Dark 2: The Gauntlet's Monthly RPG Zine
Dark 2: The Gauntlet's Monthly RPG Zine
DA R K 2
o f hu nt s, haunts,
A host ldly tales
t he r wo r
and o
GHOST
DRUMS
A game by Gerrit Reininghaus,
Keeper of the Silent Voice of the Emperor
Based on a tale told by Salvador Ajtzip
Those who drown in Lake Atitlán often blame the living for their
death. They come back to town to tease them into damnation.
Fortunately, the good spirits of the lake force them to carry and play
drums when they come. That way the living can hear the ghost drums
and escape to safe places the ghosts can't enter. But one day, a
visitor from the States found a way to steal the drums from the
drowned and added them to his collection. Since then, there is no
warning anymore from the ghosts and they have
become dangerous. People disappear or go
suddenly mad. Maybe one day the ghost
drums will return and Santiago Atitlan THE STORY IN TZ’UTUJIL:
will be safe again from the J-ee’ aj xeya’ nke’ok pa pe
Drowned. tnamet k’moy kxin jlee chik wnaq;
k’j-ee’ utzlaj taq dyosil rxin ya’,
nkektaqchij che nkek’am pa je’ ktambor taq
nke’ok pa pe tnamet, rmal k’ara’ j-ee’ wnaq taq
nekk’axaj ktambor aj xeya’ nkeba ela alnaq ptaq kuchooch je
natan Ajaw chpam, rmal ra’ j-ee’ aj xeya’ majo’n nkekwin ta
nke’oka ptaq jay kxin wnaq je ek’asa. K’ola jun q’ij, jun wnaq je penaq
Estados Unidos xetqij naq nuban numaj ktambor aj xeya’. Kara’ xuban, taq
xekwina xumaj ktambor aj xeya’ xuyik ajni’ rebnoon tzra jle’ chik achnaq
je ruwloon je’a. Kamik j-ee’ aj xeya’ majo’n nkek’am pexta je’ ktambor,
rmal ra’ qas k’aloj ri rwech taq nke’ok pchik pe tnamet, rmal majo’n
nkek’axax xchik. K’j-ee’ wnaq qas nsacha kewa’ taq nke’ok pa j-ee’ aj
xeya’. K’o tara jun q’ij, xtmelox pta ktabor j-ee’ aj xeya’, che utz k’ara’
j-ee’ wnaq majo’n nban ta lowlo’ chka kmal aj xeya’.
As in many tales, the people and the village in your story stay abstract. It’s modern day, but it shouldn’t matter much
where in the world the story happens. Names, traditions, skin color, etc., can be a mix from all over the world. The tale
hits colonialist trauma sufficiently through the set-up.
PREPARATION (5 MIN)
WHAT YOU NEED TO PLAY: Each player, except one, plays a Ghost—a person from
the lake who once died in the lake. The other player
• 20 minutes per player plays a Visitor to town from the North.
• 2 to 5 players
At the beginning of the game, each Ghost has a drum.
• A room for yourself without Create one from empty plastic bottles, actual drums,
distractions where you can dim whatever suits you. Put a glass of water in the middle of
the light (if not possible: play the table.
anyway)
• A glass of water in the middle TALK ABOUT SAFETY (5 MIN)
(if not available: play without) Talk about subject matter you prefer to exclude from
your game. This is a story about horror and cruel
• Old newspaper you can waste, death; consider what would take the fun out of it for
best with mystery reports (if not
available: any paper with faces you and mention that. The X-card and other safety
does it) tools can be used to exclude content without further
explanation while the game is going, but you might
• A pen want to exclude some topics (such as graphic violence
or suicide) at the beginning.
• A ghost drum per player (if not
available: anything you can drum In this game, you use darkness, drums, and your voice
on) to intensify emotions. If these elements become too
much for you, put your hands up with your palms
*For online play, each player facing the other players or say “Largo.” This safety tool
needs the requisites individually. signals to other players when they need to bring the
intensity of play down.. Practice this now by making
the respective gesture.
PLAying
The game is separated into text for the
Ghosts and for the Visitor. Each section
says for whom it is. You don’t need to read
the text of the other role and you don’t
need to read everything beforehand. But
take your time to read through the current
section before you begin.
