Things to do in Porta Cortu


Karst is a role playing game inspired by the classics—new and old. It features simple rules, an emphasis on discovery through storytelling, and a haunted archipelago filled with animal folk and terrible secrets. The rules are lightweight and easy to modify or use with other games, systems, and content.

_The object of the game is to create a story together._

_To play, you will need a **narrator** and one or more **players**._ Each player acts as a character within the game world, while the narrator controls the world itself: setting the stage, describing it to the players, and determining how the world responds to the actions of the characters.

The stories of Karst feature a diverse cast of characters, supported by a simple and flexible system of customization. The characters in your stories may be common folk, famous adventurers, or anything in between.

_In Karst, you will be talking and writing things down. Sometimes, you will roll dice._ Advice on how to conduct the game is sprinkled throughout, but much is left up to you and your group. This includes almost all details and specifics about journaling your efforts—something that is highly encouraged. Karst was originally created as a way of telling stories through journaling and live play.

This is a game about discovery and memories. Adventures recorded as entries in diaries, characters embodied as sketches in journals, recovered loot carefully noted down in ledgers and logbooks, hand-drawn maps of islands charted: all chapters in the story of what once was. The Karst Archipelago is now gone and forgotten; these fragments are all that remain of its memories.

This text concerns itself mostly with guidance around creating characters, stories, and scenes; when to roll the dice (rarely); and what things might affect those rolls. It also contains information about the Karst Archipelago and its inhabitants to help you learn about the setting and provide roots for your stories to grow from.

Additional books and pamphlets published by the **Karst Archipelago Historical Society** and other contributors contain more information about the world of Karst. Karst is an open canon, and we sincerely hope you end up adding to this body of work; a few guidelines for contributing to it can be found on the copyright section in the About page of this website.

## Dice

Karst does not have a huge emphasis on dice, but they are a useful tool for resolving uncertainty. As such, _you will need a few six-sided dice and some fancier ones that have four, eight, ten, twelve, and twenty sides._ It can be helpful if everyone has their own set, or at least one six- sided and one twenty-sided die each.

_When you roll the dice, in Karst, a higher number is always better. Dice rolls will often have modifiers, positive or negative._ After rolling, adjust the result by adding or subtracting any modifiers. _A modifier may not bring the result of a roll below one._

## Telling Stories

From short adventures in an evening’s time to sagas played out over months or years, the game of Karst is about creating stories. Stories may be singular or made up of many chapters, part of something larger or with smaller tales inside.

There are many shapes to stories, but almost all have a beginning and an end—though neither may be obvious, especially at the outset. The narrator may have the start of a plot in mind, or things may be open-ended; the conclusion of one story may be the beginning of another. Stories are yours to weave however you like. Inspiration can be found throughout this publication, from Rumors and Legends in the Karst Archipelago chapter of these rules, to the Worldbooks section of this site and the introductory tale Shipwrecked on Gygalos Island—found within the upcoming print copy of Karst.

## The Setting

Rising up in broken stillness from the placid Mirror Sea, the many islands of the Karst Archipelago stand alone, between the sea’s vast expanse and the splendor of the Impossibly Blue Sky above.

It is said that long ago, the Three Distant Shores were one and there was no Mirror Sea, but in time they grew apart and so the sea was born. Whence came the Karst Archipelago—left behind or arisen since—matters little to most inhabitants. What does, however, is that the Three Distant Shores—the ancestral homelands of the archipelago’s folk—have seemingly vanished.

No ships have arrived from these three shores—the Eastern Woods, the Western Sands, and the Southern Swamps—in over a generation; few still cling to the hope that they ever will again. Already an independent lot, the folk of the archipelago have taken this isolation in stride.

Colonial outposts have become island states, and loose alliances of fishing villages have transformed into merchant kingdoms, but for each community that has flourished, an equal number have perished—or worse. Pirate dens have grown into cutthroat hives, while scores of villages and whole islands have fallen silent, abandoned or overrun.

Inhabiting these islands are six kinds of folk who have come to the archipelago from their various homelands, each for their own reasons: the **eekhorn**, **grevlings**, **lagartos**, **serpos**, **veldlings**, and **visita**. Some settlements and islands may have more of one folk than others, but, by and large, the circumstances in the archipelago have drawn folk together rather than apart.

These folk lead all sorts of lives: there are many who have never left the isle of their birth; there are dauntless sailors who spend their lives at sea, setting foot on land but once in a fortnight; merchants, vagabonds, and roustabouts; the itinerant and holy, lost souls from islands near and far; fortune-tellers, soothsayers, sorcerers, witches, crackpots, and cranks; farmers who tend manicured hills and fishers who sail the midnight sea; bakers, artisans, tailors, and musicians; nobles and peasants; stewards and stevedores; treasure hunters and pirates—countless backgrounds; countless tales to tell.


Introduction


Before the game can begin, each player must create a character. The narrator, too, may need to create other characters at times; however, most need not be so fully detailed—a face and a name will often do well enough.

_The process of creating a character involves selecting and recording your character’s key traits: First, all characters begin with the same set of vital statistics. Then you will choose which **folk** your character will be; make a few choices about your character’s **abilities**, **knacks**, and starting **items**; and come up with some personal details, such as a **background** and a **name**. You will need to write these things down somewhere for reference and safekeeping, perhaps in a journal or on a sheet of paper._

There are different ways of approaching character creation; these steps can be taken in any order that you like, not just the order in which they are presented. For example, if you know _who_ you want your character to _be_, start with their background and what kind of folk they are—perhaps you already have a name in mind too. Conversely, if you know _what_ you want them to be able to _do_, start with their abilities and knacks, or pick out some of their starting items.

No matter how you go through these steps, there are a few places where one choice can affect another, but you should be able to figure them out. If you are indecisive, in a hurry, or in need of many characters at once, you can use dice or other random methods of selection to make most of the choices for you.

When playing in a group, you can create characters together, potentially with shared backstories—though this is not mandatory. Sometimes, the narrator may have suggestions or certain requirements. No matter what, the character is yours; make them unique and breathe life into them however you see fit.

## Vital Statistics

_All characters begin at the first **level of experience**, starting with six **health** and six **defense**._ Record these three vital statistics. Each is a measurable aspect of the character.

Levels of experience represent the lessons a character has learned in their life—figuratively. They range from one to ten, spanning a lifetime of advancement.

Health is the measure of a character’s well-being, and defense is the measure of how difficult it is to harm them. These two concepts are important in many altercations and are explained in further detail within the Attacks and Injury sections of the chapter Playing the Game.

## Folk

Your first choice is a big one: Which of the six folk will your character be a member of? Each have their own history, culture, and traits, as well as a special ability. There are physical, mental, and cultural differences between the folk, but their intellects and abilities are similar. In terms of what they can do, or who they can become, the only differences between them are one special ability granted to each, the one exception being the lagartos, who face a few additional restrictions due to their somewhat diminutive size.

_Choose which folk the character belongs to and write it down, as well as their special ability._ If you would like to learn more about the folk before choosing one, you can read about them in further detail in the chapter The Six Folk of the Three Distant Shores.

### Eekhorn

_A bushy-tailed, nut-loving folk, the eekhorn are known for being high energy, high strung, and quick to action._

**Special ability:** Innate Climbing knack.

### Grevling

_A sturdy, skeptical folk, grevlings have a reputation for grumpy perseverance._

**Special ability:** Ignore negative death roll modifiers.

### Lagartos

_Bright, dexterous, and charming, the diminutive lagartos are known as a crafty folk, for better and worse._

**Special ability:** Innate Alertness knack.

### Serpos

_Ancient and learned, the serpos are an empathic and insightful folk with a dark and complicated past._

**Special ability:** Can see heat.

### Veldling

_Possessing entrepreneurial souls, the veldlings make for gracious hosts and ambitious, but measured, adventurers._

**Special ability:** Very sharp hearing.

### Visita

_Stalwart, just, even-keeled, and benevolent, the visita are regarded as a regal, if a bit overconfident, folk._

**Special ability:** Incredibly good at swimming.

## Abilities

Next, you will define the innate talents with which your character is gifted. These gifts are called abilities. Each ability confers a mechanical bonus, but abilities represent something more than just a number; these are foundational traits. As a player or narrator, it is up to you to make a character’s abilities an aspect of who they are—and a part of the story itself.

**Strong**—Add one to attack damage.

**Quick**—Add two to defense.

**Tough**—Add three to health.

**Clever**—Take one core knack twice to start.

**Wise**—Add one when rolling to resist deception.

**Likable**—Add one when rolling to impress.

_Choose two different abilities for your character and note them down._ You may also want to note their effects, for ease of reference during play.

## Knacks

Knacks are what make characters special. Most characters can perform most actions, especially those that fit into their backgrounds and abilities. Knacks, on the other hand, are talents that fewer folk possess.

Like an ability, each knack confers a mechanical bonus, but it also represents something special about the character who possesses it. If a knack grants a bonus to certain actions, folk with the knack will automatically succeed at those kinds of tasks unless they are hurried, under pressure, or attempting something particularly difficult.

There are four categories of knacks:

**Core** knacks represent foundational talents&mdash;ones that grow with experience and can be developed as often as once per level each.

