Gubat Banwa 1.4 Kadungganan Scroll

1
[GOO-bat ban-WA
“War Land/Warring Lands/Warring Nations
Father, o father tell me wh

we children born from heaven’s bloo
Why do we live, why do we liv
The River Flow
We kill to live and live to kil

In painful bliss we search for peac
Our arrows cut lovers, spears impale brother
The River Flow
Father, o father tell me no

Why does the sky watch as the soil is reddene
Why do sisters have to kill brethren
Why have you left us a ame ever-burning
Why have you left us a sword ever-piercing
Why does the river ow
Father, o father
Tell us your children
We are pierced by the arrow loosed by your bow
We die to live, we live to die
The River Flows
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Gubat Banwa Beta 1.4
A Filipino Fantasy RPG about warrior-braves proving their

convictions in a broken archipelago
To you, reading this: Hey all, Waks here. Gubat Banwa has had
a lot of iterations leading here. There’s been a lot of ups and downs, a
lot of hiccups, and a lot of pagbalik-tanaw, or looking back.
1.4 is something special, I think. Breaking free from derivatives,
and a lightning bright focus on the game’s themes: drama and
violence.
There’s been some games running on our Discord, but we’d love
some large scale feedback. As I am one person doing all the lore,
mechanics, systems, auxiliary art directing, and research to make this
very unconventional setting be palatable to all audiences, especially
to colonized ones, I truly wish this game to be more than just what I
can make it to be. It deserves that
To that end, we’d love feedback to make sure that the game is fun,
not necessarily balanced but fun. D&D 4e, the game that inspired this,
bene tted from large scale playtesting. We don’t have that much
resource
We hope that tactical violence and war drama feeds into each
other. Feel free to join our Discord (https://discord.gg/8h7ZrU6353)
or give feedback through the Feedback forms
Thank you for braving the isles of violence
Wak
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Art Director: Dylan Briones (@illsvillainy)

Artists: Dylan Briones (@illsvillainy), Eunice Gatdula
(@huhsmile), Jul A. Refugia (@JuiceUrLemons), Noriz Mora
(@Togidemi), Tamara Catada (@tanorochen), Xrystina Marcos
(@SweetCyanid3), Ahron (@daffonahron), Gen (@Shaolinfan1),
Luisa Odulio (@ghostprinceee), RM Banas (@rmbananas), Cams
Cabezas (@breezamiii), Trina Laya (@tumbke), Fae (@indignoir),
Kai (@ClickClacKAI), Taters (@thistaters), Raj (@rajavlitra),
CamChua (@frillion)
Other Credit
Shout out to all my Patreon patrons, without whom this never
could have been easy (and maybe not possible)! More credits to
Lancer, D&D4e, Strike! RPG, Shadow of the Demon Lord,
Apocalypse World, Exalted, Sagas of the Icelanders, Blades in the
Dark, Wanderhome, and Ryuutama for inspiring mechanics and
game feel
Copyright: GUBAT BANWA belongs to Joaquin Kyle Saavedra/

Makapatag. You can use the stuff here to remix or make your own
stuff. I encourage you to make settings, Disciplines, and more!
4
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THE WANDERING SHEATHE 19
CHAPTER 1: INTRODUCTION 32
WHAT IS GUBAT BANWA? 34

WHERE IS GUBAT BANWA? 37
A BRIEF HISTORY 38
The Seventh Sun Era 39
The Seventh Moon Era 41
The Seventh Star Era 42
The Eighth Sun Era 43
The Eighth Moon Era 43
Lay of The Sword Isles 44
WHAT ALL FOLK SHOULD KNOW 46
THE FIVE MAJOR MANDALAS AT A GLANCE 57
The Rajahnate of Gatusan 57
The Confederation of Apumbukid 58
The Nation of Ba-e 59
The Lakanate of Virbanwa 60
The Sultanate of Akai 60
INSPIRATIONAL TOUCHSTONES 62
Non-Fiction 62
Fiction 63
Movies and Series 64
Video Games 64
Role-Playing Games 66
PRONUNCIATION GUIDE 68
LEXICON 68
HOW DO YOU PLAY? 73

KADUNGGANAN 73
UMALAGAD 74
THE RULES 77
THE BULAWAN RULE 77
THE PILAK RULE 77
THE TANSO RULE 77
THE DUGO RULE 78
THE PUTHAW RULE 80
THE RESPONSIBILITIES OF A KADUNGGANAN 81
Depict a War Torn World 81
Agree on a Theme and Tone 81
Care About Combat 82
Play Into the Melodrama 82
Make Every Fight Meaningful 82
Learn To Fight Together 83
Make Sure Everyone Is Safe 83
Make Sure Everyone is Having Fun 84
THE TWO MODES OF PLAY 85
TRAITS 86
DEBT 87
BARTER 88
BAKUNAWA EATS THE MOON 90
BEATS 93
COMBAT BEATS 94
Leap into Violence 94
Let Them Cower 95
Quick and Dirty Bloodshed 95
DEBT BEATS 96
Owe Them One 96
Call in a Favor 96
Festering Debts 97
Pay What’s Owed 97
Chase a Debt 98
Discuss Debt 98
SOCIAL BEATS 99
Offer Betel Nut Chew 99
Entangle 99
Press Their Soul 100
Dance With Hearts and Thoughts 100
Attend Feast 102
Connect 103
SELF BEATS 103
The Heart Chooses 103
Change 104
Rest 105
Your Legend Grows 106
WORLD BEATS 109
Ply The Market 109
Seek News and Information 109
Travel 110
Go Raiding 110
CHAPTER 3: TACTICAL VIOLENCE 113
HOSTILE ACTIONS 113
VALID TARGETS 114

WILLING TARGETS 114
LINE OF SIGHT AND EFFECT 114
SETUP THE BATTLEFIELD 114
ESTABLISH FIELD TRAITS 115
VICTORY CONDITIONS 115
DEFEAT CONDITIONS 116
BE TRANSPARENT ENOUGH 116
VIOLENT GLOSSOLALIA 117
READING ACTION BLOCKS 120
NAME 120
TYPE 120
PREREQUISITE 121
TARGET 121
RANGE 121
Area of Effect 122
EFFECT 123
SPECIAL 124
LORE 124
ACTION BLOCK TAGS 124
ROUNDS 125
TURN ORDER: AGAINST ALL ODDS 125
YOUR TURN 125
START OF TURN 125
THE TURN 126
Movements 126
Actions 127
Flourishes 128
Re lexes 130
END OF TURN 131
REACTIONS 131
SAVES 132
DAMAGE AND ARMOR 132
DAMAGE MODIFICATION 133
DAMAGE TYPES 134
FRAY DAMAGE 135
AFFINITIES 135
Weak (Wk) 135
Strong (St) 136
Null (Nu) 136
Drain (Dr) 136
Re lect (Rf) 136
DAMAGE AGAINST MULTIPLE ENEMIES 136
ARMOR 137
CRASHED, METTLE, WOUNDS, AND BARRIER 137
WOUNDS 138
BARRIER 138
BREATH 139
FLANKING 140
STATUS EFFECTS 141
BUFFS 141
DEBUFFS 142
THE BATTLEFIELD 144
SPACES 144
Adjacent Spaces 144
HEIGHTS 145
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Moving into and out of Height 145

