really</p><p>capable of? How do they expect to be treated and why are</p><p>our characters interacting with them?</p><p>Create a character</p><p>Let’s observe exactly how to build</p><p>a character in practical action:</p><p>Aesthetics</p><p>Whether they look like a simple</p><p>wayfarer followed by seven ca-</p><p>naries or a black knight whose ar-</p><p>mour emits a subtle purple light,</p><p>the first thing we perceive of so-</p><p>meone is usually their appearan-</p><p>ce. This might be their real form</p><p>or a disguise, but the aesthetic is a</p><p>central point of the perception of</p><p>others. Therefore describing so-</p><p>meone’s clothing and look as ac-</p><p>curately as possible, together with</p><p>the sensations that may give off in</p><p>that moment, is vital.</p><p>53</p><p>Be generous with details, whether they are relevant clues</p><p>to the character’s role in the story, purely aesthetic trap-</p><p>pings or even just simple signs and ways of doing – a well</p><p>characterised character will be easier to remember!</p><p>Key questions</p><p>“Who?” would be the most obvious question, but to de-</p><p>termine it we must first of all determine a “How?” and a</p><p>“When?” The dynamics of what brings a person to a cer-</p><p>tain point are just as important as the identity of the person</p><p>itself, as well as justifying their existence. Also ask yourself</p><p>the origin of that character: “Where did they come from?”</p><p>and “What really motivates them?” will be their most inti-</p><p>mate and crucial core.</p><p>Give them personal dynamics, faces and peculiarities, and</p><p>more than anything else, a past and a reason.</p><p>Farewell or Stay</p><p>Sometimes, during particularly long stories or campaigns,</p><p>it might happen that others will join the main party, but</p><p>over time their actions or role decreases in importance and</p><p>they risk being forgotten. Before this happens, the choice</p><p>must always be made: the actual permanence or not of cha-</p><p>racters within your story.</p><p>Each character has their own time of existence in a story, be</p><p>it that of others or their own. It is important to find the ri-</p><p>ght moments in which to separate the paths. Someone may</p><p>have fulfilled their oath and finally want some well earned</p><p>peace of mind; others may meet a more dramatic end or</p><p>set sail for new, distant adventures – and perhaps, you will</p><p>meet them again somewhere else in the world tomorrow.</p><p>In any case, giving space to these moments allows you</p><p>to perceive all the weight and the actual reality of the</p><p>54</p><p>scene, and helps in the representation of a fluid world ru-</p><p>led by dynamics beyond your control.</p><p>On the other hand, even making sure that two characters</p><p>choose to share the entire journey of life, promising they’ll</p><p>be there for each other at all costs, tying their stories to-</p><p>gether, is a legitimate choice! But always as long as you</p><p>choose or adapt: do not allow your characters to become</p><p>transparent within the events or the bonds in which they</p><p>find themselves. Always leave them a margin of action,</p><p>and when this does not occur, that character is perhaps re-</p><p>ady for a new phase of their personal adventure.</p><p>The NPC chart helps you not to let a character, whether</p><p>key or secondary, risk losing consistency over time.</p><p>Thanks to it, you’ll be able to keep track of who walks in</p><p>your (and their) world.</p><p>1: Their name, be it a title, a full name, a given nickname;</p><p>all of them are fine.</p><p>2: For how long have they existed? It may affect who they</p><p>are or not, but it’s good to keep in mind a character’s age.</p><p>3: Their race: are they human? An elf? A dwarf?</p><p>4: Who are they? Are they an important person or a simple</p><p>citizen? Help yourself with the types of the handbook.</p><p>5: The place where their story began.</p><p>6: Their abilities: time-refined abilities, magical powers, etc.</p><p>7: The infinite hallmarks that can distinguish your cha-</p><p>racter: scars, tattoos, mechanical limbs, etc.</p><p>8: The silhouette immediately above is meant to mark some</p><p>of these things, to better remind any character more easily.</p><p>9: Any detail, physical or behavioural, that can make them</p><p>unique. Maybe they wink often, like to drink or play a mu-</p><p>sical instrument.</p><p>1</p><p>2</p><p>3</p><p>4</p><p>5</p><p>6</p><p>9</p><p>7</p><p>8</p><p>56</p><p>Timeline</p><p>Ages of explorers and won-</p><p>ders, or terrible eras marked</p><p>by plagues, phases of extin-</p><p>ction or rebirth; the division</p><p>of time allows you to add an</p><p>additional creative and nar-</p><p>rative medium!</p><p>Give it a name and decide</p><p>the historical period in whi-</p><p>ch you create an element.</p><p>Always ask yourself what a</p><p>given time cycle might entail,</p><p>as well as its actual duration.