A GHOST
Character Introduction VISITOR
Character Introduction
VISITOR
Enter The Night
A GHOST VISITOR
Losing The Drum Taking The Drum
ALL GHOSTS
On The Ground
of The Lake
VISITOR
ALL GHOSTS All Drums Are Mine
Final Screams
Character creation
GHOSTS: CHARACTER VISITOR: CHARACTER
CREATION (5 MIN.) CREATION (5 MIN.)
Create a backstory from the time when your ghost was AT THE SAME TIME AS THE GHOSTS
alive, how you died, and what grudge you still have While the Ghost players create their story, answer the
with the living. Cut or rip out a face from the following questions to yourself and write at least a few
newspaper representing your character. Summarise keywords down:
your grief in a word or a short phrase.
• How did you learn that ghosts can’t do you
Whenever you are out to scare the living to death, any harm? (You are wrong about this.)
you will whisper this phrase (e.g. “Betrayal,” “I was
telling the truth,” “I cried for help but nobody came”). • How did you learn you are superior to the
Write the phrase on a piece of paper. Write your people in town? (You are wrong about this.)
character’s name on the piece of paper with your
character’s face. • What happened to you that makes you fear
water so much? (Unfortunately, you have good
WAIT FOR EVERYBODY TO reason, as you will learn.)
FINISH THEIR STORY. Grab the newspaper and cut or rip out a face for your
character. Ask the Ghost players to tell you when they
are ready.
Then tell them what scares you, and how the Wait for the Ghosts to start whispering again. Then
revenge of the Ghost might incorporate it (for enter the next night (section above). If all drums are
example: "Your mourning could cause the young mother yours by then, continue with the “All drums are
to end her life,” or "The truth you died for would cause yours” section on the final page.
more deaths when revealed”).
THE NIGHT
(continued)
GHOSTS: ON THE GROUND OF THE LAKE (5 MIN. PER GHOST)
Between the nights, the Ghosts of the drowned Now put your phrase into the water and let the
gather at the lake bottom. The Ghost player who phrase dissolve. This story is solved. But your
just lost their drum says: sorrow only grows.
“I lost my drum. The living can’t escape me
any longer." Write a new phrase on a piece of paper which
describes your growing sorrow after this cruelty or
Then tell the other Ghost players how you finally sadness you brought to town. You will continue to
took revenge on the villagers. Pick up on what the hunt the town. This is a new phrase you can
Visitor said would scare them. But make it worse. whisper together with older words.
Tell the story in third person from the perspective
of the living who died a terrible death, went mad, The other Ghosts weigh in by whispering their
or disappeared mysteriously just last night. It phrases. If what happened to your fellow Ghost
might look like an accident, it might look like a makes you want to change your phrase, write a
murder case, or even supernatural. new one and put the old one into the water.
For example:
“Marta came home late. It was quiet. Too
quiet. Wind came through the open window. LET THE VISITOR THEN ENTER
When she went to close it, she saw them: three THE NEXT NIGHT (FIRST
bodies shattered on the cliffs. After she found SECTION ON PREVIOUS PAGE)
the beds of her children empty, Marta climbed
through the window herself. While falling,
Marta heard a whisper: ‘Why did you leave
me?’ Then all was calm.”
THE END
VISITOR: ALL DRUMS GHOSTS: THE FINAL
ARE YOURS (5 MIN.) SCREAMS (1 MIN.)
When you take away the last Ghost player’s drum, say: When the Visitor has told you why they fear water,
“Tonight, I feel the need to show the people in start whispering:
town that these are all coincidences. There is • your phrases
nothing to fear. I will row out onto the lake.” • what cruel destiny you expect for the Visitor
• what will make the Visitor regret what they
Now tell the Ghost players what happened to make have done.
you fear water. Tell them in a melancholy manner. You
somehow already know but won’t yet admit that this is Show them how you hate them.
your end.
GET LOUDER AND LOUDER AS IF YOU
AWAIT THE GHOSTS NOW. WHEN MOVE ONTO THE VISITOR PLAYER’S
THEY ARE THERE, TAKE THE CUT-OUT BOAT. WHEN EVERYBODY IS JUST
PICTURE AND DROWN IT IN THE SCREAMING THE VISITOR WILL CLAP
GLASS OF WATER. THEIR HANDS. THE GAME IS OVER.
WHEN ALL OF THEM ARE JUST
SCREAMING, CLAP LOUDLY INTO YOUR
HANDS. THE GAME IS OVER.
OF GLUM
MOMENTS by Andrew Hauge
Written for use in Epidiah Ravachol’s
Swords Without Master, as ideas for Thunders,
Feats Heroic, or even a simple roll. Also
useful for inspiring fantastical tales of sorcery
and mystery.