Attacking From A Height Higher Or Lower Than The Target
146
Attacking Through A Height 146
Falling From Heights 146
OBJECTS IN THE BATTLEFIELD 146
FORCED MOVEMENT 147
Forced Movement Types 148
TERRAIN 148
Dif icult Terrain 148
Dangerous Terrain 148
Hindering Terrain 149
Blocking Terrain 149
Terrain Spaces 149
COVER 150
WEATHER 150
TELEPORTING 151
CARRYING 151
SWIMMING 151
FLOATING 151
FLYING 151
INCAPACITATED UNITS 152
SIZE 152
FIELD TRAITS 153
DEATH 156
CHAPTER 4: THE KADUNGGANAN 159
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THE APPROACHING STORM 159

CREATING YOUR KADUNGGANAN 161
FIRST, CHOOSE A FOLK AND CALLING 161
SECOND, ROLL OR MAKE THREE INTERESTING EVENTS 161
THIRD, FIND OUT YOUR COMBAT STATS AND TRAITS 161
FOURTH, CHOOSE A STARTING DISCIPLINE. 162
FIFTH, ESTABLISH COMPLICATIONS. 162
SIXTH, DEFINE YOUR CONVICTIONS. 162
SEVENTH, GET BEGINNING ITEMS 162
EIGHTH, CHOOSE A MANDALA YOU CAME FROM, YOUR STARTING
AFFINITY, AND YOUR STARTING DEBT 162
A BRIEF NOTE ON SOCIAL CLASSES 164
THE RULING CLASS 164
THE FREEMEN CLASS 165
THE DEBTOR CLASS 165
PRESTIGE 166
TENETS OF A KADUNGGANAN 168
KADUNGGANAN FOLK AND CALLINGS 171
FOLK 171
Bamboofolk 172
Dogfolk 173
Civetfolk 174
Eaglefolk 175
Deerfolk 175
Macaquefolk 176
CALLINGS 177
Blacksmith 177
Warrior 177
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Medium Prentice 178

Cook 178
Healer 178
Spirit-Touched 179
Atubang 179
Mangkukulam 179
Religious Man 180
Vagabond 180
Royalty 181
Servant 181
Giribasa 181
Bilanggowan 182
Paraawit 182
Farmer 183
Orangkaya 183
Wise Man 183
Hunter 184
Fisher 184
Potter 185
Boatwright 185
INTERESTING EVENTS 186
COMBAT STATS 192
TRAITS 193
DISCIPLINES 194
HISTORY 194
The Balahala Hinagiban Kaalamdag, the Godly Weapon
Science 195
DISCIPLINE FUNDAMENTALS 196
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MASTERY 197
INFLICT VIOLENCE 197
SECOND WIND TECHNICKS 197
FORBIDDEN TECHNICKS 197
MOUNTS 198
TECHNICKS 199
Technick Tags 199
CHOOSING A DISCIPLINE 202
THE FIVE MAJOR MANDALAS 202
Statehood 204
Disciplines of Virbanwa 206
Disciplines of Gatusan 207
Disciplines of Apumbukid 208
Disciplines of Akai 209
Disciplines of Ba-e 210
THE LAKANATE OF VIRBANWA 214
Noteworthy Persons 219
Noteworthy Polities 221
Other Mandala Impressions 223
VIRBANWAN DISCIPLINES 224
Baril Witch [BRW] 225
Bladeweaver [BLW] 234
Murderglave [MGL] 244
Senapati [SNP] 252
Sword Saint [SWS] 260
THE RAJAHNATE OF GATUSAN 268
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GATUSAN DISCIPLINES 278
Buwaya Lancer [BWL] 279
Kawal [KWL] 287
Mangangayaw [MNG] 293
Sword-Poet [SWP] 301
War Balyan [WRB] 308
THE CONFEDERATION OF APUMBUKID 318
APUMBUKID DISCIPLINES 327
Death Dancer [DED] 328
Elementalist [ELE] 337
Headhunter [HDH] 345
Tactician [TCT] 353
Tigpana [TGP] 359
THE SULTANATE OF AKAI 366
AKAI DISCIPLINES 377
Ayam Hunter [AYH] 379
Ritual Berserker [RBS] 386
Sword ish Warrior [SWW] 395
Sarimanok Knight [SAK] 404
Strifesinger [STS] 413
THE NATION OF BA-E 421
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BA-E DISCIPLINES 432
Flower Necromancer [FLN] 435
Mender [MND] 443
Warsmith [WRS] 450
Heavenspear [HVS] 457
Star Shooter [STS] 464
COMPLICATIONS 471
CONVICTION 474
LAST BITS 476
1-2 - LAKANATE OF VIRBANWA 476
3-4 - RAJAHNATE OF GATUSAN 477
5-6 - CONFEDERATION OF APUMBUKID 477
7-8 - SULTANATE OF AKAI 478
9-10 – NATION OF BA-E 478
STARTING DEBT 478
WARBAND PROPERTY 482
Alcohol 483
Balyan 483
Boat 484
Companion 485
Fishing Harpoon 486
Heirloom Wealth 487
Hunting Trap 488
Sorcery 489
Spirit Idol 490
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Stove 491
Portable Gusali 492
Tambal Tools 493
Infantry 495
Farming Tools 496
FOLLOWING 499
SETTLEMENT NAMES AND AMBITIONS 500
SETTLEMENT AESTHETIC 501
TROUBLE IN PARADISE 502
CHAPTER 5: EQUIPMENT AND SUNDRY 503
ANTING-ANTING 504
GAINING OTHER ANTING-ANTING 504
LIST OF ANTING-ANTING 506
Sword Anting-Anting 506
Protection Agimat 506
Haste Agimat 506
Tenacity 506
Spear Anting-Anting 506
Shattered Sword 506
Blackened Dagger 507
Agitator Pudong 507
Flailing Bahag 507
Lightning Anklets 507
Lightning-Bleached Shawl 507
Scorched Sarong 508
Waling-Waling Staff 508
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Witchpowder Bangle 508

Enchanted Rattan Bag 508
Eye of Rajah Lawin 508
Banog’s Feathers 509
Tortoise Shell 509
Mutya 509
Forgotten Cloak 509
Puya-Slaying Blade 509
Carabao Horn Breastplate 510
Kandu Shield 510
Ever Extending Blade 510
Growing Breastplate 510
Pinamaskan 510
Blessed Gadya Plate 511
Rajah Bagidan’s Palo 511
Eye of Bakunawa 511
Part of the Black Chick 511
Empowering Tassels and Chimes 511
Violent Gown 512
Maw of Arimaonga 512
Stingray Tail 512
Shrike 512
Ceremonial Plate 513
Ceramic Plate 513
MATERIAL CULTURE 514
D100 RANDOM WEAPONS 520
17