</p><p>It’s not mandatory to have</p><p>a clear picture at the begin-</p><p>ning, but in the creative pro-</p><p>cess it will allow you to have</p><p>a general idea of the events</p><p>in your world.</p><p>A millenary empire can de-</p><p>populate and turn into ruins</p><p>full of monsters to fight in</p><p>a few hundred years, or by</p><p>studying an ancient dungeon</p><p>you will discover that you’re</p><p>walking in what once was</p><p>home to a family of giants.</p><p>Seeing a place for the</p><p>first time</p><p>and then</p><p>seeing it after ten, a</p><p>hundred or a thousand</p><p>years is no small show</p><p>(and an excellent</p><p>narrative exercise!).</p><p>57</p><p>Cosmology</p><p>What’s in the night sky of</p><p>your world?</p><p>How many moons, if any,</p><p>can you glimpse?</p><p>Rings of Saturn-like de-</p><p>bris, or perhaps a rare pla-</p><p>net formed between two</p><p>twin suns, giving way to</p><p>a short, warm night.</p><p>Each of these elements</p><p>changes your world, the</p><p>traditions within its ends,</p><p>and even the division (or</p><p>existence) of the seasons.</p><p>There is nothing wrong</p><p>with a simpler world with</p><p>modest satellites and a</p><p>star that allows life, but</p><p>wondering what our cha-</p><p>racters see looking up and</p><p>how this affects your cre-</p><p>ation allows you to give</p><p>even more attention to</p><p>certain aspects.</p><p>Divinity</p><p>We can define deity as</p><p>something with a dispro-</p><p>portionate impact on the</p><p>surrounding reality (or</p><p>even just one aspect of it).</p><p>Deities are embodiments</p><p>of real concepts such as dre-</p><p>ams or creatures reincarna-</p><p>ted to new life, by chance or</p><p>by fate, created or self-ge-</p><p>nerated in a cutout beyond</p><p>time. Or, they can be ephe-</p><p>meral entities, less than a fe-</p><p>eling, light as a particle able</p><p>to be in any place but not to</p><p>alter the balance.</p><p>Outlining their existence and</p><p>their possible limits and/or</p><p>divisions into ranks allows</p><p>us to better define places on</p><p>which they may have a di-</p><p>rect impact, such as valleys</p><p>broken by the arrival of an</p><p>angry god or prosperous ci-</p><p>ties erected around the fa-</p><p>vour (real or not) of a divine</p><p>creature with the appearance</p><p>of a majestic black whale.</p><p>Here’s a convenient subdivi-</p><p>sion:</p><p>Local divinities - Aspects or</p><p>elements of natural environ-</p><p>ments, they reflect the place</p><p>in which they manifest.</p><p>Demigods - Crossbreeds of di-</p><p>vine and human blood that</p><p>embody more deadly weak-</p><p>nessesand powers of the di-</p><p>vine side.</p><p>The deity sheet helps you keep track of some of the wor-</p><p>ld’s most unpredictable forces, along with the powers and</p><p>traits they possess.</p><p>1: The name by which they are known.</p><p>2: A concise description of their behaviour.</p><p>3; The type of divinity they are.</p><p>4: The domain of reality or the natural world it represents.</p><p>A thunder goddess? Or maybe a representation of pain?</p><p>5: Their weak point, an adversary domain in which they</p><p>have no powers or an Achilles’ heel.</p><p>6: The abilities of a god can be a lot, but the most pronounced</p><p>ones that define them can be summarised in a few words:</p><p>as teleportation, immortality or incredible resistance.</p><p>7: Their anthropomorphic form, assuming they own one.</p><p>8: Their real appearance, be it creature or monstrosity.</p><p>58</p><p>Minor deities - Supernatural creatures with powers limited</p><p>to a single aspect of the world, natural or physical (mani-</p><p>festations of lightning and thunder, cultural aspects of a</p><p>civilization etc.).</p><p>Greater divinities - Higher beings in abilities or powers,</p><p>immortal or nearly so, with powers and control over an</p><p>entire area or more of the world itself, often at the head of</p><p>a parallel reality that reflects their character and powers.</p><p>Incarnations - Living embodiments of one of the pillars of</p><p>reality. Creatures without real limits except those of their</p><p>own domain; creatures such as time, death or life.</p><p>Absolute or narrator - Believed to be myths by the gods</p><p>themselves, omnipresent creatures, omniscient or nearly</p><p>so, able to manipulate the very fabric of everything that</p><p>exists at will. You could be referred to as such, if you ever</p><p>found yourself walking in the world you created.</p><p>1</p><p>2</p><p>3</p><p>6</p><p>5</p><p>4</p><p>7</p><p>8</p><p>60</p><p>A melody that echoes everywhere comes to an end, fading little</p><p>by little, while the last two people hug each other tightly, leaving</p><p>a desolate and snow-covered land last.</p><p>An immense and crystalline moon enters the orbit of the planet</p><p>Sinter, obliterating every surface in a wave of boundless blue fire.