$ A LINGERING NOTE scrapes free from the $ IN THE BACK OF THE SEER’S HUT, amidst
strings of a zither in the midst of the silent yellow wisps of smoke, carved bones
twilight, and the cries of wolves rise to tinkle in uncomfortable tones.
meet it.
$ A COLD BLUE PHOSPHORESCENCE rises
$ AS YOU CREEP BENEATH THE WIZARD’S from your skin when you call upon the
TOWER, the rolling hush of nightfall tale of days remembered by sages.
surrounds your ears, settling around you
and sapping your will. $ YOU WHISPER WORDS THAT SLIDE FROM
YOUR MOUTH and coil around your
$ LITHE FINGERS CURL ACROSS YOUR LIPS limbs, binding your intellect and deep-
with sinuous temptation and intoxicating ening your thoughts.
promise, drawing you closer in the mo-
ments before your realization. $ A SILENT KISS UPON YOUR BROW and
searching fingers tangled through your
$ HAIRS RAISE ACROSS YOUR BODY, fore- hair; in the moment of stillness, you
telling the fell wail which entangles itself behold them.
into your heart, whispering a forbidden
name. $ IN THE FURTHEST DARK CORNER of the
cave of Omasco, on the twelfth night of
$ A STRANGE INSECT FLUTTERS AROUND the fifth month, you can hear a gentle
YOU, cool air floating off its wings, moon- weeping that will eternally haunt your
light glinting off its many-segmented dreams.
body.
$ A BONE-WHITE BASILISK STARES AHEAD,
$ DRUMS ECHO IN THE DEEP, each sound unblinking, unmoving as it has stood for
reverberating with immensity through centuries, and your spine shivers as you
the shadow of night. see the night within its eyes.
$ QUMOE’S THRALLS APPROACH with halt- $ WORDS LAY UNSPOKEN yet understood in
ing steps and eyes filled with a milky the midst of the deepest intimacy.
white; a hollow laugh rings in unison from
their throats. $ SHE HOLDS HER HAND OVER A SAPPHIRE
GEM, her fingers drifting and crooked,
$ PALE EMERALD ICHOR DRIPS across the commanded by another force.
stone, and the creature’s life bleeds out
across the cliff with no witnesses. $ THE MIDNIGHT DRAKE STIRS, a billow of
cloud surrounding its icy scales, the
$ YOU LOOK DOWN AND SEE THE SECRET shadow blotting out stars and the moon
SMILE of your lover, shrouded in shad- as it rises.
ows, an unknown promise springing to
his lips. $ FADED LIGHT DRIFTS THINLY through the
wooded tangle of trees, revealing the
$ A SINUOUS MAP IS CARVED into chill twisted paths beneath your feet.
obsidian, marked with ancient, long-for-
gotten runes that weave a tale of blood $ THE GUARDIAN LOOMS, a solitary figure
and corruption. whose stature makes us appear like
vermin before it.
When winding vine chokes chiseled stone,
These woods will claim a trophy of their own.
The game tells the story of the physical and mental descent of the treasure-
hunters as they move deeper and deeper into the dangerous forest. Their jour-
ney will ultimately bring them to ancient ruins that hold the treasure they
seek, and the monstrous entities which now dwell there. This is not, however,
a hopeful story of brave and daring adventurers slaying dragons and dragging
bags of gold with them back to town. This is a horror story of entitled pillagers
meeting tragic ends. It is very likely that all the treasure-hunters will die or—
at best—be permanently scarred and haunted by their expedition.
Trophy is adapted from Cthulhu Dark with permission of Graham Walmsley. Trophy is also based
on Blades in the Dark (found at http://www.bladesinthedark.com/), product of One Seven
Design, developed and authored by John Harper, and licensed for use under the Creative Commons
Attribution 3.0 Unported license (http://creativecommons.org/licenses/by/3.0/).
Special thanks to all my playtesters: Agatha Cheng, Ary Ramsey, Chris Thompson, Christian
Svalander, Fraser Simons, Gerrit Reininghaus, Harry Morris, Jim Crocker, Mathias Belger, Oli
Jeffery, Paul Edson, Phillip Wessels, River Williamson, Sam Zeitlin and Shane Liebling.
