1

INDEX
A WORLD TO LIVE ............................................... 5

MAGIC ............................................................................ 8

REGIONS AND ENVIRONMENTS ........................ 11

CONTINENTS ........................................................................................ 11
SEA AND OCEANS ..................................................................... 14
HABITATS .............................................................................................. 14
SURREAL ENVIRONMENTS ............................................................... 21
REGIONS ................................................................................................... 24

ROADS AND ROUTES ............................................. 28

MOUNTS .................................................................................................. 33
MEANS OF TRANSPORT .............................................................. 33
TRAVEL TIME DIVISION INTO PLAY ........................................... 34

CITIES ............................................................................. 38
NPCS ............................................................................. 50
CREATE A CHARACTER .......................................................... 52

ELEMENTS ................................................................... 56
TIMELINE .......................................................................................... 56
DEITY .......................................................................................................... 57

DIARY OF A WORLD AT ITS END ................. 60

 All the charts and cards present
in the book can be found here:

About a World: a Worldbuilding Narrative Handbook

Funded on Kickstarter thanks to the help of 421 backers

© 2023 Ezd & Howl from Red Roots Studio, Kyacchan.

All rights reserved.
Building a story is a magnificent experience and, if you are
holding this little book in your hands, you are as convin-
ced of it as we are. Creating a world full of diversity is the
perfect way to get your story to be the best it can be. Out-
lining the facets of a territory, its connections, and filling it
with people, creatures, places and life gives a unique sati-
sfaction of its own kind, which allows you to deepen and
stratify any narrative experience, from the simplest story
to epics made to be faced by friends and various players.

A vibrant sea of events, cultures and foods truly experien-

ced by their characters will also be more satisfying to visit
(by us ourselves, as well) and will give you a canvas of infi-
nite possible colours with which to paint, over time, stories
and legends, real experiences, causes and effects, or just a
continuous series of expedients to be used in one’s adven-
tures.
In this book, we wanted to pour all our love towards this
amazing opportunity, and try to give you an additional
tool to organise and keep your own, very personal world
in order.

A world belongs to its creator just as

the latter belongs to the former.

5
 WHERE TO START
It can be difficult to set a starting point; yet, any will do.
For this and other choices, Keh, a tiny supernatural entity,
lover of worlds and eternal traveller, can help us:

Keh is, in the key of the book, a small creature capable of

using an almost absolute power to shift through the pa-
ges and realities, since it is connected to the imagination of
those who create the world.
The creature with the yellow hat moves in, out and throu-
ghout any possible scenario, acting as the eyes and sensory
avatar for the worldbuilder, touching the world around
him with his prehensile scarf and, at the same time, giving
an idea of how a place could render through the senses of
a player, although fictitio-
HEY! I mean, through the
perceptions of a player placed in the situation they created.

Carried by the flow of imagination, he will also be a use-

ful resource in giving occasional advice, opinions and in-
put during creation (and maybe he will even meet some of
your characters, who knows!).

6
Choosing where to start to set up your world, even if you
don’t have a rough idea of it yet, is always fun as well as in-
teresting. Literally any choice is valid, but when in doubt,
just use the little scheme below.

First step:
Roll a D6 or choose where to start among:
rock - water - tree - metal - sand - brick.

If rock, Keh will be on a mountain peak, under a clear sky.

If water, he will be on the shores of a vast beach.
If tree, Keh will be in a forest through which the sun’s rays
pass.
If metal, he will be sitting outside a tavern, watching a city
in full motion.
If sand, he will be among vast dunes and forgotten
canyons.
If brick, he will be at the gates of a small village with low,
white houses.

If you have already experienced some

adventures, write down all the places visited
by your party first and, when we go to face
the creation of the territories on the charts,
you will decide where to place them.

Now that the first step is decided, there are only two
things left to do: give it a name, and start taking a look at
everything else!

7
 How to explain or decide a wonderful and irrepressible
force capable of acting directly on reality? Whether it is
omnipresent in your world or a silent and veiled echo, it is
good to outline it as one of the very first elements. The con-
cept of magic rotates and often changes according to the
media used to experience one’s world, each setting or RPG
tends to give it its own personal key, adapting its rules and
operations, and with them limitations or needs to avoid it
becoming too unbalanced an instrument within the setting.

How Does It Work?

Whether it’s divine grace, an ancient art
capable of manipulating invisible forces,
or the channelling of certain natural
elements, you’ll need to determine the
source from which magic originates.
The source is vital to delineating magic’s
boundaries, both for practical use and the
actual impact on the surrounding world.
You’ll need to answer several questions
to get your magic up and running:
How widespread is it? How well is it
tolerated? Does the perception of it
change depending on the place?
Multiple sources of magic may already
coexist, but their impact remains
unchanged. Magic can act directly
on the world around the players
and be used by them, too, if necessary.
8
Visual Aspects
Bluntly said, magic is one of the greatest aesthetic resources
available to a creator. From the introduction of supernatu-
ral environments, such as floating bridges or giant towers
filled with glowing glyphs, to the actual use of spells du-
ring a fight, it turns out to be alive and vibrant almost like
a character itself, becoming an actual element in the plot.
Magic can present itself with different descriptive aspects.
Don’t shy away from colourful recounts, describing a par-
ticularly successful spell with more detail than usual, or a
personal element of the one casting it. Lights, floating sym-
bols, sparks or words that can take shape – moulding their
appearance is as important as the spell itself!

A realistic world can also offer different interpretations of

magic and its use. What is seen as normal in the north can
be seen as heretic in the southern green lands.

Magic can also spring from the source of the

planet, or overflow from alternative planes of
existence. Don’t put a lid on your imagination!

9
 Magic Tips
- When you create a spell or an enchanted item, ALWAYS
ask yourself its worst possible use, not necessarily to use it
as a limit. In fact, some enchanted items can have hilarious
or very unique implications if left to a player’s imagina-
tion. But still, that’s something the master wants to know
before anyone can use two twin vacuum bags to generate a
particle accelerator and try to defeat a god with it.
- While magic can have fascinating implications,
antimagic can do even better, throwing dismay and terror
even among the most seasoned. It simply occurs in an area
or situation where magical influence is partially or comple-
tely denied. It can be a very powerful spice when added to
the right situations, be it a fight or a puzzle in a trap-ridden
dungeon.
- Create and carefully choose the magical powers of any
enemies, especially if they play a decisive role in the plot.
The fact that the opponents have the same choices as the
players, except in cases of enormous power difference,
adds a sense of realism that will make the actions even
more impactful. Always ask yourself, beyond the scenic
scope of an action, how this can really be achieved!
- What influence can magic have on everyday life? From a
general point of view, even the current human technology
can be seen as a form of magic, sharing our knowledge
through small fragments of mirror composed of magical
lenses, able to show the most distant worlds thanks to a
technique refined over the millennia. Always consider its
direct impact on the surrounding world!