18
THE WANDERING
SHEATHE
A woman walked into a small village, with nothing but the
clothes on her back--a saob-saob over a textile tube skirt and
wooden sandals--and an empty dragon-mouthed sheath
A servant man, an oripun, sprawled to his knees before her, hands

scrabbling for purchase on the muddy riverbanks
A warrior, loyal to this settlement, walked into view, out of the
reeds. He aimed his luthang, arquebus, at the servant
“Laki! Forgive me! I meant no harm! I was simply looking for
food!” The servant groveled, hands rising now to cover his head
“Silence,” snarled the man. “You dare look at my wife? Burn in
Sulad!
“Laki!
But he heard no more, as the luthang’s cacophony ripped through
the air. Herons ew overhead
The manggugubat pushed the oripun’s body into the river, where
nature will reclaim what is theirs. Without a proper burial, however,
the oripun will surely toil in Sulad for eternity, or be eaten by
Siginiguran
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The woman waited for the scuf e to be over. When the man
turned around and walked back into the reeds, and presumably back
to his balay, the woman continued walking on, deeper into the
village
The village was deserted. No, it seemed deserted. As she walked
on ahead, a pack of dogs ravaged a corpse lying on the street
The wind howled. The sun was still low
A man opened his doors. “Psst!” He called on the woman. The
woman turned to him, eyes narrowed. “Don’t stay out there! You’ll
get killed!
The woman looked about her, and in the distance saw a small
band of warriors, led by a man upon a crocodile
She nodded and walked over and into the balay.
“What do you think you’re doing, staying outside like that?” The
man closed the door behind her. He offered for her to wash her feet,
and she did so. She removed the poor abaca slippers she had on
“What’s happened to the village?
“Oh don’t worry about that. Here, sit. Have you eaten?” The man
seems to be another oripun. His shoulder-length hair was tied up into
a severe bun, and he wore nothing but a simple cloth over his
shoulders like a cloak, and a piece of cloth tied around his waist like a
sarong.
“No.
“Here, I have some taro I left in stock. I don’t have any sh or
meat however.
“It’s all right. I am eternally grateful for you sharing your food.
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“Ah, you probably haven’t eaten in a long while. Don’t worry

about it! Unfortunately, I don’t have any betel nut chew quids right
now, so please don’t take that as a hint of non-hospitality.
The woman shook her head. “Do not worry overmuch about it. I
will be ne.” She looked out of the window, discreetly, as that small
band of warriors walked through the town. Kicking rocks and
extorting whatever food or other tax they could get from the
residents living in. “What has happened to this place, this town, this
banwa?
“Ah, I must apologize again to the Bayi. You’ve found us at a most
inopportune time. A Lakanate raiding party has arrived this morning.
We’re staying inside until they nish what they have to do.
The Ba-e turned to look at the man as he boiled some taro. “Why?
You do not ee inland?
He shook his head. “Their warlord promised that we would be
slain if we did. They brought with them Makagagahum Miracles.
They summoned re from their palms. Our guns could do nothing,
and we do not have enough witches to ght back.
The woman watched as the men passed by. “Where is your
Datu?
“Locked up in his balay. They talk with him, saying that they’re
there to ‘negotiate’.
“Why not just take debtors and be done with it?” asked the
woman. She gripped her dragon-mouthed sheathe
“Oh, you. Of course you know that the Lakanate does not deal
like the rest of the polities in the known isles. They’re here to expand
their power by conquering land and territories, instead of
establishing relationships.” He shrugged as he turned the taro in the
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pot. “It’s something we never thought we’d have to suffer, as we’re

just a small settlement, and our Datu’s wife is the sister of a Datu
under Rajah Batara Ambasi… but I suppose in their conquest they
will not settle until every rock is under their jurisdiction. Come, eat.
She nodded. She left the window and ate.
“I’m Ilu, by the way. What’s your name, Ba-e?”
“Odyong Pitara,” she replied, as she took a bit of the taro
**
When they nished their meal, there was a knock on Ilu’s door
Ilu froze. He slowly rose to his feet and walked over to it. He
opened, it just a small bit, and asked: “Who is it--
“Don’t go hiding her in here old man!” And the man kicked the
door in, sending Ilu ying backwards. Odyong Pitara reached
around and nonchalantly caught him, placing him safely to his side
Odyong realized that the small band of warriors have arrived at
their doorstop. Only three of them seemed to be well-armored:
wearing baluti and bringing with them kalasag. Upon their feet they
wore paruka, and had bamboo shinguards. Their bahag were cloth
and had long owing aps, and they wore patadyong, or a kind of
sarong, over it
The one that kicked the man in, bringing with him a rusting kris,
walked in, without removing his footwear. He squatted down beside
Odyong, smiling. His moustache was long, and his pudong was large,
almost like a turban, and excessively decorated.
He smelled Odyong’s hair, which owed long, braided with
owers and thorns. “Ah… what a catch.
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”
Odyong sighed. “Don’t do anything you’ll regret, Laki.

The man paused. His eyes widened. He turned to his lackeys and
shouted, “Did you hear this bitch? Ha! Jusko, and I thought I was
funny!” He turned and snarled into her ear, “If you don’t want to
fucking die, you’re going to do what I want you to.” His saliva was
infused with the stench of midday alcohol
“Duck,” replied Odyong
The man’s face contorted into confusion. “What--
Odyong’s dragon-mouthed sheath clubbed his face, stunning him,
then she struck thrice: chest, groin, then face. Like lightning
The man fell backwards, knocked out
Odyong reached over and picked up the kris, sheathing it into her
sheathe. It t perfectly
“Thanks,” she replied, rising. “Ilu, I would apologize in advance
for what they’re about to do to your house.
“What?
“Ha! The bitch bites! Get ‘em, boys. Tell ‘er what happens to the
dog when they anger the crocodile.
A melee ensued: two armored warriors and almost ten horohan,
or warrior debtors, against Odyong and her sheathe plus sword.
Odyong summarily dispatched of them without much trouble.
She didn’t need to advance: they attacked her for her. She countered,
wove, struck.
She disarmed a dagger that ew and punctured the eye of
another. She parried one attack, hit another warrior thrice with the
sheathe, and then leapt off of that man to impale the one she parried
with the kris. One of them she threw over and out of the window.
She sidestepped a charging attack of another to send him ying
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directly into the re of the kitchen, slapping him on the back with her
sheathe
This dance of swords and sheaths happened in the length it would
take one to blink an eye.
At the end of it all, half were dead, and half wished they could be.
As those incapacitated groaned in pain, Odyong sheathed her blade
and sighed. “Again, apologies, Ilu.
Ilu watched her, his eyes wide with a mix of fear and awe.
“I’ll make it up to you,” said Odyong, as she walked over to the
door. “I’ll get rid of the Virbanwans.
**
That night, after an extended detour through the docks and