I ran.
le. I ran throu gh the night, following the river
I ran past my two travel mates. I ran through the corridors of the temp
as best as I could.
s involving a journey into the forest. At
I made my way back here to Fort Duhrin, the birthplace of all bad idea
ld go myself, but my second encounter
least you can start out with a map better than the one I was given. I wou
er with one foot and seven fingers isn’t
with the razor-root didn’t benefit from the presence of Lineta, and a hunt
but six corpses and my discretion. Three
long for those woods. Four golden stonefruits sit, protected by nothing
of those are all yours, as long as you bring one back for me.
When you attempt a risky task, say what you hope will happen and ask the gm
and the other players what could possibly go wrong. Then gather 6-sided dice.
Take one light-colored die if the task is something you are skilled at
because of either your occupation or your background.
Take another light die for accepting a Devil’s Bargain from another player
or the gm. Devil’s Bargains are described in the following section.
Add a dark-colored die if you are willing to risk your mind or body in order
to succeed. You must include this die whenever you perform a ritual.
1–3 You fail, and things get worse. The gm describes how. The gm may also
allow you to succeed, but things will get worse in some other way.
4–5 You succeed, but there’s some kind of complication. The gm describes
the complication, then you describe how you succeed.
If you included a dark die and it rolled equal to or higher than your highest
light die, it counts as a Ruin Roll as described under ruin roll.
If you are unhappy with your roll, you may add an additional dark die to
your dice and re-roll. You can keep adding more dark dice and re-roll-
ing. You cannot re-roll when a dark die is the highest die in your roll.
If you use a Risk Roll to try to defeat any of the forest’s monstrosities by fighting
them in hand-to-hand combat, you will die. Instead, roll to hide, roll to escape
or roll to use a ritual against them. If you fight something that is not monstrous
or if you fight a monstrosity but not to defeat it (for example, to fight your way
past it), be clear about what you want from the fight, then roll normally.
HOW TO PLAY
DEVIL’S BARGAINS
The forest is dangerous, and treasure-hunters take risks fueled by the folly of
their pride. To reflect this, the gm or any other player can offer you a bonus
light die if you accept a Devil’s Bargain. Common Devil’s Bargains include:
The Devil’s Bargain occurs regardless of the outcome of the roll. You make the
deal, pay the price, and get the bonus die.
The Devil’s Bargain is always a free choice. If you don’t like one, just reject it
(or suggest how to alter it so you might consider taking it). You can always just
risk your mind or body and take a dark die instead.
If it’s ever needed, the gm has final say over which Devil’s Bargains are valid.
RUIN ROLL
Your Ruin shows how much the forest has dug its claws into you, including the
physical and mental harm you’ve suffered. It starts at 1.
If your dark die rolled higher than your current Ruin, add 1 to your Ruin and
work with the gm to describe how the forest is warping your mind and body.
HOW TO PLAY
REDUCTION ROLL
The forest wants revenge. Humans have stolen its secrets and its gifts and given
nothing in return.
When your Ruin reaches 5, you may now reduce it by acting in the interests of
the forest: destroying treasure, preventing the use of rituals or sabotaging your
fellow treasure-hunters’ exit from the forest. You should do these acts in a way
that does not draw attention to yourself. The more it looks like an accident or
simple bad luck, the better.
Each time you do this, roll one light die. If you get less than your current
Ruin, you succeed at your task and decrease your Ruin by 1. You may
continue reducing your Ruin in this way when your Ruin drops below 5.
When your Ruin reaches 6, you lose yourself to the wilds that have been grow-
ing inside you and you become a twisted monstrosity in service to the forest.
This is an important moment: Everyone focuses on your last flashes of lucid-
ity before you either run screaming into the forest’s depths, or turn violently
against your fellow treasure-hunters.
Hand your character over to the gm to control, and either create a new character
or exit the game.
On the following page you’ll find sample character sheets. Choose the name,
occupation, background, rituals and drive of your treasure-hunter.
All occupations can learn and use rituals. Increase your starting Ruin by 1 for
each ritual you know. You can choose up to 3 rituals.
TROPHYRPG.COM
Choose the name, occupation, background, rituals and drive of your treasure-hunter.
TROPHYRPG.COM
GAME MASTER’S GUIDE
HOW TO RUN TROPHY
Trophy is, at its heart, a game about hubris. Desperation and greed might be
what initially drive the treasure-hunters into the forest, but pride is what keeps
them there, pushes them deeper and eventually does them in. Early victories
on the outer edges of the forest should give them a false feeling of mastery over
nature. Their increasing Ruin represents the erosion of their entitlement and
self-determination and should lead to the realization that in this tale of predator
and prey, they are the stag rather than the hunter.