**Basic** knacks are extraordinary talents. Each can be developed once, at any level of experience.

**Advanced** knacks build upon basic knacks. Each can be developed once, but only after a character has reached the sixth level of experience and developed any prerequisite knacks.

**Odd-level** knacks are magical talents and gifts. They can be developed up to five times each, once for every odd-numbered level of experience that a character has reached—as the name might suggest.

_Characters begin with three knacks and gain, or develop, three more each time they reach another level of experience._ Core and odd-level knacks may be developed more than once—increasing their effect—as the character gains experience, but all three starting knacks must be different. Characters who are Clever are the exception: for their three starting knacks, Clever characters must choose the same core knack twice (plus a third knack). This applies only to the knacks chosen at character creation and not those gained at higher levels.

_Turn ahead to the chapter Knacks and select the character’s three starting knacks._ If you aren’t sure what type of character you would enjoy playing, browsing through the list of knacks can be a great way to learn about your options. If you have a knack in mind but don’t see it listed, talk to your narrator about adding it.

## Starting Items

Abilities and knacks represent a character’s natural and learned talents, and items allow them to use these talents to their fullest. Character identity, too, is often wound up in items. Stories are filled with folk that are known more for the things they wear and the items they carry than for any other details about who they are.

_Characters begin with five common items and five coins (¢5)._ None of these starting items may be worth more than ¢50 each. Players can choose to begin with fewer items in exchange for more starting coin: gain an additional ¢20 for each item selection that is not made.

_Turn ahead to the chapter Common Items to make your selections._ Information about how items are used is found within the Items section of the chapter Playing the Game.

## Background & Name

_The previous steps have been about what the character can do, but that is only half the story—you must also decide who the character is, beyond which folk they are._ This is done by coming up with a background and a name: a few words about the character’s role in the world and something to call them by.

This step is less formal than the others, as a background can be whatever you want. _There is no specific mechanical advantage to one background or another._ However, backgrounds play an outsized role in helping the players and narrator guide the story and understand character motivations. They also very much affect the actions that a character performs—_an action consistent with a background is more likely to succeed than one that is not._

That said, backgrounds are meant to enrich creativity, not constrain it. Don’t feel that you can’t select a certain knack, item, or ability because it doesn’t traditionally fit into a specific background. Instead, come up with a reason why this character has such an unusual ability or possession—an added bit of personality.

There are as many backgrounds as there are grains of sand—too many to count. However, as a bit of inspiration, here are a few: root gatherer, dontler farmer, goose herder, ray fisher, beetle hunter, cloth dyer, silk maker, ship builder, pottery merchant, fruit monger, winch carter, wood shaper, net maker, bee keeper, shop minder, glass blower, fortune-teller, bird drover, traveling musician, scrivener, scavenger, magistrate, stevedore, itinerant, sailor, and orphan.

_Choose a name and a background for your character. Jot these details down along with anything else you would like to note about them._ Your notes could list nothing more than the choices you have made, or you could include a bit about their appearance, manners, goals, and dreams. You could even write a whole story about the character—though that might be a bit much to start.

_Now, the character is ready to play._


Creating Characters


_Karst is played as a shared dialogue between the players and narrator._ The rules outlined here provide a framework—guidelines—for conducting this dialogue and resolving dramatic situations using creativity and chance.

## The Two Rules

In truth, there are only two rules to the game of Karst—the rest are mere suggestions.

_The first rule is to be reasonable._ There are many places in between the rules as written and the stories you tell that have been left up to your taste and judgement. It is assumed that you will approach these areas with good faith, whether as a player or narrator. Where there are unspoken rules and uncertainty in the text, search not for loopholes, but apply common sense rulings instead. Better still, view these gaps as opportunities to incorporate ideas that fit the needs of your game and story.

The second rule—which builds heavily upon the first—is to serve the story. The goal of the game is not for one party or another to “win,” but for you to tell a story together. No matter your role in the telling, it is your objective to nurture the narrative and help it along, adding your own marks in the process.

In truth, these two rules are one: Karst is played together.

## Scenes

No matter how else they are formed, _the stories told in Karst are made up of **scenes**._ These are the events and interactions that matter to the players and their understanding of the story; in almost all scenes, at least one player’s character is present.

_A scene is a dialogue._ It typically begins with the narrator describing a situation. Next, the players ask the narrator any questions they might have about the scene or state any actions that their characters are taking.

The narrator answers player questions as they see fit and describes the outcome of character actions, noting how the scene has changed as a result. If there are other characters in the scene, the narrator describes their actions as well.

This continues back and forth until the scene reaches a conclusion, transitioning to another scene or ending the current chapter of the story.

## Actions

_If a player wants their character to do something, they say so; this is called an **action**._ The narrator describes the result of the action or invites the player to do so. Sometimes, the narrator will determine that the character has failed or is unable to perform the action, describing instead the failure.

_Creative or reasonable actions should almost always be rewarded by the narrator._ This encourages emergent storytelling and engagement more than anything else.

### Action Rolls

_When the narrator can’t decide the outcome of an action, they can call for a roll of the dice to determine what happens. This is called an **action roll**._ Action rolls are the core dice-based mechanic of Karst.

_To make an action roll, the player or narrator rolls a six-sided die on behalf of the character. If the roll is a six or higher (as a result of modifiers), the action is a success. Otherwise, it is a failure._ Though modifiers can add to or subtract from the roll, if the die shows a one, the action automatically ends in failure. Similarly, if the die shows a six, the action is successful; no matter the odds, there is always a chance if the dice are to be rolled.

Action rolls can be used for many purposes. When a horrible thing is about to happen to a character, a roll can sometimes be made to avoid part or all of the effects; this is known as a **reaction roll**, or rolling to **resist**. Opposed actions, too, can be handled using action rolls: both parties make an action roll and then compare the results to see if one side prevails over the other.

When the outcome of an action roll would not be immediately apparent to the character performing the action, the narrator can roll in secret, revealing the result when it is appropriate.

_Use action rolls sparingly:_ Players are meant to be rewarded for their creativity; characters are capable folk, and rolls are not made just for the sake of rolling dice. Limiting action rolls to the big moments in a game also makes their outcomes more memorable and impactful. That said, it is your game to play; if you like rolling dice for every action, go for it.

## Altercations

Scenes are generally free-flowing discussions, but _when some form of confrontation arises between characters, the scene becomes an **altercation**._ A slightly more structured procedure for handling actions, an altercation can be used at any moment of dramatic tension within a story.

### Rounds and Order

An altercation is made up of successive **rounds**. During a round, each character is given a **turn** to act. In these tense moments, the **order** in which different characters act becomes vitally important. To determine the order of action in each round, every character involved must first determine their **order score**. This is done by way of an **order roll**.

_At the beginning of a round, each player with a character in the altercation rolls a six-sided die, often with modifiers. The narrator does the same for any other characters involved. The highest score goes first; those with the same score act simultaneously._

Altercations sometimes start in a surprising manner. If the narrator thinks there is a chance that a character would be caught unaware by the beginning of an altercation, then the character must first succeed at a **surprise roll**—a type of action roll—or they will be **surprised** and unable to act during the altercation’s opening round.

### Turns

_Going from the highest score to the lowest, each character takes their **turn**, which consists of one action._ A character may also walk a short distance or say a few words, but anything beyond that is an action itself.

Sometimes, a character may wish to do two things at once. If both of these actions are reasonable, one action is simpler than the other, and the character’s order score is at least four, the character can do so—but they must subtract three from their order score, acting later in the round as a result.

A character may not generally defer their action—they must act during their turn or forfeit the opportunity. However, a character can prepare an action in response to a specific condition, which must be stated. If that condition occurs, so, too, does the action. Otherwise, at the start of the character’s next turn, the unused action is effectively lost.

### Resolution

_At the end of each round, the narrator determines if the altercation should continue._ If one side has been defeated, that’s usually the end of things, but there are other reasons why an altercation might end—some more peaceful than others.

The end of an altercation may return the action to the scene at hand, or it may transition the game to a new scene or chapter in the story. In some cases, the resolution of an altercation can even conclude the story—tragically or heroically.

## Attacks

Altercations often turn violent. In these situations—or at any other time that someone wishes to do harm—_a character can use an action to **attack** a target._ This target may be another character or an inanimate object.

_To attempt an attack, the player or narrator rolls a twenty-sided die. They succeed, or **hit**, if the result is equal to or above the target’s defense._ **Attack rolls** often have modifiers, based on the participants involved and the situation at hand, but no matter the modifiers or the target’s defense, _an attack always succeeds on a roll of twenty and always fails on a roll of one._

### Damage

_A successful attack does **damage** to the target._ Damage is not the only effect that an attack may have—an attack that knocks a character down will stun them for a turn, while a well-placed blow may disarm an opponent—but all attacks do at least one damage, even unarmed ones. For armed attacks, the amount of damage is based on the weapon being used. When a target is unaware of an impending attack, the damage is doubled. _Once the damage has been determined, it is subtracted from the target’s health; next, any other effects of the attack are resolved._

_If a character’s health is reduced to zero or less, they are immediately knocked out of the altercation and stand a good chance of dying._ Similarly, an object that is sufficiently damaged is destroyed.