</p><p>Gesperia is swallowed whole by a fish twenty times the size of the</p><p>planet, summoned by mistake by an experiment that aimed to</p><p>“discover the truth behind everything”.</p><p>There are countless reasons why a world can meet its end,</p><p>as many as the events that can be told within it. There is</p><p>a peculiar taste in seeing everything end and go towards</p><p>immobility, a common point of all that’s known, but we</p><p>can break down the different types of ends into these sets:</p><p>Chaotic</p><p>An external threat or the inevitable result of a series of</p><p>events reaches its epilogue in the most frantic possible</p><p>way. Whether it’s sulphurous rains or entire nations crum-</p><p>bling down after the awakening of something under the</p><p>continents, these dynamics always share a fast pace and</p><p>maximum scenic performance. Our characters will have to</p><p>fight against time and the elements to save their lives.</p><p>People tend to express their most intimate and hidden</p><p>61</p><p>feelings during these events. Some try to save what can be</p><p>saved, others might flee among the throes of mass hysteria,</p><p>many give up and throw themselves into prayers and ho-</p><p>pes while everything ever seen collapses. Make the most of</p><p>such a dynamic scenario! These scenarios stand out as big</p><p>events, campaign closures, endings or high-risk one-shots!</p><p>Quiet</p><p>Something has broken and has not returned to its place as</p><p>expected, or it’s simply the end of an infinitely long line.</p><p>Our world runs out of its lifeblood or a key element, and</p><p>all things, little by little, begin to slip towards oblivion.</p><p>These scenarios remain dominated by a few elements and</p><p>usually the vastness is their main feature. Whether they</p><p>are now empty or ultimately with fewer and fewer people,</p><p>exploring them can cause the same emotions as visiting a</p><p>now extinct civilisation, made up of distant echoes.</p><p>These settings give their best in thoughtful campaigns and</p><p>long journeys, giving much importance to the traces or re-</p><p>mains of those who are no more, or what gave rise to the</p><p>last act of that reality.</p><p>Denial</p><p>A world unfolds to the identical rhythms of its recent hi-</p><p>story, gradually adapting to an inevitable ending that is</p><p>getting closer, denying it completely or boasting it as nor-</p><p>mality. It’s not uncommon for it to be just an “initial pha-</p><p>se” of a Chaotic or Quiet ending, but it allows you to create</p><p>more lasting settings that can even give your characters the</p><p>illusion that things have always been that way.</p><p>62</p><p>Multiverse</p><p>Not every end is a definitive end, some are just “one” end.</p><p>If you are very fond of a world, or if you think its time has</p><p>not come yet (despite the situations that may have chan-</p><p>ged it forever), explore the concept of parallel universes,</p><p>where in different worlds different things have happened,</p><p>maybe linked to the actions done by your adventurers.</p><p>Play with the alternatives, ask yourself what would have</p><p>happened if the other side had won that fight, or if a cer-</p><p>tain historical event had never happened, creating more</p><p>mirrored versions of your world.</p><p>All these types of ends have one thing in common: people.</p><p>How do the inhabitants of your world react to the inevi-</p><p>table fate if this comes before them with no half measures?</p><p>Will there be looting and mass hysteria or entire popula-</p><p>tions singing a sad litany of resigned peace?</p><p>Will the power holders, or those with the right means, take</p><p>their responsibilities by making an all-out effort, or will</p><p>they flee and leave a world in ruins behind? While many</p><p>of these questions have a different answer depending on</p><p>what will be faced with (as mentioned earlier in Denial,</p><p>seeing a sulphuric rain has a drastically different weight</p><p>than seeing things “simply” fade away every day), asking</p><p>yourself about, and delving into the topic, allows you to</p><p>create ever stimulating and unique situations to live.</p><p>63</p><p>And so, here we are on the last page.</p><p>We sincerely hope you have found some interesting ideas</p><p>in this handbook, but above all, that you now feel closer</p><p>to building a world that’s unique in every corner, a world</p><p>made by you where you can experience dozens of adven-</p><p>tures, dramas and cross astounding scenarios. Never stop,</p><p>and most importantly, remember to have fun!</p><p>That’s all with</p><p>us, but Keh will stay with you in every pos-</p><p>sible world, jumping from a stone to the inn, ready to ob-</p><p>serve the multitude of an endless journey, so take care of</p><p>him!</p><p>Hey, ready to go</p><p>and visit some other place?</p><p>My hat won’t fit from</p><p>the excitement!</p>