In the end, the forest claims everyone who enters. Most never return. Those that
do come back with their minds and bodies broken. Fight to survive, but know
that you will be marked. You will be claimed. You will be the forest’s trophy.
CREATING AN INCURSION
In addition to the usual themes, each session of Trophy should be built around
a theme designed by you, the gm. This gives focus to the game and ties the mon-
strosities, treasures and setting together into a cohesive and satisfying whole.
Theme
First, decide on a theme. This should be a single evocative word, such as Sleep,
Water or Masks.
Moments
Next, come up with a list of moments. Moments are short descriptive scene
fragments that reinforce the theme. For example, if you’re using the theme
of Sleep, a moment might be “thousands of dragonflies in torpor, attached
to trees and tents”, or for Water, you might write “pools fill in your footprints
as you lift your boots from the thick, gray mud.” Aim to develop at least ten
different moments, which you'll pepper into your narration during the game.
Conditions
Now, make a list of conditions. Conditions are the ways the forest manifests
in your players’ characters when they increase their Ruin. For Sleep, that could
be things like “your dominant arm is plagued by a constant feeling of pins
and needles” or “you find written words illegible, as if in a dream.” You'll want
between 3 and 5 conditions for each player in the game.
The Journey
As the treasure-hunters go deeper and deeper into the forest, they move
through five different rings, starting at Ring 1. Each ring contains terrors
which seek to drive them away, as well as temptations that pull them further
in. The characters cannot move to the next ring until they’ve encountered at
least one terror and one temptation from the current ring.
Ring 1
The terrors in Ring 1 exist to make the players and their characters feel confi-
dent. There should be clear signs of the terrors’ lethality, but the treasure-hunt-
ers should overcome them with relative ease and a minimal increase in Ruin.
Ring 2
The terrors in Ring 2 are environmental. They make travel difficult and sepa-
rate people from one another. Their role is to show the fury of nature.
GAME MASTER’S GUIDE
example terrors: Torrential rain and mudslides; Noxious clouds of psycho-
tropic spores; Carnivorous trees, choking vines or other malicious plant-life
The temptations of Ring 2 take the form of overwhelming evidence. They exist
to show the treasure hunters that they are on the right path.
Ring 3
The terrors in Ring 3 exist to create suspicion. They should make the charac-
ters question the motives of their companions.
Ring 4
The terrors in Ring 4 are monstrous. Their role is to pursue the treasure-hunt-
ers and drive them into the final ring.
The temptations in Ring 4 are just out of reach. They’re right there, on the ta-
ble, waiting to be grabbed. All the treasure-hunters need to do is push a little
bit further. They exist to beckon to the characters, to drive them to desperate
and foolish action.
Ring 5
The terrors in Ring 5 are psychological. They exist to pit characters against one
another and make them relent to their eventual fate.
The temptations in Ring 5 are always things that other characters possess, or
are perceived to be in possession of. If there is something one character des-
perately wants, it should fall into the hands of another.
THEME
Sleep
MOMENTS
These moments can be used to provide texture to the world and reinforce the
theme. Pepper them in at any point along the journey.
Thousands of dragonflies in torpor, attached to trees and tents
A gentle humming sound, like a lullaby
A sudden warm breeze that smothers like a blanket
The cries of night animals (owls, frogs) during daylight hours
A bear in hibernation, unwakeable
A garden of stone statues, nothing in common but their closed eyes
A hole dug for a grave, left empty
A slow breathing, emanating from the earth itself
A fluttering form passes at the edge of your peripheral vision
Cricket chirps happen at increasingly greater intervals
Memorable trees and stones appear in the wrong location
Boots become heavy and walking slows, though the ground is not muddy
The moon appears through the forest canopy, though it should be daytime
A marker stone is discovered, covered with symbols evoking sleep
Stones used as head rests during camp are later identified as gravestones
CONDITIONS
RING 1
RING 2
terrors: Night comes more quickly than anticipated, forcing the party to
either set up camp or travel in the darkness. Someone should fall or almost fall.
The use of a stretcher or other horizontal travel might make an appearance
here, as that provides foreshadowing for the horizontal movement that will
appear in Ring 4. During this ring, ask questions about their fears and how the
forest seems to be actively working against them.
temptations: The party discovers a garden of stone statues or an unmapped
graveyard, with plaques or headstones listing the names of the advisors of the
king held in the final tomb. Ask the party what myths their culture still tells
about the king or how the old civilization met its end. Try to reincorporate
these ideas in later rings.