## Injury and Death

The consequences of action are sometimes physical. A character’s health is an abstract representation of their well-being, stamina, fortitude, and resolve—perhaps even luck. Physical injury is not the only way that a character can lose health, but it is the most common. As health is lost, a character comes closer to a breaking point.

A character who has lost some of their health is harried and perhaps lightly wounded—nothing that can’t be cured by a good meal and a bit of rest—but those who have lost all of their health are in trouble. To begin with, a character who has lost all health is knocked unconscious for the rest of the encounter. Worse, they are seriously wounded and have a good chance of dying, especially if left unattended and without care.

_Immediately after being reduced to zero health or less, a character must make a **death roll**. This is done by rolling a six-sided die and subtracting any negative health from the result (to a minimum of one; no modifier can bring a roll lower). If the result is one, the character has died._ If the result is a six or above, modified or on the die, the character is wounded but will survive. Any other result is inconclusive; the character remains at death’s door and must roll again at the end of the next round.

_A character can use an action to attempt to administer aid to a seriously wounded character, making an additional death roll for them._ A successful roll has the same effect as if the injured character had succeeded, but a roll of one will only reduce the target’s health by one further, rather than outright killing them.

There are fates other than death that may befall characters; certain forms of injury, for example, may include effects beyond damage. The nature of these effects should be tailored to each case, as is appropriate and fitting to the story or situation.

### Recovery

_A hot meal and a good night’s sleep will restore up to six health_, but there are other methods of recovery when one is in a pinch for time. _Sitting down for an hour and eating a meal is an effective pick-me-up. Any character who does this regains three health._ This can be done up to twice a day, beyond which is a waste of time and food.

Magical spells, abilities, and potions are often the fastest way of restoring lost health, but also the most scarce. Some magical effects are even capable of temporarily increasing health beyond its maximum value.

_A character who has lost all of their health but has succeeded at a death roll must recuperate before adventuring again._ After being carried back to safety and shelter, they must spend at least a full week in bed. Once recuperated, a character is restored to full health but may have some kind of permanent scar or injury.

## Items

Items include clothing, armor, weapons, equipment, and gear: the things that characters carry, use, and wear. To help differentiate them, every item belongs to one of three kinds: **common**, **special**, or **magical**.

Most items are of the common variety: these are the everyday tools, equipment, and clothes found throughout the archipelago. Some common items can be more difficult to find or make than others, but, otherwise, there is nothing remarkable about them. Even so, giving individual common items a description and a little bit of personality is highly encouraged.

Special items, on the other hand, are just that: items that are unique, rare, or particularly important to the story. These are usually a specific copy of a common item that happens to be relevant to the story, and can be treated as such, with any details handled on a per-item basis.

Lastly, there are magical items: these extra-special items have been imbued with some form of magical power and are subject to their own rules. Some magical items share identical powers and effects, but each one is a unique and bespoke creation.

### Carrying and Using Items

An item’s type determines how it can be used. Some items may be worn, while others can be wielded. All types of items may be carried, whether in hand or paw, strapped to a belt, or inside another item designed for the purpose. _Characters can carry five items, two of which can be held in hand or paw._ Items that are worn, such as clothing, armor, jewelry, or a backpack, do not count against the limit for carried items.

A character who is burdened with more items than the limit will become fatigued after just a few minutes of exertion, subtracting one from all rolls until they have had a short rest. Those whose abilities are Strong and Tough will persevere a little longer, becoming fatigued and in need of rest after an hour of carrying one or two items above the limit.

Some items are heavier or bulkier than others. These items can slow down or otherwise hinder a character who carries, wears, or wields them, regardless of what else they are carrying. Small items, on the other hand, can be grouped together into bundles of five, which are treated as a single item for carrying purposes.

Certain items are consumed with usage. Others are not inherently consumable but may be used in a disposable manner. Lastly, no item is indestructible—anything can be broken with enough effort.

Information about specific items can be found in the chapter Common Items.

### Coins

Coins are similar to items and are often used to purchase them. Many currencies can be found within the Karst Archipelago—from the gilded drams of the floating cities to the rare and ancient gold cupos of the First Serpos Empire to the common union crowns minted by the guilds of the Eastern Woods—but there is only one denomination: the coin. _No matter the currency, one coin (¢1) is worth as much as the next, and all coins are of a similar size and weight. For carrying purposes, a sack or pouch with up to ¢100 is considered a single item._

## Magic

The Karst Archipelago is steeped in magic. From subtle illusions to overt transformations, the use of magic is not uncommon, though neither is it an everyday occurrence in the lives of most folk.

There are four types, forms, or traditions of magic, each with its own connection to the cosmology of the world. They are **Theurgy**, **Thaumaturgy**, **Spiritism**, and **Deceit**. These traditions and the spells they grant are discussed further in the chapter Magical Traditions.

### Practicing Magic

_A practitioner of magic is any character who can cast spells._ This means that they have developed at least one level of the Concentration knack and a level in any of the four magical knacks—Theurgy, Thaumaturgy, Spiritism, and Deceit—which is how spells are learned. Each level of a magical tradition grants characters the knowledge of the equivalent level of that tradition’s spells. These spells and descriptions of their effects can be found in the chapter Magical Traditions.

### Spell-Casting

_As an action, a practitioner can cast any spell they know, with two conditions: they can cast only as many spells per day as they have levels of Concentration, and each individ- ual spell can be cast only once in a day._ For this purpose, a “day” refers to the time a character goes between sleeping soundly. The effects of many spells are instantaneous and permanent, whereas other effects may grow with time or fade after a short while.

The methods by which practitioners cast their magic vary, whether gestures, words, or simple thought. In all cases, the act of casting takes only an instant but requires much concentration. If a character is restrained, has already been attacked in the current round of an altercation, or is otherwise harried, it is assumed that they are unable to concentrate enough to cast a spell.

### Magical Powers

Certain magical items and knacks grant characters the ability to use spell-like powers, though the possession of one or more of these powers does not make a character a practitioner of magic. Using such a power typically requires an action, much like casting a spell, but with rules specific to the item or knack in question. The effects of magical powers are often similar to those of specific spells and are described as being so.


Playing the Game


Playing Karst is a straightforward affair, but there is more to the game than rules alone. What follows are a number of notes about playing, both as a character and as a group. Included within these notes are a few ideas and suggestions. They can—and should—be modified to fit your group’s tastes and preferences.

## Motivations and Goals

As a player in the game, you have two goals: The first is pretty obvious—your role is to embody one of the story’s protagonists. The second goal—like the second rule of the game—is to serve the story.

Serving the story may sometimes require going against your first goal; there will be times when the story is better served by your character not getting what they want. During play, it can be easy to think of the narrator as being the opposition, but this is not the case. In the moment, they may be against you, but in the end, you are playing together. There will also be times when the motivations of different characters are opposed, and this is good; some of the most interesting and fun stories come from casts of characters that don’t always get along.

What matters most is that you as players (and the narrator) are enjoying the story. Some groups may enjoy a lot of drama between characters, while others might prefer playing as a unified team. Above all else, it’s about how you, as a group, want to play the game. Before you get started, talk to your fellow players about how you want to approach the game together. Likewise, be sure to let the narrator know your preferences.

## Embodying a Character

On paper, characters are nothing more than a few abilities, knacks, and items, plus a background and a name. Each ability, knack, and item is nothing more than a few words and a modifier. In your hands, through your actions and imagination, these traits become something more: a part of the shared language of storytelling.

Abilities tell the story of a character’s innate talents. Knacks illustrate how a character has spent their time, what lessons they have learned, and what skills they have gained. Items, too, may give some indication of a character’s origins and backstory. What kind of folk a character is may speak to the perspectives they were raised with. Less concretely, but no less important, a character’s background is the thread that weaves it all together, allowing each knack and ability to stand out as part of a woven whole: the why behind each what.

When playing, always keep your character’s talents and background in mind. Think not of what modifiers you might add to a roll, but of what your character—with their particular knacks, abilities, and experience—would do in a given situation. Abilities are strengths and knacks are trained habits: they are both things that a character should play to—at times to a fault.

## Journaling and Storytelling

As you play, you will create new stories and memories— and if you want, you can make plans to keep them. Some of the roles described in the next section can assist in this endeavor, but it is up to you, together as a group or as an individual, to see it through.

The story of the Karst Archipelago is a shared canon, one that you are encouraged to contribute to; the tales found within these pages are from previous voyages upon the Mirror Sea. If you would like to publish your creations—in any capacity—the Karst Archipelago Historical Society encourages you to do so and would be delighted to highlight your work, if you wish. Find more information and guidelines at the end of this publication on the copyright page. If you have any questions or want to share your creations, don’t hesitate to reach out.

## Playing as a Party

Unless you are but one, playing together as a party is an important part of the game. Parties and players can operate more efficiently when they designate and delegate certain tasks. This can also make things simpler for your narrator—who, no doubt, will be thankful.

Depending on the size and needs of the group, some or all of the following roles may be worth assigning to certain players or characters. It’s up to you to determine which roles to include, whether you want you, as players, or your actual characters to perform the roles, and whether these roles rotate after each chapter or story.

### Mapper

Discovery is central to the game of Karst. Having someone map where you are going and where you have been while you are exploring the wilderness, diving into caves, or even navigating a town can prevent you from getting lost and help you find your way back again. Besides, there is a simple joy in creating maps of imaginary places.