killing more warriors there, Odyong made her way up to the balay of
the Datu. It wasn’t hard to nd. It was smack dab in the middle of
the town, in front of the weapon’s storehouse, which meant that they
probably had some sort of ghting chance
Just that they weren’t successful
Odyong walked over to the balay and was immediately greeted by
two warrior men, both wielding spears. They wore a carabao horn
cuirass over silken shirts and pants, and peaked helmets
“I’m looking for the Datu of this village.
The two kawal, or guardsmen, simply looked at each other,
eyebrows furrowed. With a shake of their heads, they turned and
tried to shove Odyong away. Odyong caught one of their hands and
promptly broke it, then used the other hand that held a spear to
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skewer the other man’s throat. Odyong then knocked the kawal out
and broke his nose with his own spear
Inside the Datu’s balay, a man sits on the bamboo throne of the
old Datu.
The Datu himself lay to the side, skull blossomed into fragments
upon the wall
The man sitting upon the bamboo throne was a man with a
peaked helmet, full armor covering him in abaca and carabao horn
from shoulders to ankles, and wearing wooden sandals. He sat
nonchalantly, with one knee up. He held his luthang up, butt on the
ground, barrel pointing at the door
His legions rose, brandished their weapons
“Ease, ease,” said the Virbanwan commander, raising his hand.
The legions lowered their weapons: spears, swords, mostly. The
occasional bow.
The commander rose, pushing a crying woman from his side, who
wore a golden diadem. No doubt the wife of the now late Datu
“So, you’re the one that has been tearing up this little village,” he
grinned, revealing his perfectly white teeth. The teeth of animals
“Ha. Your humor does not amuse me.
“I’m not trying to make you laugh, pretty. Now, come, then. What
is it you want? Power? Position? Wealth? You want to become a
Datu? I have power in Virbanwa. I’m Senapati Kampiyador, Third
Warlord of Batara Lakan Huwan Rekno, long may he live.
“I want you to leave this village.
“Ha!” The Senapati’s grin faded. “You’re not as funny as I
thought.” He rose, his shadow looming. He raised his sabre and said:
“Get out.
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”
The legions readied their weapons

Odyong frowned. She watched the legions. The Senapati took a
few steps forward. “All right, now you really don’t amuse me. I said,
get out.” He raised his hand and outstretched his ngers against
Odyong
An invisible hammer slammed into her, into the door frame,
sending splinters in every direction
Odyong ew, backwards and out, landing upon dirt and stone,
rolling into the bushes. The legion leapt out, then, screaming war
cries, ring arrows, rushing with swords and spears at the ready
Odyong had no choice but to ee. She leapt over to a lost hole in
the ground, near the hinterlands where the swiddens became the
wilds, and hid there until the legions slowed their search
It took them the whole night. Odyong fell asleep within her
hiding grove
**
Upon a cliff, whereupon the Pak-an Galura village overlooks vast

mountains of the Masanun Island Chain, an elder man with hair like
wisps of clouds countered the attack of a young Odyong, wearing a
lambong and tubatub
“Guro!” She snarled as she pushed herself off of the ground. Her
guro stared off over to the rolling mountains. They trained at the
edge of a cliff, where the wrong step could spell certain doom. “I
cannot get past your defense.” She rushed forward again, exploding
with a urry of blows, but her Guro blocked them all in a furious
exchange of strikes and parries
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At the end, he locked her striking arms, and then pushed her
away. She fell backwards
“Guro!” Her frustration dripped from her words. “I have been
training for most of my life. Getting past you is impossible!
“Nonsense, young one,” replied the Guro, stretching his limbs.
“Nothing is impossible, not one.
Odyong rose to her feet, dusting off the dust from her malong.
“I’m tired. Lets go home.
“Not until you can get past me. Tomorrow is your nal trial,
remember?
Odyong let out a slow, dangerous breath. “How can I do that?
I’ve done all the techniques I know. I cannot get past your defenses.
“Then it is time for your nal lesson, little frog. If something
before you seems insurmountable,” he raised his hands in a ready
stance. “Then do not depend on ‘I’. That is the great lie. What is
insurmountable can be shattered with the power of ‘we’.
**
The next morning, Odyong arrived at the shore of the village to

the sound of a bodyong being sounded.
The sound echoed across the entire island
Odyong leapt out of the foliage and met the incoming Biray
“What took you all so long, mga buang?” Odyong said, a small
smile breaking out from her stoic face
Upon the prow of the ship, four warriors met her. One sat on the
side: a beautiful, rose-eyed man wielding a long kudyapi, wearing no
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armor but a colorful and golden-tasselled saob-saob only worn by

royalty
Another sat by the outrigger, a young boy with a bow longer than
him. Another sat behind the prow, a large woman with a large iron
gut. She’s the one blowing the bodyong. Her sundang glinted in the
rising sunlight
The last one was a man with an almost amboyant baro and
sarong get up, whereupon he wore plumage upon his pudong. Using
sorcerous wind, he leapt from the ship’s prow and landed upon the
shore
“Ah, have patience with us, Odyong,” said the man, grinning. His
gold-pegged teeth made it look like his mouth was made of sunshine.
“Kara-Kara over there couldn’t help but stop by a nearby settlement
to have a chance at their shrimp dishes.
Kara-Kara, the boy with the sikarom, leapt off from the
outriggers and onto the shore. “They had buttered hipon, how could
I say no! Bangol, come on, you’re with me on this, right?
Bangol, the iron-gut warlord, leapt down from the biray and onto
the shore. “Ah, don’t bring me into this. I have nothing to do with
that,” she said, grinning
“Not anymore, when you nished them all,” said the rose-eyed
kudyapi player, as he leapt down from the side of the biray and onto
the shore. He wore a malong, as any woman would
“Come on I thought you were on my side Dagna!” Bangol
whined, pertaining to the kudyapi player. Dagna shrugged
Odyong couldn’t help but let out a small laugh. “Tandayag,”
spoke Odyong, referring to the man with plumage upon his pudong.
“Thank the spirits that you got the message quickly.
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“Of course,” said Tandayag, smiling. “It is destiny. And liberating