INCURSION: TOMB OF 10,000 DREAMS
RING 3
terrors: The party should feel forced to make camp. At least one party mem-
ber dreams of another member of the party betraying them.
temptations: During camp, someone finds rations they didn’t pack, but that
remind them of home or of their drives. Aim to get them talking about their
drives, and specifically ask them “what is your dream?” During this ring, ask
them what has kept them from achieving their drives so far. Look for oppor-
tunities to connect their backstories together, especially if you can show how
one character has held another back or kept them from their goals.
RING 4
terrors: The forest begins to wake. Things that should be asleep or long dead
start to rise. The stone statues from the garden hunt the party. Vengeful spirits
try to include the party members in reenactments of the spirits’ nightmares.
The party seeks refuge in the mouth of the tomb. Never describe the mon-
strosities in shorthand. There are no golems or ghosts here. These are relentless
chimeras bound in stone and violent winds that gnash at you like teeth.
temptations: The treasures of the tomb are visible, but very hard to reach.
To get to them, the party will have to make a tight horizontal crawl through
cold earth or descend a dangerous vertical drop. There is a very real risk of
getting suffocated or of falling. Give them only bad choices.
RING 5
terrors: The party members begin having visions of their fellow treasure-
hunters raiding the tomb and then leaving them behind. Anything a character
has mentioned dreaming about will manifest here, though twisted into a night-
marish form or with dangerous demands of the treasure-hunter. Show them
awful things and keep asking for Ruin Rolls.
temptations: Portals which reflect the drives of the treasure-hunters begin
appearing, but passage is always blocked (inadvertently or purposefully) by
another treasure-hunter. Describe the things they desire in exquisite detail,
but make the real world confusing. Promise them comfort and happiness and
see how far they're willing to go to get them. Make everything tragic.
ORCHESTRA
of OBLIVION
New Bloodlines for Rhapsody of Blood by Jay Iles
By Maria Rivera
Illustrations by Jonny Gray
THE GUARDIANS OF NATURE
MAKING YOUR GUARDIAN TRADITIONS
Pick one from each or write one of your own:
STATS
Pick One: Style: Rustic clothing; furs and pelts; barely any
clothing.
Chalices 1 Swords -1 Coins 0 Wands 1 if you focus on
Lore: Secret meetings; whispers of nature; hidden
caring for people while the castle corrupts the
enclaves.
outskirts.
Name: A sacred tree or animal; the name the whispers
give you; no given name.
Chalices 0 Swords 1 Coins -1 Wands 0 if you focus on
fighting the corruption at the source, caring little for
HISTORY
material gain.
One bloodline taught you how to fit in with the rest of
society. Set your pact with them to 1. You say what
Chalices -1 Swords 1 Coins 0 Wands 1 if you focus on
social expectation they taught you. They say how it
defending your territory at the cost of personal
has changed since.
relations.
Sulphur +2
History
Mercury -1 One of the other founders took part in one of your rituals of
communion with nature. Give their bloodline 2-pact on
Blood
you. You say what the ritual was for. They say what was
strange about it.
Looks: Old but fit; young but wise; feral demeanor (and
nature.)
Sulphur 0
History
Mercury 1 One of the other founders helped you escape a terrible fate.
Give their bloodline 2-pact on you. You say what would
Blood
have happened if they weren’t there. They say how they
arrived there.
Looks: Sly smile and shady eyes; sad smile and worn
eyes; knowing smile and hard eyes.
Sulphur -1
History
Mercury +1 One of the other founders found you and gave you a place to
stay. Give their bloodline 2-pact on you. You say how you
Blood
managed to fit in. They say how you stood out regardless.
HARM
THREE DOZEN
CONSTELLATIONS
GALMORAN WAS A GREAT HERO ONCE, BUT UZANKA, THE KINGMAKER, is fully
HIS WOUNDS LEFT HIM HELPLESS. He spent visible on the hottest night of the
the remainder of his days asking for year, when the heir apparent of
food or coin under a grand sycamore. Irigabe is traditionally crowned.
As a reminder to a people who would Uzanka's stars can appear in two
send their sons to war and then turn configurations: horns up and the heir
their backs on them, the Goddess is accepted, horns down and the
Eluartha swept Galmoran and his tree priesthood reject the candidate. If
into the stars. Ten stars spread over there's a trick to why every heir
the southern sky to form The Beggar's hostile to the priesthood has been
Tree. rejected, no one outside the
priesthood knows it.