### Journalist

Keeping a diary or log of the group’s experiences can make it a lot easier to pick up where the group left off at the end of a session and also gives you a wonderful post-game memento. In fact, a diary can be a great way to turn a game of Karst into a short story or novella should you want to share your adventure with others and add to the broader tale of the archipelago. Much of the motivation that led to Karst came from the desire to have a system that lent itself to written storytelling in the form of characters’ journals and memoirs.

Of course, documenting a game takes time, and this task is not for everyone. There is absolutely no requirement that you write anything down; Karst can be enjoyed without any amount of journaling whatsoever.

### Bookkeeper

Whether or not you want to map or record your adventures, every group needs some kind of shared ledger or inventory—and it can help to have an appointed bookkeeper maintain it. Unless your group instantly divides everything—rewards and obligations—you are going to have a few shared items, treasures, and concerns, which someone will need to keep track of. If you’re really lucky, you might even have a whole ship to worry about.

### Lead

A lead describes to the narrator what the group is doing— especially during scenes of exploration—while making sure to step back and give the other players an opportu- nity to chime in when it is their characters’ time to shine. The lead does not control the party but acts as their chief representative. Not all groups need or even want a lead, but larger parties may find one invaluable. If your group decides to have a lead, it is worth first having a conver- sation about who this will be, whether the role will rotate, how the lead will make space for others, and how others should go about giving feedback if they feel that the role is not working for them or the group.

## A Final Note for Players

As a player, you drive the story—make it your tale. The narrator has set the stage; you have created a character; now, it’s your time to act. Enjoy.


Advice for Players

Advice for Narrators


Alone now in the vastness of the Mirror Sea, the Karst Archipelago has always been a curious and benighted place. Made of old limestone baked for eons in the warm sun of the Impossibly Blue Sky and slowly dissolving into the sea, the islands of the archipelago are riddled with caves, ruins, memories, and mysteries—some more pleasant than others.

A humid, tropical climate pervades the southern latitudes, and in the north, the archipelago is drier. Snow falls on the tallest peaks of the largest island, Thark Minora. No chart or map of the area is complete, and it is hard to say exactly where the archipelago begins and where it ends; distance—like time—is a fluid concept in these waters.

## History

The recorded history of the Karst Archipelago begins hundreds of years ago, though many beings existed here for millennia before that. Though a few long-abandoned and forgotten outposts of the First Serpos Empire remain, the first folk to settle here were lagartos separatists, bringing their spirits and superstitions, both quick to intermingle with the echoes of those from before.

A few silent centuries passed, as the lagartos formed tight- knit, insular, and self-sufficient communities on a handful of the archipelago’s islands. Then came the fall of the First Serpos Empire, bloated and corrupt. In its wake, the veldlings—a nation’s worth of refugees, once oppressed and newly free—fled across the sea from their homelands in the Western Sands. Midway in their journey to their intended destination, the Eastern Woods, lay the archipelago, a stopover and a place to rest. Some chose to stay, lured by warm sands and secluded shores, and from these communities came another part of the archipelago’s culture, a mercantile and seaborne spirit.

In the ensuing years, small outposts were established here and there by merchants and explorers from the Three Distant Shores, and a number of longtime communities became trading destinations of their own. Still, the archipelago remained something of an afterthought; it flourished and even thrived, but little changed.

And so life went on for five hundred years.

One day, no ships arrived from the Three Distant Shores, but no one noticed; foreign ships, after all, were unpredictable things. Nor did anyone notice when they did not arrive the next day, or week, or month thereafter. It was not until one could no longer say how long it had been that anyone cared to wonder—and by then, it was far too late to do anything about it, if anything could have been done at all.

Some say the old doomsayers and fortune-tellers at the edge of Orway were the first to catch on, and also the last to be listened to. The exact measure now matters not; all that can be said is that it has been at least a generation since the Three Distant Shores were last heard from in the Karst Archipelago.

## Life in the Archipelago

In the archipelago, now isolated from the Three Distant Shores, life continues unchanged for many folk. Those who live in the villages and cities of its nation-states and island kingdoms lead fairly mundane lives. The warm climate and the abundance of the sea provide for basic needs, and most of the islands have some form of agriculture: orchards, vineyards, root crops, or fowl.

Industry survives here and there—even some new ventures on the more prosperous islands—but many things remain in scarce supply. Trade is a vital conduit for many goods, and the sea is filled with merchant vessels. It is filled with pirates and other unscrupulous folk too— drawn to the trade ships like hungry gulls.

## Places

Much of the archipelago remains unexplored or recently forgotten by its residents, but some islands are known far and wide. These are but a few of the most recognized destinations in the archipelago.

### Belagoria

Though it is a prosperous merchant kingdom, Belagoria sits on the precipice of multiple disasters. Ever at odds, it and its rival, Golandra, have let hostilities spiral into outright warfare. In addition, Belagorian peasants have begun to revolt against the wealthy excesses of the merchant families as a dontler blight in Eastern Belagoria enters its third year. Lastly, the ground itself has begun to tremble beneath the capital; some fear—correctly— that a major earthquake is due to strike.

### Eektorp Bay

Founded by the eekhorn, and home to more of them than anywhere else in these parts, Eektorp Bay is one of the busiest, and dirtiest, ports in the archipelago—a maze of shipyards, docks, high roads, and back alleys, all choked with corruption and filth.

Its ruler, the Duke, is a corpulent autocrat with an insatiable hunger for roast goose and honied dontlers. He rules Eektorp Bay and the slums of Hoveltun with a lazy but iron fist, going months without oppressing the citizenry, only to crack down on a whim and execute a handful of folk for some minor or completely arbitrary slight—real or perceived.

### Porta Cortu

Porta Cortu, a freeport, is a loosely organized collection of communities packed onto four small islands: Little Hen, Orway, Picoloro, and Whitecliff. This nexus of merchants, adventurers, and excitement is the dizzying center of all trade and commerce in the archipelago, the perfect place for all kinds of tales.

Narrators can learn more about this eclectic port in the chapter Things to Do in Porta Cortu—which can be found in the upcoming print edition of Karst.

### Thark

A kingdom known for its mighty warriors, Thark has a proud and insecure culture. The citizens of Thark praise honesty and forthright behavior; Deceit is shunned. The folk are active; many engage in hunting, mountaineering, and other physical activities, while some seek glory in the ranks of the military or as adventurers.

The nation consists of two large and hilly islands as well as a number of smaller isles. The island of Thark Minora is the largest in the archipelago, its coastal hills leading up to snowcapped mountains. An unabashed monarchy (but non-hereditary; each successor is chosen and groomed), Thark is currently ruled by King Groedsun, a tall and jolly smooth-skin visita whose long and storied reign has been mostly benevolent.

## Rumors and Legends

Fact, fiction, or somewhere in between, these rumors and legends can be used for general background or the beginnings of a tale:

Quill Island was once known as the Isle of Pines and Tears. The last attempt at settling it failed a lifetime ago.

The Mirror Sea has been unusually active and stormy around Gygalos Island as of late.

Spirits haunt the ancient battlefield of Scatterbones; the sea here glows at night.

The cult of Eku offers membership in exchange for stolen works of art.

Death manifests as three crows: one silent, two laughing.

In Eektorp Bay, the Duke has ordered the construction of a dozen sturdy boats, hundreds of bows, and thousands of arrows; few know his intent, but many are concerned—and will pay dearly for more information.

The First Serpos Empire once conducted unspeakable thaumaturgic research on a nearly forgotten island somewhere in the archipelago.

Drakt Harbor—a cutthroat’s dream, built of scrapped ships and half-excavated caves—is hidden inside a lagoon in the caldera of a burnt-out volcano.

Amidst the dontler blight in Belagoria, rumors persist that the merchant families are hoarding enough reserves to feed the countryside—and are looking to profit.

In the mountains of Thark, hill pirates have begun to raid pack trains along the road between the port of Arzúa and the mountain resort of Gándara.

In Yugen Boreth, the farthest reach of Thark, there is a giant tadpole who speaks a truth that few can hear.

Once, a great nation of stripe-furred folk inhabited the Karst Archipelago. At their height, they surpassed even the serpos—whose empire flourished as theirs declined.


The Karst Archipelago


_of the Three Distant Shores._

All characters belong to one of these six folk. Formed in the broken image of the dead gods above—like all who came before—the six folk of the Three Distant Shores are those whose day it now is to stand in the sun. Dusk, however, approaches—sooner for some, soon enough for all.

![Eekhorn Captain](/images/eekhorn-captain.png)

## Eekhorn

Originally hailing from the Eastern Woods, the eekhorn are the descendants of an ancient tree-dwelling folk. They possess large, bushy tails and a good sense of balance, making them naturally adept at climbing.

There are few eekhorn in the Karst Archipelago because few of its settlements were founded by their kind. Those who do call the archipelago home are found mostly in the nautical trade, as their innate balance and aptitude for climbing make them natural sailors. Because of this, the eekhorn are scattered about the ships and ports of the archipelago, with their community’s heart being at Eektorp Bay, a bustling and dirty port of call.