villages is part and parcel for the Wandering Sword Souls. And it
looks like the ght has come to us! Grand. We don’t have to waste
time looking for them.
Odyong nodded. She unsheathed her kris, then, and turned to
face the village.
The legion faced them. It was an entire army, rows and rows of
spear and swords, the occasional gun and bow. Off to the sides,
standing upon balay roofs, war drummers wrapped in drab sack
cloths banged upon agung.
Despite being of Virbanwa, their war tactics and traditions still
echoed that of their roots. The horohan warriors wanted nothing but
to ful ll their debt to their masters, while those in the ranks that were
wrapped in armor and wielding shields and ceremonial blades no
doubt wanted glory. Those richer warriors, wrapped in decorative
jewelry, painted armors, wearing pants and sarongs and pudongs
bespeckled with carnelians and ivories, looked almost bored--some
even apalled or disgusted--that their entire army had been amassed to
face this small contingent of ve warriors. Five Kadungganan
Five Kadungganan
Lightning ashed and thunder crashed. Yet the banging of agung
was louder still. The cacophony of war
Far behind them, standing atop the Datu’s balay, Senapati
Kampiyador raised an excessively bangled hand, glinting like the
sun’s rays.
His right hand man, dripping with jewelry, blew the bodyong,
and its sound ripped heaven
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At that sound, the servant that paddled the biray that the rest of
the Wandering Sword Souls arrived upon paddled away, as fast as
they could
Just as well, thought Odyong to herself. She straightened herself,
readying her blade and her sheath, her saob-saob apping in the cold
morning wind
There, ve souls stood upon the shore, bodies hardened after a
lifetime’s worth of martial training, hands quicker after three.
Weapons at the ready, sorceries prepared
The legions of the Senapati advanced
The Wandering Sword Souls strode forward to meet them.
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CHAPTER 1: INTRODUCTION
”Magsama-samang mga kaluluwa, nagdurusa at naglalabanan. Narito
sila ngayon, sa malayuang talim ng tadhana, upang masagot ang
katanungan: dapat ba tayong magkapitan sa isa’t isa
Our souls are gathered now together, suffering and ghting.
Here they are, on the far edge of destiny, to answer the question:
should we cling to each other?
Take my hand, youngling. The stars still swim in your eyes. Take
my hand and witness what I have seen
The Sword Isles are ready to combust. There are no knights
here, nay. Honor and Chivalric Code are lies told to you by bedtime
stories and fae tales. Here there are warriors, their armor the tattoo
they have accrued from the blood they have spilled, their steeds the
great war barges shaped like dragons that slice through the sea. Here
there are braves, warriors whose prestige precedes them, warriors
who have walked upon the world and changed it behind their step.
The sea burns with sorcery. Fires blaze down bamboo cottages.
Sword sh riding warlords charge in on stone fortresses up on
mountains. Armies amass upon islands bearing sorcerous cannons.
Martial Art Braves challenge each other to duel upon cliff-faces
Look to the sky, grown one: the dragons oat like giant serpents
unchained by the lie of the earth. Spirits thrive in the trees we must
keep untouched, lest we wake up those that slumber within the
temple boughs. To de le the land and sea is a sin of the highest order,
higher than blaspheming god
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Lancers ride upon giant crocodiles, wooden spears at the ready.

Giant rainbow birds charge into wetlands turned into bloody
battle elds, ready to spill more blood in the name of petty revenge.
Witches stride the clouds and shape their bodies. Healers and spirit
mediums bleed themselves to heal dying comrades.
Brothers killing brothers. Mothers having to take up the sword to
avenge their fathers. Lovers dueling with lovers. Friends now foes.
War changes all, and in the known isles, war is eternal
Look now, grand elder: it is you. You. In the midst of it all. Blood
circles you like a heretic halo. Flowers blossom in pungent exaltation.
Bamboo clang against bronze gongs. Before you is war, behind you is
love and conviction
What will you become, Kadungganan
We stand upon the precipice of destiny, with blades and bullets

of re and winds ravaging the land. Feel the scars upon my hand,
little one, the grooves of the ink upon my bicep, the burning
conviction within my heart. The Sword Isles will descend once again
into effervescent, blasphemous, sacrosanct violence. O, dear one,
who hast found this scroll, this manuscript etched upon the scrolls of
the stars: remember that wretched, that exalted phrase: rejoice in the
glory of combat.
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WHAT IS GUBAT BANWA?
Gubat Banwa. The Warring Nations. The Lands at War

Is this all we must be? I am one to talk. My aging hands fail me,
but they are more at home with the the dragon-shaped hilt of my kris
than the arms of my husband
Truly, the question resounds. In Gubat Banwa, martial artists
ght in deliberate, tactical violence, moving in accordance with the
eight-fold principle
In Gubat Banwa, warriors have intricate, complicated
relationships. Sometimes so complicated that it can be too hard to
keep track of at once: but that is the way of politics, the game of
bonds. Sons having to kill their fathers for defecting to an enemy
nation, daughters having to ee to the mountains to escape
misogynistic responsibilities, loved ones killing each other slowly due
to orders and/or emotions, and best friends dueling at the top of a
mountain in the midst of a storm as their ideologies bring them to a
head
There is an attainable name for those that wish to be more than
just warriors. More than just Kadungganan, prestigious. It is Bayani,
Hero. But you are no hero. Not yet. Maybe you will, maybe you
won’t. What is a hero anyway? It is up to you to nd out. War, hurt,
kill, blaspheme, and seize heaven’s thunderclaps
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WHERE IS GUBAT BANWA?
We live upon the Sword Isles. Five major mandalas of power have
emanated from ve major nations, and in the midst of them all are a
thousand thousand polities ghting in never-ending war
The islands of The Sword Isles are populated by tawo, you and
me. Alongside tawo live foreigners, whom you call sina. These
include humanoid beings from outside Yutadagat, all the way to the
Pale Kings and Tiger Gods in the furthest reaches of the middle
world
Diwata, manifestations and personi cations of nature, live within
trees and mountains, seas and lakes. Diwata that live in the earth are
the Yutanon, those in the sea are Dagatnon, in the sky are Langitnon,
and in the underworld are Suladnon. They are all pervasive, all-
encompassing, all-penetrating, but they at the same time have their
own souls, their own consciousnesses, separate from the greater, all-
binding soul
Mortal folk populate and desecrate the middle world of nature
and earth known as Yutadagat. Beneath Yutadagat is the underworld
where the souls of the dead rest in elysian elds, known as Sulad, and
there are many layers to Sulad. Above Lupa is the skyworld, where
many gods, spirits, shamans, venerated ancestors, and those killed in
glorious combat live. It is known by different names, but it is
commonly referred to as Langit