IT IS WELL KNOWN THAT THE CERBERUS
CONSTELLATION, as described by ONE BY ONE, THE STARS ARE DISAPPEARING
Johannes Hevelius in the 17th century, FROM THE SKY. Swallowing an infinite
is no longer recognized by the amount of stars is a long process, and
International Astronomical Union, and we watch for years and decades as they
is instead considered a part of the disappear. Goodbye, Big Dipper,
Hercules constellation. Less well goodbye, Orion. We continue on with
known is the number of Herculean our lives, hiding the horror that one
cultists within the IAU. day, the star that disappears will be
our own.
ONE OF THE CONSTELLATIONS OBSERVED BY
THE MONKS OF THE ORDER OF THE SILVER THE SIGN OF RUFUS, THE BEGGAR,
GLOW is called The Sailing Seeds. foretells a blessing and a curse;
Every few years, the monks update while your destiny is never to achieve
their records of the many stars, but great things, you will constantly be
they've failed to realize the Seeds witness to those who destiny calls.
keep getting bigger. They are coming. Many famous biographers have been born
under this sign, and many more have
ON THE LAST NEW MOON OF THE YEAR, the lied about it.
constellation of Secata, The Owl
Mother, hangs in the sky directly DURING THE THIRD EVENING HOUR on the
above her mountain shrine. At the third day of the third month, if you
height of her alignment, her docents whistle to the stars, they whisper
cast pellets gathered that year into their words. Not to your ears, but to
the pool and read the floating bones your soul.
for guidance.
THE SCORNED LOVER WAS FORMED FROM A
LARNA'S ARROW: THE OTHER GODS WILL SAY HEARTBROKEN SIGH. The chill of their
that Larna has not won the archery heart froze the anguish breath, and
contest as her arrow has not reached the heat of their anger carried it to
the end of its flight. Larna ignores the heavens. A bad omen for
their feeble protests and continues honeymooning couples.
her hunt.
EVERY WINTER FOR MANY YEARS, THEY
FOLLOW THE SIGN OF THE FROGSTAR, my FOUND ORION IN THE NIGHT SKY. Every
lovelies. Follow it down the long year, they kissed. Every year except
swampy road. Come to the town of one, when ocean and desert separated
Duskfork, my pretties. Come to our them—but they did not know this yet,
town and kiss the black toad. so they still leaned in.
(Southern folk song, ca. 1861)
FREHZURA, THE ENTANGLED GRYPHONS, OVER MILLENNIA, THE PEOPLE OF ARMUN
entwine beak and claw in eternal BUILT RELIGIOUS SHRINES ACROSS THE
struggle. Even lore has forgotten the LAND. These sites were chosen as they
source of their strife, and it’s told provided the vistas most favorable to
that staring into the sky’s great viewing the constellation of Vestarta,
melee has been the impetus for many the Mother of Peace, at specific times
rulers to break peace. during the year. Only recently did
they realize that these shrines and
IT IS SAID THAT WHEN ST. PATRICK CAME the connecting lines formed by
TO IRELAND, he cast out all the pilgrimage routes had traced across
snakes. What is not said is that St. the land a frightening pattern—the
Patrick made a deal with Ophiochus, constellation of Pallungong, the
the Snake-bearer in Heaven, to take Father of Destruction.
all those snakes. What is not known is
what will happen when the terms of the IF YOU GO FAR ENOUGH INTO THE PINEY
deal are up... WOODS and look for Jim's Shack of
Mysteries, there's a door inside that
EVERY CHILD IMAGINES SHAPES IN THE leads into a pitch black room. Inside
CLOUDS, but few dare to draw shapes in are all the constellations, outlined
the stars. The druids warn us that with old Christmas lights. They say
copying a constellation of another you can add your own if you offer him
world will open a bridge there. a hand full of silver coins, and it'll
appear in the sky. For a handful of
THE STORY GOES THAT WHEN SEMIAS THE gold coins, you can take it down
INSATIABLE FOUND NOTHING LEFT TO again.