The eekhorn have a reputation for being quick to act and even quicker to react. At its best, this trait manifests as decisive, bold, and adaptive leadership. More negatively, it can be expressed as an impulsive, unfocused, and unreliable temperament. Because the climate of the archipelago is warmer than most
eekhorn prefer, many shear tattoo-like patterns into their fur as a stylish method of keeping cool.

![Grevling Guard](/images/grevling-guard.png)

## Grevling

Stoic, clannish, and skeptical, the grevlings inhabited the Eastern Woods from time immemorial—once in fear, and later as the region’s masters. The history and identity of this proud folk revolves around the campaigns they waged to eradicate the vulfs and civilize the woods. True, the eekhorn helped, but it was the indomitable spirit of the grevlings that led the way and kept hope alive in the darkest winters of war.

Like the eekhorn, few grevlings reside in the archipelago, and for similar reasons; the folk of the Eastern Woods discovered the archipelago after those from the south and west. Besides, the climate was a bit warm for their tastes. Still, most every town has at least one grevling—if not a small community—often at the center of things, a role many of their kind reluctantly find themselves in.

Grevlings have a hard time giving up, backing down, or succumbing to death. They are built of heavier bones than the other folk, and their dense coat protects them equally from the heat of the sun and the cold of winter. They have short, slick fur with a distinctive black-and-white pattern and typically dress in the traditional clothes of the Eastern Woods, no matter the weather. Their woven garb has ample pockets and is comfortable enough—to those with a thick layer of fur.

![Lagartos Hunter](/images/lagartos-hunter.png)

## Lagartos

Native to the shores of the Southern Swamps, these folk were the first modern inhabitants of the archipelago. Those who left the swamps and resettled in the archipelago were separatists from the floating cities, a society the lagartos created in partnership with the visita. At the heart of their dispute was the separatists’ belief that spiritual guidance should take a lead role in governance—an idea that the visita nobles would have none of. The independent and spiritual bent of these first settlers set the tone for all future migrants, lending the folk of the archipelago a reputation for self-reliance and superstition. Many island communities can still trace their heritage back to the early lagartos, a point of pride for some of the oldest villages and ports of call.

Standing no taller than the shoulders of most other folk, the spritely lagartos move with a nervous and unsettling haste. Lagartos are born problem solvers, with a fondness for unconventional solutions—and the occasional blind spot for unintended consequences. Geniuses or troublemakers, lagartos have often been regarded as both, and often in the same breath. An industrious bunch, these reptilian folk work with the same hasty energy that permeates their other activities. It is no exaggeration to say that life in the archipelago would fall apart if every lagartos were to take the same day off.

The warm climate of the Karst Archipelago suits this cold-blooded folk almost perfectly. Here, the lagartos are able to dress as they please, with little concern for the effects of cold weather. Some wear sweeping robe-like clothes inspired by serpos and visita fashions, but most prefer close-cut outfits that are less likely to get snagged or otherwise hinder their movement.

![Serpos Explorer](/images/serpos-explorer.png)

## Serpos

Long has the gaze of the serpos graced this world. From the Western Sands, their empire arose, built atop the thaumaturgic arts—a gift taught to the serpos by the wind itself—as well as the backs of others. These serpentine folk ruled the desert sands for millennia, subjugating their fellow inhabitants, the veldlings. Like the desert sun, harsh and unrelenting was their rule. Under the lead of the serpos—watered by the blood of the veldlings—the empire grew to dizzying heights.

But all things pass, and so the fortunes of the First Serpos Empire eventually waned. After centuries of corruption and internal turmoil, serpos society collapsed when the veldlings rebelled and then fled, removing the empire’s chief source of labor. Within a decade, a millennia of so-called progress came crashing down, the serpos empire reduced to a collection of warring tribes and sects.

The serpos are a learned folk and have become
much wiser for these past transgressions. In the shadows of their failed empire, they have rebuilt and reimagined their culture and beliefs. But memories are long, and grudges are held even longer. To this day, many folk still do not trust the serpos at face value, a lamentable—but understandable—stance.

While individual serpos are something of a rarity in the present-day archipelago, many islands are home to the ruins of ancient outposts from the dawn of their empire. The few serpos who can be found in the archipelago are a varied lot—merchants, scholars, bakers, and laborers—but all possess a peculiar understanding, one that either humbles them or instills a strange and ancient arrogance.

![Veldling Theurge](/images/veldling-theurge.png)

## Veldling

Born of the Western Sands, the veldlings—or velda, as they were once known—fled their homelands five hundred years ago, following a long period of oppression at the hands of the serpos. Fleeing across the Mirror Sea, many of these short-furred folk resettled in the Eastern Woods alongside the grevlings and eekhorn. But as the archipelago stood at a midpoint in their journey to the east, some veldlings chose to make Karst their new home. Here, on sparsely populated islands, they found respite and a place to settle. Some five centuries later, they remain a large part of the archipelago’s population.

Veldlings are brave—but measured—folk. They know that discretion is often the better part of valor, a trait that makes for fine adventurers. As careful as they are, they are equally—if not more so—ambitious. A sociable lot, most veldlings enjoy the situations that arise from interpersonal interactions, good and bad. Taken together, these aspects of their psyche help explain why many traveling merchants, ship captains, and shopkeepers are members of this entrepreneurial folk.

As one of the two most common folk in the archipelago, veldlings are found on almost every inhabited island. Aspects of their culture, from their native tongue and shipbuilding techniques to their propensity for hilltop shrines, have become foundational parts of life in the Karst Archipelago—the name itself of veldling origin.

![Visita Merchant](/images/visita-merchant.png)

## Visita

The visita were born in the waters of the Southern Swamps. There was abundance in the swamps, but the waters were murky. And thus, just as a visita grows from egg to tadpole to fully fledged frog, so have the visita grown as a folk: first by leaving the waters of the swamps and constructing vast floating cities beside their banks, and then by leaving the swamps entirely and exploring the seas and continents—forming mercantile bonds and trading with the folk around them.

The visita have never really had it hard. There were no vulfs to fear or rival species to hate; the waters of the Southern Swamps provided a home and a steady source of food; the floating cities were created from surplus, rather than constructed in defense; and even more, the lagartos did not oppose the visita’s encroachment onto the land but instead saw the opportunity to fill in the margins of their society and share in the abundance.

Of the dead gods above, Woggles, often associated with the visita, embraced and understood the changing nature of life far more than did her peers—something that is reflected in this folk. There is an order to life and a course to it. Change is inevitable, but it is seasonal, and there are patterns. There are ups and downs, but in the end, things turn out well for the visita because things always turn out well for the visita.

This mindset can be a little problematic. It is difficult for a visita to fully appreciate when the odds are against them, and it is nearly impossible to convince one that they are wrong or to dissuade them from a course are have set upon. A visita will genuinely listen to and take the advice of their subjects, companions, and compatriots, but it can be a little tricky for one to give up the reins of power—except to someone of a clearly higher station.


The Six Folk


Knacks are the central element of character development and specialization: they are the talents that make characters unique. Every character begins with three knacks and develops three more with each additional level of experience. As characters grow and develop prerequisite knacks, they gain access to more powerful and specialized knacks.

The knacks listed here are meant to be representative examples of a larger range of possibilities. If you feel that something is missing, add it. With a little work, it is easy enough to convert your own ideas or content from other games into knacks for Karst. Each knack listed below is given a name, a bit of flavor, and a description of its effects; follow this pattern when adding new ones.

## Core Knacks

Core knacks are a central form of progression. Each of these knacks improves a character in one simple, specific dimension. Compared to the other knacks, these may seem wanting, but their strength is found in the effect of repeated selection as a character advances in level.

Core knacks can each be developed once per level: a maximum of ten times. Characters who are Clever must develop a core knack twice to start. Because of this, their limit for that specific knack rises to eleven.

### Agility

You are a deft and elusive target.

_Add one to your defense, unless completely restrained._

### Concentration

You have the mind for magic.

_Once per day, you may cast a single spell that you know. You must develop at least one level of Deceit, Spiritism, Thaumaturgy, or Theurgy in order to have spells to cast._

### Focus

You strike with clarity even in the heat of battle.

_Add one to all attack rolls._

### Reaction

You are fast on your feet.

_Add one to all order rolls._

### Vitality

You can survive what life throws at you.

_Gain three health._

## Basic Knacks

Basic knacks represent the broadest group of talents. Each one confers some sort of special aptitude or bonus but also represents an important personal aspect of the character who has developed it.

While each basic knack is different, many are complementary, and when taken together or with other types of knacks, they can really shape a character. Most basic knacks are also a prerequisite for one or more advanced knacks, providing a path to future progression.

### Adversorcery

Your relationship with magic is an uncomplicated one: you despise, distrust, or disbelieve in it to the point of actual resistance.

_You roll to resist the effects of all spells and magical effects, even beneficial ones. Add one to these rolls. The bonus granted to Wise characters when resisting deception does not apply to other types of magic._

### Aid

You have a gift for soothing and healing others.

_Add two to any attempt to give aid to another character who is facing death. If you spend time tending to them, up to three other folk in your care can heal two additional health upon resting._

### Alertness

You often sense danger before it strikes.