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A BRIEF HISTORY
I’ve always hated this part, so I’ll keep it brief. You live here, so
you shouldn’t have to be taught this. Your fathers and mothers would
have repeated these tales to you every night, under the rictus grin of
the moon
The Sword Isles, otherwise known as The Isles of Violence, is
situated in the center of the world, crafted when an ancient war god
stabbed the world’s navel. The kris shattered into The Sword Isles,
while the world’s blood became the shallow waters.
The Sword Isles is an exonym, meaning it is what other nations
call it, particularly the dragon empire of Baik Hu. For the natives,
they refer to their own islands, and they do not have a particular
name for their cloister of isles, for their isles are part of the greater
archipelagic scythe: the Crescent Archipelago
While peace and trade settles in the other nations, the isles of The
Sword Isles only intensify their violence, vying for heirloom wealth,
status, servants, and revenge.
But rst, a brief note about time. The way Sword Isle Folk
reckon time is as thus
The hours of a day is measured in the Movements of the Sun.
There are 16 Movements: starting from dawn and ending at the time
when it is so dark that one can hardly see in front of them. They do
not reckon time at night, for that is the domain of witches and
demons.
The passing of days is measured in Moons. Every Full Moon
constitutes the midpoint of a Moon. There are 7 – 12 Moons a year.
Every moon consists of 29 days. Weeks are not differentiated from
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Moons, they are one and the same. The islanders of the Sword Isles
measure of time through Moons are more precise than clocks.
Years are measured in harvests. A year is the length of time
between one harvest and the next, which necessarily means this is not
set in stone, as conditions for harvest can differentiate and uctuate
in time. Age therefore is measured in a number of harvests you have
lived through. When comparing it to real life years, just assume that a
single real life year consists of 2 harvests, so keep that in mind when
calculating character ages (a 20 year old in real life would be 40
harvests old in the Sword Isles)
Atop that, balyan, pandita, and other wise men have recently
begun to reckon Eras: periods of time made up of multiple harvests.
There are three kinds of Eras:
- Sun Eras are times of glory and peace. Stability and comfort.
Sun Eras are followed by..
- Moon Eras are times of change, innovation, and dynamism.
Change here can be for the good or for the worse. Moon Eras are
followed by..
- Star Eras, that time when the darkness overpowers the sky and
only a few motes of light can be seen, is the time of darkness, danger,
violence, atrocity, hate, and sin. It is the the time when witches and
demons are most active. When a Star Era ends, it is said to become a
Sun Era once again
THE SEVENTH SUN ER

The Seventh Sun Era was the longest era, said to have lasted
almost a thousand years
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In the distant past, about 500 harvests hence, there were three
major polities: Tundun, Ba-e and Put’wan. These three major polities
were major players in the Greater Archipelago region in Yutadagat,
placed directly center of the entire cosmos.
Put’wan, the city of golden avalokiteshvaras and statues, was a
more powerful state of its own, a veritable kingdom, and paid tribute
to the more powerful Baikhan Empire during the time, and ruled
over the entire northern area of The Sword Isles. It was
characterized by gleaming, multi-roofed pagodas, gold so abundant
that they were used impossibly as weapons and as ways to make
barges oat on air, and merchant warlords that conquered and kept
away those from Naksuwarga
Tundun, the city of warlords and copperplates, stood in war
and trade with Put’wan for most of its life. It is characterized by great
metal statues that pocked the grasslands, constant trade with other
international states, and a con uence of foreign cultures. Tundun was
a trading city rst and foremost, and it manifested in their material
culture, which they passed down to their eventual modern heir,
Ananara. Katanas from the frigid Longbow Island of Iyamat, to
peaked helmets from the grand dragon empire of Baik Hu, to
porcelains, copperplates, and stone structures from the Malirawat
Empire, once just Rawat when Tundun still stood
Ba-e, the city of lingas, buddhas, and royal parasols, was said to
be the richest of the ancient three kingdoms. Ba-e boasted an ancient
culture, with metal buddhas found in the grasslands put there by
people they themselves didn’t know. They traded constantly with
Baik Hu, forcing the grand dragon empire to trade on their terms.
They walked about on sarongs and silk jackets, even the peasants,
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and had great command of foreign tongues. Annuvaran Bhikkhu

arrived on their shores and would preach and teach
THE SEVENTH MOON ER

The Seventh Moon Era lasted for 100 years after the Seventh Sun
Era.
However, none of The Sword Isles’s nations last long. That is the
nature of the river: as it is placed atop the mountain, so too shall it
cascade down into the sea, and become nothing but heaviness upon
clouds
Put’wan’s greatness faltered as the foreign tiger prince Maharaja
Sri Bishaya conquered Tauhaw and established the great cities that
would eventually become Kangdaya. There, the great tiger-blooded
rajahs forced alliances into the surrounding settlements, 999
chiefdoms in all. Thus they became Gatusan. The 999 chiefdoms
created the Rajahnate, with the paramount datu Sri Bishaya
becoming the First Rajah Batara of Gatusan. Now, the current Rajah
is Rajah Batara Ambasi, a descendant of Sri Bishaya. They wish to
enact The Great World Raid, where they will travel to all corners of
the world and raid it for prestige, esteem, people, and wealth
In the far north, many warriors of Put’wan migrated to the island
of Siga, where they were met with other traders and travelers, and of
course the Moon Prophet. From her divination, Jaris Akai
established the Akai Sultanate. They are relatively new, but they
have established an immediate burgeoning monarchy, one that does
not force assimilation and rather only requires tribute. They prepare
the Great Conquest, with their plan of turning all of The Sword Isles
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into Bal’akai Sultanate, with the eventual goal of conquering the

polities and kingdoms to the rest of the Archipelagic Crescent.
The Nation of Ba-e prospered and stood steadfast, although they
never achieved the great heights of Put’wan or Tundun, they were
consistent, and their Nation of complexly allied Chiefdoms created a
veritable kingdom that valued ingenuity, wealth, and creation above
all. The Nation of Ba-e has stood against the test of time, but as war
intensi es, how will they answer
THE SEVENTH STAR ER

The Seventh Star Era lasted for 50 years, and was characterized
by intense violence brought on by the arrival of the Pale Kings of
Issohappa
Eventually, alien life-force stealers known as The Pale Kings
arrived, astride their great chariot that is the Empire of Issohappa,
built on the backs of native debtors from the Far Southwestern
Continent conjoined to the World Jaws. They came and conquered
and succeeded, beating Ananara, the heir to Tundun’s great golden
city, into submission. Ananara had been forged from Sonyoh and
Malilu—a kingdom across the river from Tundun—and had become
followers of the Moon Faith. When Ananara was defeated, Tundun
came in soon enough, and afterwards so did the third city upriver:
Namayan. The Pale Kings subsumed both Tundun and Namayan
into Ananara’s borders.
However, Virbanwa’s lakans and datus did not forget form
whence they came. They carried out the Lakan Conspiracy with the
help of every polity in the isles, as well as foreign aid from
Naksuwarga, The Isles of Gold, and Sonyoh, the Mother Sultanate
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THE EIGHTH SUN ER

This Sun Era evidently lasted much shorter than the previous
one. This Sun Era lasted for 25 years.
After the defeat of Issohappa, there was a ourishing time. The
folk of The Sword Isles grew rich as trade with Near-Western
Continent nations became possible with opened trade routes. And
with commodities from there, they were able to become the West’s
gate to trade into and out from the entire Central region of
Yutadagat. The Sword Isles ourished: they became a trading hub
for both eastern and western nations
Naksuwarga’s Thalassocratic Empire, Malirawat’s Thunder Bird
Kingdom, and Baik Hu’s Dragon Empire all traded more with the
Sword and Spear Isles
But it was not meant to last long.
Virbanwa managed to repel the alien invaders, but the invaders
have left their mark. Ananara became the center of power for the
Virbanwan Lakanate, led by a Batara Lakan. They believe that the
Pale Kings had it right: for peace to be achieved, they have to
conquer all of Virbanwa and unite them under a single ag, banner,
and Star. In the name of peace, Empire.
THE EIGHTH MOON ER