Magic doesn’t have to be pyrotechnic or dramatic.

It can also present itself in a more subtle way, such
as a rhythm that goes from stone to tree to creature,
10 giving strength in the darkest moments!
Continents
Continents are the basis of all life as we know it. These
immense, rocky territories, whether they’re fragmented
and semi-submerged with only a handful of archipelagos
out of the sea or boundless and unique macro continents
such as Pangea itself once was, provide the primal basis on
which to start determining the shape of our world. It does
not necessarily have to be the first step, but it’s pivotal no-
netheless, especially when we begin outlining the areas of
greatest interest such as kingdoms, cities and regions.

In the next two pages, you will find the real map of your
world, always ready to consult for any eventuality!

Here’s an explanation of the scheme:

1 - The name may be secondary initially, but a nice world
needs it.
2 - The core of it: your map. By joining points to form sha-
pes, you’ll put together the continents and formations of
the world, together with its oceans and most important
places!
3 - Through the key, you can easily keep track of the sym-
bols you are going to apply on your world, drawing them
or cutting them out and glueing them on the map from the
“World Key” card that you can find here:

11
3
 1

2
 Seas and Oceans Habitats
Except for extremely arid Natural environments are
worlds or surreal ones, life among the most complex
requires a fundamental in- and richest aspects to be
gredient: water, lots of wa- developed. While it’s true
ter. Vast expanses of liquid, that a good story can be
sometimes deep enough such even with a simple,
to become abysses where standardised background,
even the light cannot reach, creating a solid, natural sce-
able to unite every coast of nography where the cha-
your world; what will you racters can roam around
name them? What details, gives that extra edge to the
such as ship and island whole. Habitats can provi-
routes, legends or huge sea de depth, or simply make
monsters, are you going to a setting more realistic and
place among those waves? help those who live this ad-
venture to immerse them-
selves deeper in the situa-
tion. Like all aspects of
worldbuilding, an environ-
ment must meet two main
requirements: consistency
and layering.

14
Consistency Stratification
It is useful to keep the You can easily place the
suspension of disbelief con- characters in a forest and
sistent, and not add discor- that’s it.
dant notes that can make re- But an ecosystem is made
aders/players turn up their up of several elements that
noses and interrupt their interact with each other,
experience in the adventure and that’s what makes it
you are weaving for them. interesting. Don’t be afraid
Studying the types of natu- to dive into details; is the
ral environments will help forest a labyrinth of tall
you create a well-structured coniferous trunks, dotted
scenography. If you’re crea- with moss-stained boul-
ting a fantasy setting, don’t ders, or is it an intriguing
fret: the real, actual world is tangle of bushes, rotting
richer in absurd places than logs and broad-leaved tre-
you might think! es? Is it inhabited by do-
However, inconsistencies cile creatures with bright
are not forbidden; quite colours, or is the predator
the opposite! They can give lurking on the shy and elu-
that extra bit of interest and sive prey? Are there placid
charm. For example, adven- and silent lakes, or noisy
turers might come across a streams?
swamp in the middle of the
desert. How is it possible? In the next pages, there are
How was it formed? a series of questions you
Perhaps it’s what remains can ask place yourself
of an ancient, failed spell, when you are creating your
which aimed to repopula- setting.
te the desert. It wouldn’t
hurt to investigate… But
we’ll talk more about the
surreal environments later.
15
 - What is the climate of the
place? It’s very important
to determine what elemen- - Who is the apex preda-
ts and weather adversities tor? Again, a good piece
the characters will face. At of advice is to study real
what height is the habitat habitats and how the food
in question? Does it rain chain works within them
often? Do adventurers risk but (especially if you are
serious illness if they are writing a fictional work)
not properly equipped? don’t be afraid to indul-
ge yourself; the apex pre-
- What are the natural dan- dator in question could
gers that the characters be a plant. Immobile, but
can run into? Are the high, whose insidious and vo-
rocky walls of the moun- racious roots travel fast
tain prone to collapse at the underground for miles.
slightest stimulus or vibra- Be careful not to overdo
tion? Does the red mist pre- it, however, if you want to
vent you from breathing, keep the suspension of di-
making the paths of Mor sbelief intact. A predator
deadly? Is the desert dotted that is too big, too strong,
with quicksand? too voracious, too numerous,
would lead to the collapse
- What plants and creatures of the local fauna… or you
inhabit the area? How are might be aiming for that,
they affected by their sur- letting your players enter
roundings? How do they an area where the natural
interact with each other? balance has been broken.
Do they pose a risk to the
characters?

16
- What resources can the
characters encounter?
What will they need to travel
the region? Will fresh and
drinkable water be abun-
dant thanks to the nume-
rous and clear streams? Will
they risk collapsing under
the scorching sun? Or will
cold and hunger put them
to the test? In any case, the
equipment must always be
taken into account and, with
it, rations of food and water.

- Tourism is important: what

is that region or area known
for? For the active, yet har-
mless volcano, or for the
expanse of vineyards from
which a very sweet wine
ferments? For the skull-sha-
ped mountain, or for the
bottomless pond? Or may-
be because in the northern
seas of Quan, delicious giant
blue prawns proliferate,
with which they make out-
of-this-world skewers. This
is, of course, not an essential
question, but it can add an
extra touch to your story.

17
 To help you get an idea of the types of environments to
take advantage of in your story, here is an essential and
simplified list of the biomes present on our planet:

Savannah Tropical rainforest

In the savannah, tempe- So named after the fre-
ratures are high all year quent rainfall, which often
round and there are two turns into heavy monso-
seasons: the rainy one du- ons. Temperatures in the
ring the summer months, tropical rainforest are very
and the dry one during the high. The greatest variety
rest of the year. Characteri- of fauna can be found in
sed by grassy expanses, the this environment and the
few trees grow far apart, vegetation is stratified and
and during the rainy sea- complex. At ground level,
son their leaves and herba- due to the dense and high
ceous plants explode into vegetation, there is little
rapid growth. light, and plants such as
ferns prevail.