_You are less likely to be surprised by the start of an altercation; add two to all surprise rolls. Lagartos possess a natural version of Alertness and can develop its related advanced knack, Awareness, as if it were a basic knack instead._

### Animosity

Your dislike of a particular group is so great that it translates into righteous fervor.

_Choose one group to despise. Add one to any roll you make against them. A group may be a type of folk, the residents of a specific place, a type of beast, or any other reasonable grouping of characters. This knack can be taken multiple times for multiple groups but does not apply multiple times to characters who belong to more than one group; the bonus granted by Animosity is capped at one._

### Archery

You can reliably hit a bullseye—with a little time to aim.

_You can spend a round aiming at a target with your bow before attacking. If you do so, you can choose to add four to either your attack roll or—assuming the attack succeeds—to your damage roll._

### Armor Training

Even in bulky armor, you move with grace.

_You are restricted by heavy armor as if it were only medium armor. Due to their smaller size, lagartos cannot develop this knack unless they are Strong._

### Backstab

Anyone can stick a knife in someone’s back—but you’ve made an art of it.

_When wielding a dagger, you quadruple instead of double the damage you roll against unsuspecting targets._

### Bravery

Fear is meant to be conquered.

_You are unaffected by Fear spells and similar effects._

### Brawling

You are not afraid to get your hands or paws a little dirty.

_Add two to all unarmed attack rolls and do one additional damage if you hit._

### Brutal

You strike to harm.

_Add one damage to all physical attacks._

### Clear-Eyed

You can see through simple lies.

_You are unaffected by Beguile and Slumber spells and any similar magical effects._

### Climbing

Walls, trees, cliffs—if it has a few finger holds, you can climb up it.

_You are able to climb all but the most sheer surfaces; add two to any rolls to do so. Eekhorn possess a natural version of this knack and can develop its related advanced knack, Climb Sheer Surfaces, as if it were a basic knack instead._

### Combat-Casting

The chaos of battle doesn’t dim your concentration; you can cast spells even under duress.

_You can cast spells even while wearing light armor or having been attacked previously in the round._

### Deftness

Armor would only weigh you down.

_Gain two defense when unarmored._

### Dual Wielding

You find comfort with a weapon in each hand or paw.

_Add one to all attacks when wielding two weapons. If the two weapons do different amounts of damage, randomly determine which weapon hits._

### Echo

You have found a certain calmness—a rhythm by which your magic flows a little bit more.

_You can cast the same spell twice in one day. The Echo knack can be used only once per day, and the spell still requires enough Concentration to cast a second time._

### Fitness

You have an excellent constitution.

_The effects of most poisons and disease are minimal to you. Add two to any resistance rolls against them._

### Friend to Animals

You have a deep connection with the birds and beasts.

_You are able to calm and even befriend most animals. Add two to any roll to calm an animal. If the roll is a six on the die, you can instead befriend the animal—a process that takes a number of hours or even days, depending on the nature of the bird or beast._

### Fury

Conflict brings out something terrible within you.

_During an altercation, you can enter a furious trance. This may be done at will, and it happens automatically if you are hit by an attack. During this trance, you add two to all attack and damage rolls, but you may not perform any action other than charging towards the nearest foe and attacking them. You cannot leave this state until either the altercation has ended or you are reduced to two health or less. After a furious trance, you must rest for a short while, subtracting two from all rolls until rested._

### Hunting

You can usually find a meal.

_You know how to track prey and kill or capture quarry; add two to any roll to do so._

### Identify Substances

Poison or salve, causative or cure—distinctions you have learned to discern . . . after a bit of trial and error.

_With a bit of study, you can identify most common—and some uncommon—poisons, potions, and similar substances; add two to any roll to do so._

### Large Weapon Training

Other folk may find large weapons unwieldy; not you.

_You can wield large weapons without a penalty to attack rolls. Due to their smaller size, lagartos cannot develop this knack unless they are Strong._

### Natural Knowledge

Some are versed in lore of nature—you are steeped in it.

_You know much about the plants, animals, and natural phenomena around you. Add two to any rolls to identify plants, animals, weather patterns, et cetera._

### Navigation

Whether charting the sea or wandering the earth, you are not one to get lost.

_Add two to any rolls for navigating across land or sea._

### Precision

You have an eye for weak spots.

_Double your attack’s damage if your attack roll is a twenty on the die._

### Read Scripts

There are many written languages in the archipelago; you can muddle your way through a surprisingly large number of them.

_You can read, or at least partially read, most modern writings. Add two to any rolls to decipher more esoteric scripts, as long as they were written by folk._

### Sense Magic

You have a preternatural sense for the supernatural.

_You have a chance at passively detecting the presence of most magic. When you actively attempt to detect the presence or nature of magical spells and effects, add two to any rolls required to do so._

### Shield Training

You have learned to defend with a shield effectively and without hindrance.

_You no longer subtract two from attack rolls when using a shield. As an attack, you can perform a shield bash, which, if it hits, momentarily stuns most targets for one round or does a four-sided die roll of damage._

### Stealth

Your hands are light, your footsteps soft—the shadows are your home.

_You are skilled at avoiding detection; add two to any rolls to do so—unless you are trying to avoid being seen by ser- pos, who can see heat, or being heard by veldlings, who have especially sharp hearing._

### Technically Minded

Contraptions, mechanisms, fulcrums, levers, causes and effects: you understand how these things operate—and how they can be used in unintended ways.

_You are able to understand and operate most kinds of mechanisms, including locks and small traps. Add two to any rolls involving mechanisms._

### Tumbling

There is an art to falling—a form of grace, even.

_You suffer far less damage from falling and are not stunned by being knocked over. Unless the distance is very great and there is nothing you can use to catch yourself, the most damage you will ever take from a fall is half of your remaining health._

### Weapon Training

You are well practiced with a specific type of weapon.

_Choose one type of weapon, and add one to attack and damage rolls with all weapons of this type. This knack can be taken multiple times, once for each type of weapon._

## Advanced Knacks

Advanced knacks are built on top of other knacks and represent advanced levels of skill and discipline, reflective of a more experienced mindset. These knacks may be developed only by characters who have reached the sixth level or higher. Each advanced knack also has one or more prerequisite knacks that must first be developed at an earlier level of experience.

Many of these knacks are effectively the second level of a basic knack; others represent completely new disciplines, or the pairing of two basic knacks into something more than either alone. As advanced knacks can be developed only by characters who have reached higher levels of experience, fewer characters possess them; those who do may find their skills in high demand.

### Awareness

Whatever it is, you are not surprised.

_You are surprised by almost nothing; add four to any surprise rolls. Lagartos are naturally alert and thus may develop this knack as if it were a basic knack._

**Prerequisite:** Alertness.

### Climb Sheer Surfaces

If anyone can climb it, you can.

_You can climb even sheer surfaces. If you must roll to climb a surface, add four. Eekhorn are natural climbers and can develop this knack as if it were a basic knack._

**Prerequisite**: Climbing.

_**The rest of the Advanced knacks can be found in the complete edition of Karst.**_

Visit the <a href={"/store"}>Gift Shop</a> to purchase a copy.

## Odd-Level Knacks

Magical gifts and powers are represented by odd-level knacks. These are mystical paths of growth; characters may dabble in them or follow them to mastery. Like core knacks, they may be developed multiple times, but odd-level knacks may only be developed five times each, once for every odd-numbered level of experience that a character has reached—hence the name.

As these knacks are the rarest talents, it may be difficult for a character to develop a new odd-level knack without finding and learning from an appropriate teacher.

### Banishing

Your will can turn back spirits, corpsefolk, and other spiritual beings.

_You can banish nearby spiritual beings as an action, dealing one six-sided die roll of damage for each level you have developed this knack. The dice may be split between one or more targets, which you must declare before rolling._

### Channel Essence

An agonizing power that allows you to channel your own life essence into a bolt of pure energy.

_As an action, you can channel your essence at a nearby target, harming it and yourself. You can roll as many six-sided dice as you have levels in this knack, inflicting damage equal to the result on the target. For each die you choose to roll, lose one health._

### Deceit

It whispered. You listened.

_You have learned to speak the lies of Deceit. For each level you have developed this knack, you gain knowledge of that level of Deceit spells. These spells are listed within the chapter Magical Traditions (p. 65). You must develop at least one level of the Concentration knack in order to cast spells._

### Fists of Will

Whether by the will of the gods, the guidance of the spirits, or the strength of your own soul, your fists are imbued with a supernatural energy.

_You roll for damage when making an unarmed attack, rather than dealing a single point of damage. The type of die you roll depends on the number of times you have developed this knack: start with a four-sided die at the first level, and increase by two sides per level, up to a twelve-sided die the fifth time the knack is developed._

### Healing Hands

In your hands or paws course the will of the gods, mending that which is broken.

_For each level you have developed this knack, you can heal six points of damage per day from either yourself or another character, by touch. These six-point increments of healing may be divided across multiple targets, actions, and scenes._

### Luck

Your will is fortunate.

_Once per day, you can re-roll a single die, taking the new result instead. Additional levels grant additional daily re-rolls, but you can never re-roll the same roll twice._

### Song

You sing with a most peculiar voice.