This is the current day. It is the 174th Harvest of the Eighth
Moon Era, as reckoned by wise men.
Warring has begun. Violence has intensi ed. The increased trade
has only awakened more hatred for kin, more politicking for power,
more ghting for strength and wealth and prominence. The Eighth
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Moon Era, at its current state, is in a mercurial and volatile state.
While many still say that there’s still a way to “prevent” a Star Era, or
prolong it, you know this not to be true.
The intense warring brought about a million crying atrocities
across the archipelago. To cease this from happening, as well as to
protect the center of the universe, Mount Apu, the ve kedatuan of
Pumirang assembled and created the Confederation of Apumbukid.
There they will hold the line, they will establish root paths with other
mountain protectors, and they will share and trade what they know
to better serve as stewards of nature
War intensi es. Virbanwa seeks empire. Akai ghts for conquest.
Ba-e reaches for wealth. Gatusan whets their spears for glory.
Apumbukid seeks to preserve
LAY OF THE SWORD ISLES

There are too many polities and settlements and too many isles to
numerate in a single scroll, or truly in a thousand scrolls. Feel free to
make up polities, give them names like “Bluewater” or “Greenwatch”.
It’s all right, those are what city names translate to anyway
The isles are lush and full of ora and fauna that cannot be found
anywhere else. Giant dragon-pangolins, self-replicating snakes, and
friendly monkey otters. Giant corpse owers choke jungles, and vast
multicolored leaves and owers explode from forests and grasslands
There is more than enough for everyone. No one is trying to claim
land here: there is more than enough for everyone. Instead, everyone
is trying to gather the most amounts of followers
The intensifying of violence heralds The Eighth Star Era. New
weapons are being brought in from foreign isles, new warriors and
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martial styles are being synthesized and introduced. New ideas and
philosophies are being rapidy adapted to the changing polities.
The polities, once just polities, chiefdoms, are on the rise. They
will become kingdoms. They will become empires. In their expansion,
they threaten harmony with nature
Travel to grand temple-cities in the far northeast is common now,
to pay obeisance to the myriad gods. Pilgrimage to the Sacred Lands
are common for those that follow the Moon Faith. Great Cathedral-
Palaces are being built upon once swamplands
In The Sword Isles, there are no ruins or ancient hidden cities.
No, everything at stake is here. Rising monuments and edi ces are
built from the hands of burgeoning tyrants.
As these polities intersect and interlock, their steel petals biting,
you arrive. Kadungganan. Prestigious One. Will you be able to
shorten the coming Star Era to a single violent moment? Or will the
Eighth Star Era be the bloodiest one yet? Participate in the blooded
ower dance.
Rejoice in the glory of combat
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WHAT ALL FOLK SHOULD KNOW

A few things all tawo would know, whether in their heart or
through the grace of conversation.
All those that live in The Sword Isles are called tawo. If
referring to people of other places and nations, they will either use
sina or [place name]-non. For example: Baikhunon, or Issohappanon. When
referring to the various mandalas within the islands, they use -non.
So Virbanwan folk are Virbanwanon, Gatusan folk are Gatusanon, Akai
folk are Akainon, Ba-e folk are Mayinon, and Apumbukid folk are
Apunon
The basic garment for males is the bahag (think a bulky

scottish kilt, probably more colorful, and richer people would
have them made from foreign silks). For females, it is the lambong
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(now in modern times known as the malong, a sort of tube skirt

that could be worn either as a skirt, or as a tube top when pulled
up to the chest. Some were so long that they could be pulled up over
the head. While debtors usually only wore those (and undyed),
warriors and other upper class would wear additional garments on
top of that: sarongs, sarouels, wooden or golden clogs, diadems,
golden crowns, black and white shawls, silk jackets, silk gowns that
reached the ankles, hardwood breastplates, elephant hide
breastplates, and the everpresent pudong (think of it like a short
turban or bandana. Grandiose ones are large like actual turbans).
The Folk here are usually of ruddy complexions, reddened or

browned by the sun. Those that do no work stay white and pale,
which is a norm across all cultures, and is why “white” was seen as
beautiful, because it denoted royalty
White would be worn in grieving. No warring could be done in

grieving, unless it is to end the grieving, wherein a ritual raid would
be done to offer killed warriors to the datu. Although just as often,
alliance visitations are done, wherein the wife of a dead datu gives
gifts to the allied settlements
Betel nut chewing is the norm and offering betel nut is a sign
of hospitality. White teeth are the teeth of animals! Most folk color
their teeth crimson or black, and would le them to either sharp
points or ll them in with gold. Betel nut chew is an easy way to stain
teeth red. Think of Betel Nut chewing as social smoking or drinking
or even tea ceremonies: you do it when you’re trying to talk with
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someone properly. Not offering betel nut is a sign of non-hospitality

and is usually a social faux-pas, especially toward higher social
classes
Debt Slavery is an unfortunate norm of life, but it doesn’t have

to be
When warriors seem like they will die in combat, unless they
have a good conviction, they will surrender. This is what separates
the Kadungganan from the rest
What is seen as beautiful is this: broad faces, at noses, and

moon-shaped skulls. The average tawo stands at 5’1” to 5’5”.
Makeup exists, although mostly practiced by upper classes.

This includes eyeliner, eyeshadow, lipstick, and more. Eyebrow
trimming and shaving was the norm. Even men would trim their
eyebrows to crescent moons
Gold is exceedingly abundant! So much so that it almost values

nothing to them, and is used even by debtors. They are only
valuable in the international market
International trade has had a large in uence on the folk of The

Sword Isles, but most of the culture is secondhand, so tawo from
The Sword Isles very commonly indigenizes foreign cultures
instead. Local culture prevails so much so that local gods are
worshipped instead of foreign gods
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Warring is synonymous with Raiding, whether it be land raids

(gahat) or sea raids (ngayaw). There are no pirates in the islands,
they are simply warriors, because everyone is a pirate
Rice is abundant only for the rich for shore settlements. The
usual food is root crop taro/gabi, as well as sh. Pork and water
buffalo meat are also eaten, but they are mostly saved for feasts. The
inland settlements have access to mountainside swiddens that let
them plant great varieties of rice
Waters are considered as roads, not barriers. Islands are points

of interest. Some Datu would designate entire islands as either
plantations or burial sites. There’s a surplus of islands. There was
no pack animals, because they almost never carried heavy items
through jungle treks, instead loading them on light barges that sail up
and down rivers that connect settlements
Property here does not include land. Rather, it is heirloom

wealth, called bahandi. Instead of ghting over land, wars are fought
over debtors, trading routes, and wealth. Sometimes iron. This is why
most raids don’t end in massacre, instead ending when the people get
the resources (weapons, debtors, trinkets and items) that they need
There was no need to build grand temples: the mountains and

the temple trees, the balete or strangler g, was enough. Those
that need to make pilgrimages to other grand temples would travel to
the other archipelago
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In general, tawo include themselves in the kaleidescope of

settlements and polities of the greater Central Yutadagat area,
which is the region of islands and archipelagos. Think of this as the
greater Nusantara/Maritime Southeast Asia region. They do not see
themselves as different from the intersecting, million polities that
permeate the Crescent Archipelago
The archipelago is vast and unknowable at times, the sea being

the only thing connecting all of the islands. Nevertheless, despite
the surplus of cultures, languages, and people, there are broad
strokes of shared culture and principle that can be seen in most
people of the Archipelago
Debt Rules All. Debt is the main form of societal movement.