The rainforest is a burst of life and noise,

whether from creatures or from violent rains.
What would happen if these noises suddenly
stopped? What or who could have stopped them?
18
Desert Temperate forest
There are numerous types The “classic forest”. The
of desert: sandy, with mas- climate is temperate and
sive dunes; rock deserts, there are four seasons,
salt deserts, scorching hot with moderate rainfall
or freezing cold ones. What and the absence of a dry
characterises them are the season. Usually, they are
strong thermal excursions stratified in three levels:
and extreme aridity. the undergrowth, the
The creatures that inhabit shrub level and the tree
these deserts, plants and level. Even if there are
animals, are well adapted mixed woods, there is
to the hostile environment often a prevalent species
and make the most of the of tree, which dominates
limited resources. the others (beech woods,
oak woods, etc.).

They say that in that de-

sert north of Kayeh there
is only frost and death, but
those few who managed
to return feverishly tell of
hundreds of suspended
doors, each capable of
leading to a different and
very distant place.
19
 Steppe Taiga or boreal forest
This type of setting is The taiga is formed by vast
found in continental areas, coniferous forests with
far from the ocean, and is sparse undergrowth. Al-
composed of vast lawns of though rainfall is scarce,
herbaceous plants, shrubs the soil is highly humid,
and a few trees along the thus hosting swamps,
waterways. Winters are ponds and peat bogs in the
very cold and summers clearings. The dry, cold and
are hot and rainy. harsh climate gives little
Resources are scarce. space to a short, cold, yet
sunny summer.

Tundra
The tundra is an expanse of pe-
rennial ice, where trees are absent
and the vegetation is represen-
ted by herbaceous plants, mosses
and lichens that grow during the
partial summer thaw. The annual
temperature is below zero, with
freezing winters and short, cold
summers with little rainfall.
20
Surreal Environments
So far we have explored known environments, mirrors of
a life very similar to our planet. But what happens when
the unknown, magic, or some external force changes these
landscapes? Floating mountains, lakes of fiery lava over-
flowing with creatures capable of adapting to them (such
as the renowned cast iron fish of the Loustrar), or climbing
ecosystems in immense chasms that, feeding on the solar
energy coming from their rocky walls, ended up forming
the endless vertical forest known as The Long Well.

Changing a place only requires our imagination and a few

mental tricks. Here are a couple:

- Always ask yourself “how” a given surreal environment

can exist! For example, if you find plants where there is no
sun, ask yourself what they feed on. Or again, in the case
of a floating mountain: perhaps a seal was placed under
it centuries before, or its own stones have an intrinsic an-
ti-gravity power.
- How common is surrealism? Perhaps in your world the
exception is the norm, and people have adapted to it, like
the pirates of Sangral sailing through the water swirls that
cross the whole planet. Or maybe the unique wonder of an
inaccessible place has contributed to making it legendary,
even mystical, and a destination for difficult pilgrimages!

Adapt the challenge to the environment. Climbing a magi-

cal mountain could be child’s play due to the dimensional
shortcuts between its ravines, but maybe the real risk is
going back down.

21
 The charts’ task is to guide you in taking note of the world
(or worlds) that you create, allowing you to form a set of
precise and always available data.

In particular, in the pages containing them, it will be pos-

sible to easily connect the points together and enrich the
maps with various symbols, in order to also have a tidy
graphic representation for your creations.

On the opposite page, you will find the chart for creating
natural zones within your world.

1 - The name of your habitat, perhaps based on an aesthetic

characteristic, on a legend or event.
2 - Its type, like the ones provided by the manual: savan-
nah, steppes, surreal, etc.
3 - The most common weather of the environment.
4 - The bar refers to its climatic conditions, from an extre-
me frost to a scorching sun (or a perpetually-on-fire habi-
tat).
5 - Minimum and maximum temperatures: how much can
they change in this area?
6 - On the left, a summary, even only from an aesthetic
point of view, of the species of plants and flowers that
make up the habitat. On the right, you can describe the
creatures of the area instead.
7 - A more personal, brief description of the area and, for
example, of some of its details or dangers.

22
 1

4 5

7
 TIPS AND SHORTCUT: CONCISE DEFINITION!
Help yourself by trying to define your world (or what
you would like it to be) in two or three sentences.

“Yamdu, a world full of magic and ancient rites, broken by a

calamity of which the memory has been lost.”
“Lishamsara, a world divided and torn apart by wars
and conflicts, where nature is being devoured more
and more every day.”
“Gash, the golden world, dominated by powerful
empires and a wild magic that has changed its balance
many times already.”

Having an idea of the world you want to create will help

you to better establish your goals!

Regions
The region is a giant set of places, habitats and cities.
It’s a territory that can extend from a few hundred km
or become half of a continent, holding an equally large
amount of environments in it.

24
It’s also an extremely important “glue” during the creation
of a world, as it helps a lot in its particularization and is
able to spontaneously form as you define more and more
areas, paths and lore!

The scheme of the region is thought to best outline the

enormous set of habitats and places that make it up.

1: The name of your region; it’s often chosen by those

who live there, or perhaps attributed by an enemy.
2: The types of habitats (and/or their names) that it
contains.
3: The climates that the region hosts in its territories,
often influenced by habitats.
4: The cities within it, their type and their borders.
5: The myths that go around this enormous place,
the mysteries present in it or hints of its history.
6: The map of the region and everything inside it.
You can customise it by arranging the symbols of the key
on it, drawing them or taking them from the “Region Key”
card that you can find here:

7: This area allows you to keep track of the meaning of all

the symbols placed on your map.

25
 1

5
6

7
 Of rock and stones, beaten by ancestors and merchants or
discovered by the player, able to connect places from any
distance, and often the scene of the most central part of a
journey: here are paths and roads, and their paramount
importance in your world!

In the vast majority of medium-length sessions, the im-

portance of an actual path is very often overlooked and
dismissed as a waste of time, sometimes disrupted with
occasional clashes. But these are actually very useful and
central tools in the gaming experience.
Also, a common mistake made is planning a single path,
from point A to point B that players are supposed to follow
step by step. Spoiler: they won’t.

Your world is three dimensional, and as such, it has a vast

choice of roads, turns, avenues, unsafe paths, and is full of
opportunities. It’s always good to be well prepared for all
eventualities, and above all, one thing is crucial: the player
must be free to make their own choice.