_Each time you develop this knack, choose one first-level spell from any magical tradition, whether or not you have developed that tradition’s knack. Once per day, you can sing to cast this spell without the use of the Concentration knack. During an altercation, it takes two uninterrupted actions across two turns to cast a spell in this manner; if you suffer damage in between these two actions, the effect of the song is lost to distraction._

### Spiritism

In service or in servitude, the spirits guide you.

_You speak with the spirits and have been granted their guidance. For each level you have developed this knack, you gain knowledge of that level of Spiritism spells. These spells are listed within the chapter Magical Traditions. You must develop at least one level of the Concentration knack in order to cast spells._

### Thaumaturgy

You study the Essence of Existence.

_You have learned to perform thaumaturgic transformations. Each time you develop this knack, you discover the next level of Thaumaturgy spells. These spells are listed within the chapter Magical Traditions. You must develop at least one level of the Concentration knack in order to cast spells._

### Theurgy

The gods above are dead, but their will still lights this world—and your faith.

_You work miracles. Each time you develop this knack, you learn to perform the next level of these wondrous spells. Theurgy spells are listed within the chapter Magical Traditions. You must develop at least one level of the Concentration knack in order to cast spells._


Knacks


The following lists contain some of the more obvious items that characters may use, as well as those items’ benefits, drawbacks, and typical costs. By no means are these lists complete. When adding your own items, it is often easiest to modify existing ones, or to use their statistics as a guide.

### Clothing and Armor

**Clothing** and **armor** are worn and do not count against a character’s carrying limit. Armor offers protection in the form of additional defense but also restricts a character in some manner or another, depending on the armor’s bulk, or class. Restrictions are cumulative: each armor class suffers the restrictions of those before them.

- _**Light armor**_—Prevents the wearer from casting spells.
- _**Medium armor**_—Prevents the wearer from climbing and sneaking, and hinders other acrobatic actions.
- _**Heavy armor**_—The wearer subtracts two from attack rolls and one from all other rolls.

A character can wear one suit of armor or one set of clothing, as well as a backpack or a bag. A character can also wear a pair of shoes, a hat, a belt, a pair of gloves, and a reasonable amount of jewelry.

**Artisan clothes**—¢10, contains pockets for carrying one or two additional items (depending on item size).

**Carapace armor**—¢100, six additional defense, heavy.

**Chain mail**—¢50, four additional defense, medium.

**Fish-leathers**—¢25, two additional defense, light.

**Lamellar armor**—¢50, five additional defense, heavy.

**Plain clothes**—¢5.

### Weapons and Ammunition

**Weapons** are meant to do harm. When used, they increase the amount of damage from an attack. Some weapons require **ammunition**, which is consumed with each attack. Wielding a weapon requires one free hand or paw, unless noted otherwise.

Some weapons and ammunition have specific attributes:

- _**For**_—Signifies which weapon(s) a type of ammunition can be used with.
- _**Large**_—These weapons are unwieldly; characters must subtract two from both order rolls and attack rolls made while using them.
- _**Long**_—These weapons are longer than most, allowing a character to attack from a little bit farther away, such as from behind another character or from cover.
- _**Ranged**_—These weapons are used to attack nearby and faraway targets, subtracting four from attack rolls against the latter.
- _**Small**_—These weapons can be bundled in groups of five for carrying purposes.
- _**Throwable**_—These weapons may be thrown at nearby targets, subtracting two from the attack roll.
- _**Two-handed**_—These weapons require two hands or paws to wield.
- _**Uses**_—Signifies which ammunition a weapon uses.

The most commonly available weapons and ammunition include the following:

**Bow**—¢25, six-sided damage dice, two-handed, ranged, uses arrows.

**Club** or **hatchet**—¢10, six-sided damage dice.

**Dagger**—¢10, four-sided damage dice, throwable, small.

**Large bow**—¢50, eight-sided damage dice, two-handed, large, ranged, uses arrows.

**Large sword** or **large axe**—¢50, ten-sided damage dice, two-handed, large.

**Sling**—¢5, four-sided damage dice, ranged, uses stones.

**Spear**—¢25, six-sided damage dice, long, throwable.

**Staff**—¢5, four-sided damage dice, long.

**Sword** or **axe**—¢25, eight-sided damage dice.

Ten **stones**—¢0, for slings.

Twenty-five **arrows**—¢5, for bows and large bows.

### Equipment, Tools, and Gear

Karst’s folk have all sorts of items beyond clothing, armor, weapons, and ammunition. In fact, the majority of their items are those not listed above. Many of these items are **tools** to be used in hand or paw; others are **gear** to be worn; some **equipment** may even require a bit of setup before it can be used.

**Backpack**—¢25, lets the wearer carry three or four additional items (depending on the items’ size).

**Bedroll**—¢10, for sleeping comfortably.

**Book**—¢25, empty or filled with words.

**Bucket** or **jug**—¢10, large or small.

**Chisel** or **hammer**—¢10, for chiseling or hammering.

**Flint stone**—¢10, for starting fires.

**Jar of wax**—¢5, to refill a lantern or for use as sealant.

**Lantern**—¢25, burns for six hours before it must be refilled with wax.

**Large cart**—¢200, pulled by three folk, carries eight folk or eighty items.

**Large tent**—¢50, sleeps five, eight uncomfortably.

**Musical instrument**—¢25, to play a tune.

**Net**—¢10, for catching fish, or perhaps folk.

**Paddle** or **oar**—¢10, for paddling or rowing.

**Pickaxe**—¢10, for breaking rocks.

**Pouch**—¢10, lets the wearer carry two items as one (two pouches at most can be worn without hindrance).

**Rope**—¢5, fifty-foot length.

**Sailboat**—¢1,500, sailed by two folk, carries ten folk and one hundred items across the sea.

**Saw**—¢10, for sawing.

**Shield**—¢25, adds two defense but subtracts two from all attack rolls.

**Shovel** or **spade**—¢10, for digging.

**Small cart**—¢50, pulled by one folk, carries two folk or twenty items.

**Small rowboat**—¢100, rowed by one or two folk, carries four folk and twenty items.

**Small sailboat**—¢250, sailed by one folk, carries four folk and thirty items.

**Small tent**—¢25, sleeps one, two uncomfortably.

**Snare trap**—¢15, to catch prey.

**Tool kit**—¢25, hand tools for a specific craft or trade.

**Torches**—¢10, bundle of five; each burns for one hour.

**Wooden pole**—¢5, roughly ten feet long.


Common Items


The four magical traditions each grant spells to their practitioners. Each spell that is known by a practitioner may be cast once per day, given enough Concentration. For each level of a magical knack a character develops, that character learns the corresponding level of that tradition’s spells.

## Theurgy

When the gods above died in creation, their will became a part of all things—the Essence of Existence. To channel and manifest this will is known as Theurgy. Faithful and demanding is the path of the theurge—for devotion is the price that must be paid in exchange for the **miracles** they are afforded.

It is harmony that the theurge seeks to find through their devotion. To live in accordance with their chosen gods—and to rid the world of the inharmonious—is their purpose and goal. Harmony aside, the miracles performed by the theurge are not subtle matters. These powers effect change, often in the most direct manner possible.

### Level One—Observance

**Bolt**

Righteous energy.

_Strike one nearby target for six damage._

**Shield**

Will withstands trouble.

_Choose yourself, a nearby character, or an item. The target gains four defense for the next hour._

### Level Two—Reverence

**Bless**

Faith.

_Choose up to three nearby targets, optionally including yourself. For the next hour, the targets add two to all of their attack rolls._

**Blight**

Fury.

_Choose up to six nearby targets. For the next ten minutes, the targets subtract two from their defense and attack rolls._

### Level Three—Dedication

**Ball of Fire**

Purification through immolation.

_Choose a small area; it erupts in a ball of fire, inflicting four six-sided dice of damage on any subjects within it._

**Grace**

Harmonious living.

_Choose up to three nearby targets, who can include yourself. For the next hour, each target adds one to all rolls._

### Level Four—Devotion

_**These spells can be found in the complete edition of Karst.**_

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### Level Five—Sanctity

_**These spells can be found in the complete edition of Karst.**_

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## Thaumaturgy

All that is everything has been woven together into the Essence of Existence; Thaumaturgy is the art and science of its transformation. To understand the nature of this essence—and reshape it to one’s own desires—is the life work of every thaumaturge, a study that is equal parts research and applied practice.

The great works of Thaumaturgy are known as **transformations**. These precise and exacting spells change the very Essence of Existence, often pushing it to one extreme or another. Though it is more direct than some forms of magic, there is still a sublime grace to the art and science of Thaumaturgy.

It is claimed that Thaumaturgy was taught to folk by the wind itself, but the modern teaching and practice are far more regimented than those of the other magical traditions. Many a thaumaturge underwent a formal course of study at a school or university, or began their career as an apprentice. As a result, there are many competing schools of thought, academic rivalries, and theoretical disputes amongst the thaumaturgic community.

### Level One—The Apprentice

**Lumination**

Light and shadow.

_Target one character, item, or piece of scenery, making it glow brightly or absorb nearby light, illuminating the area nearby or casting it into complete darkness. This effect lasts for one hour. If cast on the eyes of a character, the target character is blinded for the spell’s duration._

**Magnetism**

Attraction and repulsion.

_Choose two targets, such as characters, items, or scenery. For the next hour, they either are fused together or repel each other with great strength._

**Purity**

Time and change.