CONQUER, he knotted a ladder out of
every kind of grass and rush, tied it THE FOREMOST POETS AND OPERA SINGERS
to an arrow, and aimed his bow at the are immortalised in the stars of The
moon. On clear nights you can see Muses. They burn as bright as their
Semias’ Ladder marked out in the stellar namesakes, yet all die before
stars, and Semias himself as the their time.
brightest star among them, still
climbing. AETHERE'S SHIELD: Nine yellow stars
around a bright green nebula. Aethere
EAT SAND AND LIGHT THE BONFIRES for set them there to hold Kery the
Zekubrox, The Plague Bearer, has risen Destroyer in place for a thousand and
in the northern sky. Soon all will be four years. The nebula boils with
nauseous and red boils will cover fury.
their lips. The crow roosts upside
down until the scourge passes. Light THE FACTORY PRODUCES CONSTELLATIONS AT
lamps! Eat sand! A RATE OF ONE PER WEEK. Forged in the
sun’s light, the stars are launched
EVERY SPRING, WHEN ARTAX IS IN THE into the sky at the weekly Festival of
HOUSE OF GRIOVAER, the children of the Filling. The children sing of the day
village wander to moonwell and gather when the sky will be glutted with
the holywater from it. The legend says sun-smelted fragments, and there will
that if one year the children don't be nothing more to fear from the
get the water, the demon Hastrufaal night.
will rise and destroy the village and
enslave the people. IN THE SAME WAY THE OCEAN'S TIDE is
based on the moon’s movement,
constellations’ gravitational tide is
based on the movements of unsensible
entities. The gravitational tide is
coming in fast.
THE NIGHT THEY REALIZED THEIR NAVIGATOR HAD THE BALLOONIST WAS KIND, GENEROUS, AND
SET COURSE for the left hand of Gustave the BELOVED BY HIS FRIENDS; but he was
Bone Mariner was a fraught one. Every sailor devoted only to the sky. He was always
knows that celestial skeleton’s eager to get back in his balloon,
bleached-bone fist crushes all vessels that always venturing higher and farther
steer or drift its course. Yet the captain from home until one day he didn't
stood by the direction. “After battles return. No sign of his bright yellow
wreaked our bow and bounties marked our balloon was ever found. See those five
heads, we’re doomed anyhow... Might as well stars, all yellow? They appeared when
find what solace the old man might hide.” he disappeared. The sky loved him
back, and the sky is a jealous lover.
CHILDREN BORN BENEATH THE SIGN OF THE
BLEEDING SOW are said to have a way with STIR THE SEA WITH YOUR OARS! Clash the
animals, good health, and poor eyesight. bow into the mighty sea king’s waves!
Such superstitious beliefs will get you Beat the drum until your arms fail
laughed at in the cities, but journey you! We sail to fertile shores!
outside them and it's hard to find a shepherd Hugarth the Wayfinder points our way
tending a flock not born at the end of fall. with his astral hand!
All of them are healthy, happy, and
squinting towards the horizon. THE PRANCING CAT BURNS BRIGHTEST AT
THE NEW MOON. They say its light falls
A RECENT DEVELOPMENT IN THE NIGHT’S on all but thieves and strays.
ORCHESTRA, the Pale Rider is made not of
stars, but a dozen Armathian warships "OUTSIDE THE ABBEY WALLS, far away
traveling in rigid formation to usher in from where the torches blind your
this planet’s final movement. Scientists vision of the heavens, Brother Thomas
calculate the “constellation” will not told me that we could see the Crown of
arrive for several hundred years, so it It'Amatsu in the sky. Did I ever tell
largely carries on its way unheeded. you about It'Amatsu? His spring blade?
His winter blade? How he was
THE PEOPLE OF VORDUNGSTAHL EAGERLY AWAIT THE imprisoned in the sky by the emperor
FAINT CONSTELLATION rising over the eastern for refusing to fight the wind, his
peaks on the winter's solstice. On that lover? We should go see the Crown, I
evening, the astrologers convene to can tell you the stories as we walk."
reconnect the glimmering stars into some
new, creative shape, and it is believed that THE WANDERING SHEPHERD has only one
this discovered form will guide the city's eye, since the Sorcerer King plucked
destiny in the coming year. Every time, the the other from the sky to present to
constellation is christened with a different his lover. A thousand years later, his
name according to the freshly figured kingdom still burns.
pattern that the astrologers have discovered
in those glimmering stars. HE WOULD MAKE THEM THE STARS, said the
god-king. Xyele was foolish and in
THERE ARE NO STARS, just holes where the love and did not think to ask for
god-vandals have scrawled their names too specifics.
hard.
Codex Contributors:
Cover illustration by Chris Spence
Layout by Jake Householder except for Trophy, which was laid out by Jesse Ross