28
The best way to prepare for memorable. We are talking
this part of the journey is to about a movement from
have your compiled scheme point A to point B, but it’s a
on hand, so you can track great opportunity to insert
the road the characters are small detours, offer more
following. Mark the possi- controlled exploration choi-
ble paths, consider possible ces to the players, seemin-
derailments from it due to gly superficial encounters
the attack of a monster or or plot nodes (how many
a player’s madness and do would expect to stumble
not get lost (and don’t lose across a powerful demon
the thread of the narrative!). king on a country road?).
Let’s take three different
travel examples:

A short trip
Brick or dirt, from a nearby
town or through the wo-
ods, a few days or hours to
A child might have lost
actually enter the walls or
their friend in the nearby
get to the nearest tavern, to
forest or, at sunset, our
rest your bones or do a little
heroes may spot the
exploration - you can easily
torches of a distant party
be tempted by the shor-
and decide to take a
tcuts, focusing on the desti-
look. Being able to ma-
nations. Try to take advan-
nage a path more slowly
tage of this time instead:
can help enrich it! Here
let the path crossed be
is the beauty of moving
actually experienced, with
in a living world!
brief descriptions of the
landscape or of an event
that will make it more

29
 A journey between two - Throughout the journey, let
distant places them observe the places you
pass through. Make sure that
Here we get to one of the
detours, efforts and clues
most-faced scenarios by a
interact with the daily life
party moving across a
of the party. The time spent
country (or continent):
together is also an excellent
a quest. Always keep in
glue for group relationships,
mind the environment our
or useful to sharpen the ba-
heroes will have to go
lance. Facing a long journey
through, and the likeliho-
together day after day neces-
od of a consequent chan-
sarily forces interaction, if
ge of path. The ability to
the master creates the right
make a choice, recurring
scenarios!
in all games with a narrati-
ve component, is an incre-
dibly fun tool, and taking
advantage of this type of
path brings up the best of
it! So, give your players
more options after prepa-
Moments of travel can be
ring multiple courses:
an opportunity for a cha-
racter to tell a flashback
- Before leaving, show
or a personal anecdote!
them different itineraries,
with their pros and cons.
One road might be faster These paths can present
but more exposed to thre- themselves in an almost infi-
ats; another might be sa- nite number of ways, requi-
fer, but the longer time to ring you to change transpor-
walk it could be crucial, or tation means multiple times
even just a waste. and search for clues. But once
the main routes and, above
30
all, the environments crossed Players will have to pre-
have been defined, it will be pare themselves in order
much more intuitive to crea- to face certain roads, find
te new and alternative roads, the right way and face the
integrating them with one outside world in all its vo-
another. Help yourself by racity.
using the Map scheme. In this dynamic you can
also experience the thrill
A long journey into of gradually discovering
the unknown your own path or putting
together a map of the di-
One of the most captivating scoveries along with the
experiences in many games players, if you prefer a
and stories is the feeling more laid back approach.
of actually discovering so-
mething for the first time.
At some point, whether it’s a
good game or a good script,
an indissoluble bond is cre-
ated between characters as
well as players. A very distant
land, perhaps only heard of It’s also an excellent
in legends, an unknown goal opportunity for the
beyond one’s means, or the Master to actually
sole desire for total freedom. test the limits of their
This type of path can be mo- world and go fur-
dulated similarly to the one ther, describe absurd
between two simple distant ecosystems, test its
places, but it shines with its nature or very distant
own light if split into pha- civilisations.
ses, alternating actual travel
sessions, moments of arrival,
and plot development.
31
 From here, we can review a key element of the itineraries:
actually living and perceiving the surrounding world,
a topic that will often come back as the backbone of the
experience. As you build your roads, remember that long
distance travel environments tend to change often.
Bridges, rivers, stone paths and dark roads in the depths of
the earth; moving around a world can require you to take
advantage of all these alternatives, putting a strain on the
resources and skills of our adventurers.

Keep in mind that changing landscapes and habitats will

also change the conditions of everything else!
Crossing inaccessible places may require you to risk your
life several times, monsters or weaker opponents can turn
out to be very dangerous threats in the right environment.
Remember to always set challenges and bring them on as
you advance to make the experience more stimulating!

Crawling creatures will be easier to deal with

in the open than inside the dark walls of a cave!

32
Mounts

Much of the road, espe- be the only allies able to

cially how it is perceived reach an elevated city.
or the challenges it entails,
depends on how you are Means of transport
actually moving. A steed
will certainly help speed-wi- Your characters may de-
se, but it might be proble- cide that their feet (or
matic in difficult territories. paws) are too swollen and
Some magical beasts may won’t hear a thing about
move easily but have huge a 15-day-long journey,
problems with elements of and that’s when they can
the environment. Remem- contemplate public tran-
ber to give space to the sport. Consider carefully
mounts. Don’t treat them the travel times and costs
as mere objects; instead try of each (unless you decide
to characterise these impor- to jump on a freight car il-
tant companions. You will legally…). A fun little part
be surprised by how much of creating stories is also
a journey changes based on imagining new means of
the presence or absence of transportation! You can
even a single, secondary cre- use the classic telepor-
ature. Also, remember that tation, be it a fantasy or
it’s not just about the creatu- sci-fi story, or efficient air-
re’s speed, but the overall ca- ships enhanced with ma-
pacity and adaptation skills. gic crystals, or the simple
A giant sea turtle might be cart of a passing woodcut-
able to carry small groups ter ready to be used as a
but at a very slow pace, or a collective skateboard for a
bunch of huge, susceptible descent.
red-cloaked monkeys might

33
 Travel time division into play
It’s very important to decide, even if only indicatively, the
length of a path based on the time needed to travel it.
It might seem obvious, but you can easily lose the rende-
ring of distances by moving narratively through a world.
Thinking about the distance in time, we will also know
what kind of route to prepare or how complex to make it!

A smart way to understand the distance of places is

to consider that a healthy horse can reach 50 km per day,
and travel between 200 and 350 km per week on average.
Help yourself with a map or any mapping system to get
a real idea of what 50km as the crow flies looks like, and
consider that an average loaded steed can get there in
about a day. When you think of creatures with different
or higher abilities, imagine them in motion. Picture how
quickly they can walk the roads, how they move and how
far they can go!

34
The roads and paths remain a great, unique tool to give
life to the most extreme corners of our world and, if used
properly, they will fill the minds of every single player and
reader with vibrant memories.

TIPS AND SHORTCUT: REFERENCES!