_You can age or reverse the aging of a dozen meals’ worth of food and drink, making them edible or inedible in the process. This spell can be cast on a similar amount of lifeless matter—including wood—rotting or purifying it._

### Level Two—The Student

**Levitation**

Up and down.

_Target yourself, a willing character, or a nearby item. For the next hour, the effects of gravity upon the subject are replaced by your whims. The subject cannot be made to rise more quickly than a fast walking speed or fall faster than the speed of gravity._

**Speak with Animals**

Chitter and squawk.

_For the next hour, you may speak with any member of the animal kingdom. This ability does not make animals any more sympathetic to you, but most can be reasoned with, to some degree or another._

**Temperance**

Hot and cold.

_Choose one nearby target, or yourself. The target is unaffected by changes in temperature for the next hour._

### Level Three—The Adept

**Flight**

The gift of the wind.

_For the next hour, you can ignore the effects of gravity and momentum, moving in any direction of your choice, vertical, horizontal, or diagonal, at a fast walking speed._

**Quicken**

Time inside of time.

_Target yourself or one nearby character. For the next ten minutes, the subject acts at twice their normal speed. During altercations, they take two turns each round, rolling twice to determine their order score and acting on both results. Some actions—such as spell-casting—take an entire round to perform and may not be performed twice, even while a character is quickened._

**Speak with Plants**

The language of leaves.

_For the next hour, you can speak with any member of the plant kingdom. Most plants are forthright and relatively indifferent to folk; they will willingly share what they know but will offer little in the way of assistance._

### Level Four—The Scholar

_**These spells can be found in the complete edition of Karst.**_

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### Level Five—The Master

_**These spells can be found in the complete edition of Karst.**_

Visit the <a href={"/store"}>Gift Shop</a> to purchase a copy.

## Spiritism

The reflections of the folk who came before are known as the spirits below; through **guidance** they interact with the living. Practitioners of Spiritism seek this guidance, and the spirits respond to those who beseech them, sooth- ing wounds and helping light the way. But guidance, too, is sought by those with more vengeful desires—for it can also be used to do harm.

Guidance takes on countless forms—as many forms as there are spirits. Each practitioner’s relationship with those below differs too. Some seek the spirits’ aid; others seek to serve them—almost all end up doing the latter, whether they know it or not. Many types of guidance are of a dual nature: able to help or harm. The true nature and goals of the spirits are known by few, but the spirits are respected, if not revered, by most folk.

### Level One—Empathy

**Sense Essence**

The view from below.

_For the next hour, you are able to detect the presence of any nearby magical effects or powers. Lies and other means of Deceit are not automatically detected, but you add one to any rolls to see through them._

_Alternatively, you can conceal the magical nature of any one character, item, or effect, hiding its nature for a full hour from the time of casting._

**Tongues**

Every language was once spoken.

_Target yourself or a nearby character; for the next hour, the target is able to read the text of all languages. Additionally, the target can read any cipher whose author is dead, and they add two to any roll to understand ciphers whose authors are still alive._

_Alternatively, one target is unable to read or understand anything spoken to them for the next hour, as the chatter of spirits fills their mind._

**Transference**

A gift to buoy the living—or a curse to strike them down.

_Target yourself or one character who is close enough to touch; the target immediately gains or loses six health. If this brings a character from zero or less health to a positive value, they immediately recover from unconsciousness and can adventure again after a short rest. During an altercation, you may need to successfully attack an unwilling target in order to touch them._

### Level Two—Purpose

**Intention**

The eyes of the past.

_The spirits reveal to you the intentions of others. For the next hour, you can learn other characters’ general feelings towards you by looking them in the eye or by being spoken to directly by them._

**Pathway**

The spirits guide, and the spirits hide.

_For the next hour, you are able to sense the general direction in which your current goal is located. The more specific and detailed your knowledge of your goal, the more detailed and specific the guidance will be._

_Alternatively, you can cast this spell to conceal an object. For the next hour, it will go unnoticed unless someone is explicitly looking for it, in which case they must make an action roll to do so._

**Share Thoughts**

Of one mind.

_Target yourself or a nearby character; for the next hour, the target can mentally communicate with others. To begin communicating with someone, they must be nearby, but the communication may continue at a distance._

### Level Three—Revelation

**Curse**

A pox upon them.

_Choose one nearby character. For the next month, they subtract one from all their rolls._

_Alternatively, remove a curse._

**Ease**

A cure or a cause.

_Target yourself or one character whom you can touch; the target is immediately cured of one disease._

_Alternatively, you can afflict the target with a disease of your choice, but it must be one that you have previously cured. During an altercation, you may need to successfully attack an unwilling target in order to touch them._

**Spirit Eyes**

See without sight.

_Choose one place where you have stood before. For the next hour, you can view that area as if you were there again._

### Level Four—Connection

_**These spells can be found in the complete edition of Karst.**_

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### Level Five—Union

_**These spells can be found in the complete edition of Karst.**_

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## Deceit

Though it whispers into every ear, none dare speak openly of Deceit. Few listen to its treacherous words, but those who do are soon versed in the tongue of **lies**.

While it is the weakest form—unable to affect the Essence of Existence directly—no magic is as sinister: the lies of Deceit have the power to shape the perceptions and emotions of others, clouding their judgement and bending their very thoughts and will.

The target of a lie, however, is always given a chance to see through its effects, unlike with other spells. Characters who are Wise are particularly capable of seeing through lies and add one to any rolls to resist their effects. Some lies affect more than one target; if one or more characters see through the lie, the spell is broken for them but remains in place for any others.

### Level One—Deception

**Beguile**

A friendly smile and honied words.

_Target one nearby character. They must succeed on an action roll to resist, or they become beguiled, serving you with the loyalty typically reserved for a close friend. The effects of this spell last for one day. If you beguile the same target every day for a week, the effects last for a month._

**Fear**

There is no feeling more primal.

_Target one nearby character. They must succeed on an action roll to resist, or they become terrified, running away or cowering in abject fear for the next half hour._

**Slumber**

Ask not what dreams are made of.

_Target one nearby character. They must succeed on an action roll to resist, or they fall into a deep sleep for at least one hour, longer if they are tired._

### Level Two—Illusion

**Hallucinations**

The senses are easily fooled.

_You can create an illusion that lasts for one hour. This can include sights, sounds, smells, touch, and even taste, encompassing an area as large as a typical room. Everything within the illusion must be inanimate, though running water, fire, contraptions, and other things that move without life are perfectly acceptable. A character who has reason to suspect the illusion can make an action roll to attempt to see through it._

**Paralyze**

The mind is its own prison.

_Target up to three nearby characters. They must succeed on an action roll to resist, or they are unable to move or speak for the next ten minutes._

**Vanish**

A lie of omission.

_You become invisible to other folk and creatures for one hour. Attacking or touching another character causes immediate detection. A character who has reason to suspect your presence must succeed on an action roll to detect you._

### Level Three—Subterfuge

**Cloak of Shadows**

The shadows grow long.

_This lie functions the same as Vanish, but it can be cast on up to three nearby targets, including oneself, concealing them from all observers._

**Incite Mood**

An aimless crowd and a touch of direction.

_By exhorting a group of folk, you can induce any simple emotion within them, such as joy or hatred. Target up to three nearby characters; for each target who fails to resist the effect, the effect spread to as many as three more nearby targets—each of whom may also spread the effect._

**Phantasm**

The illusion comes to life.

_You can create an illusion that takes the form of any living being that you have encountered before. This fabricated character or creature can attack other characters and has the same statistics as the being it represents; however, the wounds it causes are illusory, though they can render a character unconscious. If a phantasm is struck, it dissolves in the eyes of the one who struck it._

### Level Four—Treachery

_**These spells can be found in the complete edition of Karst.**_

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### Level Five—Manipulation

_**These spells can be found in the complete edition of Karst.**_

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Magical Traditions


_**This introductory adventure can be found in the complete edition of Karst.**_

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Shipwrecked on Gygalos Island


_**This travel guide can be found in the complete edition of Karst.**_

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Copyright © 2021 by Caz Downing-Bryant

Game mechanics and other processes are not entitled to copyright; do with them as you will.

The Karst Archipelago setting is copyright of the Karst Archipelago Historical Society and Caz Downing-Bryant.

You—any individual or entity—may publish your own stories, adventures, supplements, tools, and any other content for use with the Karst setting. This license is subject to the following conditions:

1. You are free to reference and expand upon the Karst setting in your publications.
2. You may not represent your publication as being approved by the Karst Archipelago Historical Society in any way, shape, or form.
3. If your publication references the Karst setting, you must make reference to the preceding points in your legal text and on any websites where you sell or give away your work by stating something to the effect of: “This is an independent publication by YOUR NAME and is not affiliated with the Karst Archipelago Historical Society. Karst is a trademark of the Karst Archipelago Historical Society and is used with permission, under license.”
4. You are legally responsible for your works; the Karst Archipelago Historical Society claims no liability for your use of the Karst setting or rules.
5. The Karst Archipelago Historical Society retains the right to deny the use of this license at any time.
6. Don’t use Karst to push a bigoted ideology.

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Chapters

Things to do in Porta Cortu