Take full advantage of the real, surrounding world,
especially of the art around you. Integrate as many
inspiring references and images as you can.
If it falls within your possibilities, commission an artist
or try your own hand at it; never worry about using
visual references in your private sessions. We’re talking
about an amazing kind of game and an adventure
to live together! Seeing related art will help
both you and your players!

Some reference images can also be perfect for

introducing certain moods during a session, to help
players move from a moment immediately after a
battle to one that is more about the storyline, or to put
more emphasis on the presentation of a certain scene.

35
 The routes’ chart is designed to give you more choices of
paths to analyse and compare them with each other.
You can also use this to propose it to your players, so that
they can decide their path in complete autonomy.

1: The region in which your roads are.

2: What type of route is it? Is it a short trip or a long jour-
ney between two distant places?
3: A map key that explains the different symbols that can
be applied. You can draw them or cut them out from the
“Route Key” card that you can find here:

4: The unit of measurement of the distance between a dot

and another (in km, feet or miles) which determines its
length.
5: The graphic representation of the route (or routes). It
allows you to have in front of you all the alternatives of
each road so you can consult, compare and/or show them
in a simple and intuitive way.

36
 5

4
 Receptacles of society and history, cities mark the begin-
ning of something beyond simple civilisation.
They represent an idea, a desire for union (not always in a
positive way) and some form of control and social balance.
Urban agglomerations are the mirror of a set of elements,
mainly those who live there and the conditions in which
they are placed; but they’re also the result of recent history,
the economic management or neglect by those in power!
Figuring out how these mechanisms work and if they’re
balanced allows you to know your city and better outline
it. Speaking of social nests, however, we must, first of all,
distinguish the different types.
Let’s see some examples:

Village
Whether between five and fifty houses or up to a thousand
inhabitants, simple settlements born from a small immi-
grant community or gathered around a founder, villa-
ges usually need a lot of labour from their inhabitants to
support themselves.

They normally don’t have an actual guard force, but rather

a bunch of armed big guys or a couple of battle veterans.
Important decisions are made either after a discussion
among the villagers or by a council.
While it can happen in larger cities too, the charismatic fi-
gures linked to the foundation of a village usually have a
leading role in its government.

38
Where they shine
It particularly stands out when you let the players observe
the villagers; whether they are a secret and possessed cult
or a small community dedicated to frugality, villages cre-
ate the perfect scenario for sessions of investigation, dialo-
gue or discovery of a terrible secret held by the elders.

Hamlet
A set of intertwined roads that shape a medium-sized
borough with houses often built close to each other, the
hamlet can have a few thousand inhabitants and usually
relies mainly on the geography and resources of the area,
such as fishing, agriculture, hunting or manufacturing.
At its defence there’s almost always a group of guards,
often on quiet patrols or simple watch duties, and one or
three people are recognised by the community as promi-
nent members.

Where they shine

Hamlets are perfect spots for quick stops while on a jour-
ney, perhaps by a retired hero’s home. They are excellent
battle-of-attrition settings if equipped with walls, or even
just great opportunities to learn more about the history of
the kingdom you’re travelling across.

39
 Small town
Medium in size but largely dependent on trade with other
communities, small towns are able to offer more a speciali-
sed variety in a specific sector of commerce.
The small town setting is useful for those who visit it
for more specific exchanges or materials.
It has a leading figure such as a mayor or a vicar of power
mandated by the crown, flanked by a small council and
major defence forces able to protect the assets sold and face
any threat.

Where they shine

Here we are approaching the concept of a more classic ga-
thering place. More people means more events.
Maybe the place is famous for a particular fair or race or,
in the case of a geographically and culturally distant city,
it will have unknown traditions and rituals, even if only in
marking the time of the day. In these scenarios, given their
versatility, it’s important to let your players run freely.
Give them opportunities or let them follow a track, and
you can make them fully empathise and have fun.

40
Commercial city
Large in size, commercial cities are metropolises split into
several areas, well organised and with specialised cen-
tres for sales such as markets and fairs. Sometimes they
are marked by a bellic context, such as iron metal-produ-
cing, guerrilla-ridden cities. A considerable bustle fills the
streets and alleys, allowing a greater stratification of social
levels or the existence of castes. It’s often the guilds that
manage these cities directly, sometimes associated with a
neighbouring kingdom and other times completely free.
They have a small army and a system of ranged guards,
particularly specialised against thieves.

Where they shine

Even just trying out new taverns can become the main
quest of the session. Enrich the streets with different types
of shops or peculiarities, take the time to describe multiple
shop windows even in a few sentences and give the diffe-
rent areas their own identity!
Or, push the overcrowding to the limit on a structure that
cannot support it, creating order difficulties that require a
kind of management that might be interesting for the cha-
racters living there. A riotous crowd is always an excellent
channel of events from a narrative point of view (a little
less if you are one of the aforementioned characters, but
you’ll see, they will do very well... maybe.).

Commercial cities also lend themselves particularly to

complicated robbery plans if you are struggling with a
party of thieves, or if the group bard has a debt that turns
out to have too many zeros.

41
 Capital
The beating heart and nerve centre of a bigger power, the
capital exceeds in relatively chaotic areas and larger and
more specific buildings. Its creation, like in the example
we will see shortly, embodies the management of a very
solid (or very exploited) commercial apparatus, but with a
much more evident social identity. Usually, it’s the head-
quarters of kings and emperors or whatever the country’s
form of government is, with enormous armed forces and
offensives.

Where they shine

Even after an entire book or campaign set entirely within
its walls, a capital is still able to reveal hidden passages,
power plays, or just areas that you didn’t know existed.
Dedicating a session to unravelling its secrets or using it
as a background for more minute issues, the opportunities
for the creator and their characters can range from the
darkest to the most chivalrous scenarios, passing through
the narrowest alleys to the highest towers.

City State - the Kingdom

Almost not definable as a city but more an immense
place, a real bulwark, Kingdoms are completely colonised
areas capable of incorporating more than one habitat
within their borders. Going from one district to another
is the equivalent of a long journey, and usually this type of
settlement ranges between two extremes: very organised
and structured in their entirety, or in a constant state of
chaos caused by the difficult handling of power it takes to
rule over such a huge territory.

42
This titanic form of society is quite rare in itself due to the
difficulties of narrating and managing it, but it’s always
very fascinating for the unique level of depth that can be
reached in its exploration.
Now that we have outlined the basic focal points of size
and complexity of a human settlement, let’s analyse the in-
dividual parts that will go into building its real soul.

Structure
Here we’re going to choo- erected, what threats or cli-
se the architectural compo- matic phenomena it may face
sition of the place, whether or have faced. Houses and
it’s low houses with tall roads built on the mountains
chimneys, underground will have different characte-
dwellings dug among ristics from the downstream
mines or floating circles ones; intricate villages foun-
among the clouds. Defi- ded on elevated stilts will
ning the structure of a pla- require an evacuation plan
ce means composing a real in case of recurring floods;
map based on the actual some towns will be protected
places and spaces that you by thick walls to avoid at-
will describe. Especially in tacks from ferocious beasts
the case of agitated action, or divided into labyrinthine
having a structure that’s streets to defend themselves
solid, (mostly) consultable in the event of an invasion.
and freely manageable, A place always changes de-
really comes in handy! pending on where it stands!
Consider the environment
in which a city has been
43
 The luxury and perfection of an aesthetically radiant
area may require a high price from some of the citizens,
or might have required the help of neighbouring peoples.
Creating a structure helps make everything more
realistic and gives the story more to tell.

Age
All the categories men- Appearance
tioned so far, while diffe- Having a picture that’s as
rent, share one characte- clear as possible in your
ristic: they started with a mind is very helpful! What
first step, and from there, materials is the city made of?
the succession of even- What colours enliven it and
ts and people over time what lights shine on it?
have gradually created It is useful to ask, in short,
larger and more complex “What’s the aesthetic that my
structures (even if it mi- city wants to convey?”
ght happen to find a spar- While deepening its lore,
se but millenary village). one can also ask themselves
about the whys: high walls
Always ask yourself the suggest the will to defend the
age of an urban settle- settlement from something,
ment to help outline its or keep something trapped.
current state and history,
and think about its for- Society
mation. While going back The true core of any place is
in time to trace its ori- its population, and wherever
gins, be clear about its there are social interactions,
values over the narrative there’s also the concept of tra-
timeline. des, interactions and power.
From the animal kingdom to
the divine realm, from crea-
44
tures to monsters, each ag- Power
glomeration of beings pro- Everywhere you go, the-
duces automatically, or by re is a handling of internal
imposition, some dynami- balances. It’s always good
cs! Ask yourself about the to identify a core in the sy-
dynamics of the social core stem that is going to be cre-
of your city and, along ated, be it one single indi-
with it, what makes them vidual or a whole class that
possible. holds the sceptre of power.
An important question is: Are there princes driven by
who is thriving in these noble ideals or terrible ul-
places? Who lives in the terior motives, enlightened
worst conditions? Why? councils, complex bureau-
What are their conditions cratic labyrinths, or draco-
due to? What inequalities nian despots? Ask yourself
do the people who live who bears this heavy bur-
there encounter and how den, and above all, how
do they present themsel- (by whom is this allowed?)
ves? or what factors it depends
The social framework, on (how did it get to this
whether it is an egalitarian point?).
community or divided
into unfair social ranks of
power, is vital to take into Also ask yourself how
consideration, since it’s a accustomed they mi-
theatre where everyone ght be to foreign visi-
performs, including your tors. How the people
characters. perceive and frame the
Also, ask yourself the re- travellers will be criti-
action that your protago- cal for the atmosphere
nists might have to the that will be created!
values that they’re going
to meet.
 Economy portant nonetheless: the
How does a place work? places where you can
What goods does it produ- restock your backpack.
ce? What does its existence Quaint and chaotic ba-
stand on? You might en- zaars capable of hiding
counter a city entirely de- small treasures, or gigan-
voted to the cult of the Blue tic shops with rows of re-
Monkey that only comes back fined and perfectly classi-
to life one week a year, or a fied potions. Players tend
village that has been erased to love the shopping fac-
from the maps because it has tor if you give it the right
been isolated in the moun- amount of space! Create
tains of Xol for two hundred options that are imagina-
years. Whether they are co- tive or that adventurers
dependent villages from the might not expect; rarities
surrounding world, or for- or supplies for the battle
ced to rely on themselves and the journey to come;
alone, the population might give clues about items to
have needs that, if not met, search for, or just make
will generate situations of interesting and temporary
imbalance, ghettos and so- shifts in the dynamics of
cial failings - in one word, the group. Also weapons,
suffering. The most valued clothing, books, amulets
thing in one place may be or specialties of the place
gold. In another, a promise where you are!
made long ago. In a city of
faes, a memory. Cooking
This is something that can
Shops reveal rather amusing or
Here’s a dynamic that is even simply interesting
often unbalanced but im- details about an area’s cul-
tural background: food.
Whether it’s a restaurant
46
run by draconian triplets, decorated with ash and burnt
wood, or a tavern inside a huge mushroom where a kappa
named Koko serves fermented drinks in hollow branches,
describing dishes and drinks is an excellent creative exer-
cise and is often appreciated as an interesting insight. Food
always speaks of the land in which it was made, even when
eaten on the other side of the planet. Include ingredients
that are out of this world or simple and common raw ones.
Give it bright or bizarre colours and spend a few words
to describe the taste and texture of the food. The more we
tell, the more that taste will be perceptible. Everything tells
something, but food always says a little more!
The city sheet is useful for understanding how to move
around it or where and which key points to position, as well
as to better fit it among the ones that make up your world.
1: The map of your city, where to mark the places of inte-
rest like taverns, shops, etc. thanks to the symbols you’ll
draw or cut out from the “City Key” card.

2: Its name. The name is usually representative of the

place or descriptive of one of its qualities.
3: The type of your city: village, hamlet, capital, etc.
4: The natural habitat in which it’s inserted. Is it built in
the middle of the desert? Does it stand in a forest?
5: A list of the main inhabitants or important NPCs in the city.
6: The most important points of interest of the city.
7: Descriptive section of the city where you can add
details, characters, and take note of its history.
8: List of symbols that you can put on the map.
47
1

8
 2

7
5

Try to vary the shapes that

make up its structures every
now and then, especially in the
6 case of particular cities or places
far from each other!
 Heroes and passers-by, shaped by a value or by the mono-
tonous pace of everyday life, souls and hearts beating in
chests of flesh, scales, metal, stone: people.
To explain the best of the characters, we’d need another
volume entirely on this subject, but we still can reconstruct
the key points that’ll allow us to create or exploit them to
the fullest, especially because of the impact they can have
on the surrounding world. Let’s get into the main types!

Citizens
Normally, they’re the ca-
tegory of characters you
tend to interact with less A city where jovial
in depth. Often represen- laughter and melodies
ted as “normal” or more echo in the crowd will
ordinary people, they tend certainly be more wel-
to become a background coming than one where
fog in the description of a whispers and tired looks
scenario, which ends up dominate the scene!
relegating them to a more
marginal role in the narra-
tive. However, citizens can Also, interacting with ci-
be a unique resource to en- tizens, whether through a
rich the atmosphere of a quest or even just overhea-
place, whether it’s with cu- ring a conversation, can tell
stoms, behaviours or even and give depth to the hi-
just shared feelings. story and reality of a place
and further diversify your
adventure.
50
Travellers Important Characters
Free spirits, fortune se- Those around whom one or
ekers or those with a more plot events revolve are
specific task to follow, the important characters;
adventurers with whom they may have vital informa-
to share part of the road tion to continue the quest, a
or sworn enemies, fall problem that moves our he-
into a completely unique roes to pity or they may be
category of characters, hiding terrible secrets. Out-
made up of people who lining these characters in the
can face the outside best possible way helps us to
world on their own. In- paint a picture with more in-
teracting with a traveller teresting and interactive nar-
can provide details on rative dynamics than a basic
distant places, critical exchange of information.
help in times of need or
an opponent who was Shopkeepers
only waiting for the ri- Retired heroes, now innkee-
ght opportunity to catch pers of immeasurable power
your heroes off guard! who have chosen for a well-
deserved and peaceful retire-
ment; avid collectors of very
Seeing a friendly face in rare ingredients or little tra-
a different place helps vellers with huge backpacks
you feel like you’re in on their shoulders; shop ma-
a real world, where not nagers represent an emotio-
only the characters live, nal range of differentiations
but where everyone is and distinct personalities.
on their own personal If in a fantasy world you
adventure! decide to sell coloured am-
poules or dangerous items,
you may have seen more
than you might think.
51
 Power keepers
Kings, lawmakers or centuries-old undead looking for so-
mething – always take into consideration the actual abili-
ties of a character. Power tends to change the very structu-
re of the brain and thought process; the way one thinks
has to be seen in the context of one’s position, which ends
up overlapping with their personality itself, whether it is
deserved or not. What are these characters in power really
capable of? How do they expect to be treated and why are
our characters interacting with them?

Create a character
Let’s observe exactly how to build
a character in practical action:

Aesthetics
Whether they look like a simple
wayfarer followed by seven ca-
naries or a black knight whose ar-
mour emits a subtle purple light,
the first thing we perceive of so-
meone is usually their appearan-
ce. This might be their real form
or a disguise, but the aesthetic is a
central point of the perception of
others. Therefore describing so-
meone’s clothing and look as ac-
curately as possible, together with
the sensations that may give off in
that moment, is vital.

52
Be generous with details, whether they are relevant clues
to the character’s role in the story, purely aesthetic trap-
pings or even just simple signs and ways of doing – a well
characterised character will be easier to remember!

Key questions
“Who?” would be the most obvious question, but to de-
termine it we must first of all determine a “How?” and a
“When?” The dynamics of what brings a person to a cer-
tain point are just as important as the identity of the person
itself, as well as justifying their existence. Also ask yourself
the origin of that character: “Where did they come from?”
and “What really motivates them?” will be their most inti-
mate and crucial core.
Give them personal dynamics, faces and peculiarities, and
more than anything else, a past and a reason.

Farewell or Stay
Sometimes, during particularly long stories or campaigns,
it might happen that others will join the main party, but
over time their actions or role decreases in importance and
they risk being forgotten. Before this happens, the choice
must always be made: the actual permanence or not of cha-
racters within your story.
Each character has their own time of existence in a story, be
it that of others or their own. It is important to find the ri-
ght moments in which to separate the paths. Someone may
have fulfilled their oath and finally want some well earned
peace of mind; others may meet a more dramatic end or
set sail for new, distant adventures – and perhaps, you will
meet them again somewhere else in the world tomorrow.
In any case, giving space to these moments allows you
to perceive all the weight and the actual reality of the
53
 scene, and helps in the representation of a fluid world ru-
led by dynamics beyond your control.
On the other hand, even making sure that two characters
choose to share the entire journey of life, promising they’ll
be there for each other at all costs, tying their stories to-
gether, is a legitimate choice! But always as long as you
choose or adapt: do not allow your characters to become
transparent within the events or the bonds in which they
find themselves. Always leave them a margin of action,
and when this does not occur, that character is perhaps re-
ady for a new phase of their personal adventure.

The NPC chart helps you not to let a character, whether

key or secondary, risk losing consistency over time.
Thanks to it, you’ll be able to keep track of who walks in
your (and their) world.
1: Their name, be it a title, a full name, a given nickname;
all of them are fine.
2: For how long have they existed? It may affect who they
are or not, but it’s good to keep in mind a character’s age.
3: Their race: are they human? An elf? A dwarf?
4: Who are they? Are they an important person or a simple
citizen? Help yourself with the types of the handbook.
5: The place where their story began.
6: Their abilities: time-refined abilities, magical powers, etc.
7: The infinite hallmarks that can distinguish your cha-
racter: scars, tattoos, mechanical limbs, etc.
8: The silhouette immediately above is meant to mark some
of these things, to better remind any character more easily.
9: Any detail, physical or behavioural, that can make them
unique. Maybe they wink often, like to drink or play a mu-
sical instrument.

54
 1

6
9
 Timeline
Ages of explorers and won-
ders, or terrible eras marked
by plagues, phases of extin- Seeing a place for the
ction or rebirth; the division first time and then
of time allows you to add an seeing it after ten, a
additional creative and nar- hundred or a thousand
rative medium! years is no small show
Give it a name and decide (and an excellent
the historical period in whi- narrative exercise!).
ch you create an element.
Always ask yourself what a
given time cycle might entail,
as well as its actual duration.
It’s not mandatory to have
a clear picture at the begin-
ning, but in the creative pro-
cess it will allow you to have
a general idea of the events
in your world.
A millenary empire can de-
populate and turn into ruins
full of monsters to fight in
a few hundred years, or by
studying an ancient dungeon
you will discover that you’re
walking in what once was
home to a family of giants.

56
Cosmology of real concepts such as dre-
What’s in the night sky of ams or creatures reincarna-
your world? ted to new life, by chance or
How many moons, if any, by fate, created or self-ge-
can you glimpse? nerated in a cutout beyond
Rings of Saturn-like de- time. Or, they can be ephe-
bris, or perhaps a rare pla- meral entities, less than a fe-
net formed between two eling, light as a particle able
twin suns, giving way to to be in any place but not to
a short, warm night. alter the balance.
Each of these elements Outlining their existence and
changes your world, the their possible limits and/or
traditions within its ends, divisions into ranks allows
and even the division (or us to better define places on
existence) of the seasons. which they may have a di-
There is nothing wrong rect impact, such as valleys
with a simpler world with broken by the arrival of an
modest satellites and a angry god or prosperous ci-
star that allows life, but ties erected around the fa-
wondering what our cha- vour (real or not) of a divine
racters see looking up and creature with the appearance
how this affects your cre- of a majestic black whale.
ation allows you to give Here’s a convenient subdivi-
even more attention to sion:
certain aspects. Local divinities - Aspects or
elements of natural environ-
Divinity ments, they reflect the place
We can define deity as in which they manifest.
something with a dispro- Demigods - Crossbreeds of di-
portionate impact on the vine and human blood that
surrounding reality (or embody more deadly weak-
even just one aspect of it). nessesand powers of the di-
Deities are embodiments vine side.
57
 Minor deities - Supernatural creatures with powers limited
to a single aspect of the world, natural or physical (mani-
festations of lightning and thunder, cultural aspects of a
civilization etc.).
Greater divinities - Higher beings in abilities or powers,
immortal or nearly so, with powers and control over an
entire area or more of the world itself, often at the head of
a parallel reality that reflects their character and powers.
Incarnations - Living embodiments of one of the pillars of
reality. Creatures without real limits except those of their
own domain; creatures such as time, death or life.
Absolute or narrator - Believed to be myths by the gods
themselves, omnipresent creatures, omniscient or nearly
so, able to manipulate the very fabric of everything that
exists at will. You could be referred to as such, if you ever
found yourself walking in the world you created.
The deity sheet helps you keep track of some of the wor-
ld’s most unpredictable forces, along with the powers and
traits they possess.
1: The name by which they are known.
2: A concise description of their behaviour.
3; The type of divinity they are.
4: The domain of reality or the natural world it represents.
A thunder goddess? Or maybe a representation of pain?
5: Their weak point, an adversary domain in which they
have no powers or an Achilles’ heel.
6: The abilities of a god can be a lot, but the most pronounced
ones that define them can be summarised in a few words:
as teleportation, immortality or incredible resistance.
7: Their anthropomorphic form, assuming they own one.
8: Their real appearance, be it creature or monstrosity.

58
 1

7
 A melody that echoes everywhere comes to an end, fading little
by little, while the last two people hug each other tightly, leaving
a desolate and snow-covered land last.

An immense and crystalline moon enters the orbit of the planet

Sinter, obliterating every surface in a wave of boundless blue fire.

Gesperia is swallowed whole by a fish twenty times the size of the

planet, summoned by mistake by an experiment that aimed to
“discover the truth behind everything”.

There are countless reasons why a world can meet its end,
as many as the events that can be told within it. There is
a peculiar taste in seeing everything end and go towards
immobility, a common point of all that’s known, but we
can break down the different types of ends into these sets:

Chaotic

An external threat or the inevitable result of a series of

events reaches its epilogue in the most frantic possible
way. Whether it’s sulphurous rains or entire nations crum-
bling down after the awakening of something under the
continents, these dynamics always share a fast pace and
maximum scenic performance. Our characters will have to
fight against time and the elements to save their lives.
People tend to express their most intimate and hidden

60
feelings during these events. Some try to save what can be
saved, others might flee among the throes of mass hysteria,
many give up and throw themselves into prayers and ho-
pes while everything ever seen collapses. Make the most of
such a dynamic scenario! These scenarios stand out as big
events, campaign closures, endings or high-risk one-shots!

Quiet

Something has broken and has not returned to its place as

expected, or it’s simply the end of an infinitely long line.
Our world runs out of its lifeblood or a key element, and
all things, little by little, begin to slip towards oblivion.
These scenarios remain dominated by a few elements and
usually the vastness is their main feature. Whether they
are now empty or ultimately with fewer and fewer people,
exploring them can cause the same emotions as visiting a
now extinct civilisation, made up of distant echoes.
These settings give their best in thoughtful campaigns and
long journeys, giving much importance to the traces or re-
mains of those who are no more, or what gave rise to the
last act of that reality.

Denial

A world unfolds to the identical rhythms of its recent hi-

story, gradually adapting to an inevitable ending that is
getting closer, denying it completely or boasting it as nor-
mality. It’s not uncommon for it to be just an “initial pha-
se” of a Chaotic or Quiet ending, but it allows you to create
more lasting settings that can even give your characters the
illusion that things have always been that way.

61
 Multiverse

Not every end is a definitive end, some are just “one” end.
If you are very fond of a world, or if you think its time has
not come yet (despite the situations that may have chan-
ged it forever), explore the concept of parallel universes,
where in different worlds different things have happened,
maybe linked to the actions done by your adventurers.
Play with the alternatives, ask yourself what would have
happened if the other side had won that fight, or if a cer-
tain historical event had never happened, creating more
mirrored versions of your world.

All these types of ends have one thing in common: people.

How do the inhabitants of your world react to the inevi-

table fate if this comes before them with no half measures?
Will there be looting and mass hysteria or entire popula-
tions singing a sad litany of resigned peace?
Will the power holders, or those with the right means, take
their responsibilities by making an all-out effort, or will
they flee and leave a world in ruins behind? While many
of these questions have a different answer depending on
what will be faced with (as mentioned earlier in Denial,
seeing a sulphuric rain has a drastically different weight
than seeing things “simply” fade away every day), asking
yourself about, and delving into the topic, allows you to
create ever stimulating and unique situations to live.

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And so, here we are on the last page.
We sincerely hope you have found some interesting ideas
in this handbook, but above all, that you now feel closer
to building a world that’s unique in every corner, a world
made by you where you can experience dozens of adven-
tures, dramas and cross astounding scenarios. Never stop,
and most importantly, remember to have fun!
That’s all with us, but Keh will stay with you in every pos-
sible world, jumping from a stone to the inn, ready to ob-
serve the multitude of an endless journey, so take care of
him!

Hey, ready to go
and visit some other place?
My hat won’t fit from
the excitement!

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