Entire Datu can be turned into debtors if they accrue too much Debt
that they cannot pay off. Some infantry can become Kadungganan
themselves and even Datu should they showcase enough bravery and
prowess in the battle eld. Even lordly datu can be brought low by
borrowing something that they cannot repay, becoming a debtor for
that person, or a farmer can become a datu by displaying martial
prowess and unbridled charisma. These Social Classes are not set in
stone, they are as uid as the water upon which The Sword Isles’s life
oats
A Multiplicity of Folk. All kinds of people live in the isles. Most

of them seem similar to humans, such as you and me, but there are
just as many of the various folk or lahi that live in the isles. Eaglefolk,
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frogfolk, civetfolk, and more. All of these folk work the same, and
have no mechanical bene t to choosing whichever. They are purely
for narrative and roleplaying purposes. Additionally, the average
height in The Sword Isles is 5’4” across all folk.
The Datu Must Be Respected. The Datu is a man of charisma,

and many pay fealty to the Datu. The Datu you serve, while not to be
treated like a god, is still a person many would consider larger than
life. Of course, as Kadungganan, you have the privilege of not
worshipping the Datu you are chained to
Spirits live in everything. Known as Diwata, these elemental

holy powers inhabit everything in the world. In a sense, think of
them as the souls of these things. A diwata can leave an item, like a
soul would leave a body, and in doing so that thing loses its
capability. When a tawo’s soul, known as a kalag, leaves their soul,
they lose autonomy, rationality, and thinking ability. Such is when a
diwata leaves an item: should a sword diwata leave a sword, that
sword loses its ability to cut
These diwata have particular names: kahoynon are those that live
in trees, banwanun are those that live in the land, dagatnon are those
that live and thrive in the sea. Langitnun are those that live in the sky.
Hinagbinanon are those that live in weapons, and much more.
Ancestors are revered. The one that is the subject of most

worship are the ancestor spirits, however, known as umalagad: ancient
ancestors, folk heroes, and guardian spirits that are wosrhipped as
gods. They are prayed to given offerings, and balyan—spirit
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mediums—would call upon them to bless their fate or give them

power.
Those in the Archipelago are blessed with abundant resources.

So abundant were the resources that the western notion of land-
owning was not present here: it was not scarce enough to warrant
owning land. A person could lend their farmlands to another person,
or two or more people could share a single piece of swidden land, and
there would be enough to go around
Hinterland societies of chiefdoms and plutocracies, bring down
important resources from the forests, such as wild animal meats and
pelts, gold and iron ore, wax, spices, forest hardwoods, and medicinal
plants, to the shore and coastal settlements, in exchange for foreign
materials, manufactured goods such as iron tools and weapons,
livestock, and coastal resources
Debt, Barter and Trade. There is no singular currency: within

each other, tawo trade through rice grains and foodstuffs and other
important items. With foreign sina, they might use their coinage, or
trade gold for their silver.
One of the most important and sought after commodities is
manual labor, which allowed for larger settlements, more often
raiding, and more items created for export and import. Thus the
trade of debtors was the most important trade, trading and raiding
for peons and peasants. This is an unfortunate part of The Sword
Isles life, but it doesn’t have to be.
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Major trading centers are cultural con uxes. The most

important thing to know about The Sword Isles, being based on Late
Porcelain Period Philippines, is that its major trading centers are
where large empires and kingdoms go to trade with. These trading
centers had proper anchorage fees, marketplaces, and procedures for
trading. Dispel the notion of savages trading with foreigners on the
shores, and input instead large junks having to come down with
white parasols upon docks, greeted by rich merchant princes wearing
black and white silks and golden tasseled umbrellas
It is important to note that major trading centers almost never
conduct raids to gain more debtors. They only trade such debt and
obligations
Material from foreign lands are then diffused to the rest of the
archipelago from these major trading centers, trading with inner
islands and hinterland societies.
Thus the complex web of the Archipelago spins
Trading, Raiding, and Feasting. Much of The Sword Isles life is

centered around this.
Trading to trade the items they have created or managed to get on
their own, and to gain items that they might need from other islands
and other lands
Raiding to forcibly take items and people for manual labor from
other settlements, as well as to satisfy grudges and enact revenge.
Feasting to show off accumulated wealth, revel in the night,
conduct rituals to the spirits, and to establish even more connections
with other settlements in other islands for better trading connections
or kinship
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Not Tribes! Settlements, Chiefdoms, Rajahnates, Kedatuans,

Lakanates, Sultanates. It is easy to think of the setting as akin to
savage barbarism in a tropical setting, but this cannot be further from
the truth. With strict codes of law, proper honori cs and a proper
way of speaking when performing tasks, effervescent material culture
of silks and parasols and golden wide-brimmed hats and wooden
clogs and excessively decorated bahag, the lands of The Sword Isles
are sophisticated and complicated, mired in drama and war and
interpersonal relationships
They are less savage tribes, but Chiefdoms, on the brink of what
modern scholars would categorize as statehood. Loose alliances
wherein a chief rules over each town, and each chief is connected. In
most terms (and in Gubat Banwa) this is called a Kedatuan. Larger
chiefdoms can be mandala, closer to states but without territorial
boundaries. However, the most powerful cities, the ones that have
mandalas of power forming about them, can be more or less
considered as states or kingdoms of their own. Thus, Rajahnates or
Sultanates.
Imagine Japan’s Warring States era, with their warring daimyos,
replacing “daimyo” with “datu” and “samurai” with “manggugubat/
timawa/satariya/etc”. An appealing elevator pitch is “Imagine
Tropical Southeast Asian Warring States Vikings” and you’re a third
of the way there
Foreign Kingdoms are lled with great wealth. The kingdoms

and Empires of Naksuwarga, Ramahasa, Malirawat, Baik Hu, and
even Issohappa, are all grand kingdoms that are more or less larger,
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more powerful, and richer than the settlements and cities in the
Archipelago. This is all the better, as trade with those islands can only
lend to making the Archipelago richer. Of course, the people of the
Archipelago are no strangers to raiding even the farthest of shores for
items and materiel
Diversity and Multiplicity are their virtues. The diversity of the

Archipelago makes it an exciting setting to venture through.
Settlements on different islands might have differing languages and
cultures, sometimes mutually intelligible and sometimes not. The ve
Major Mandalas have smaller, more diverse cultures that live within
their very polities, and this is something to be embraced. Through
diversity there will be unity
Water is the island’s lifeblood. Beasts of burden are not common

in these parts, and mounts are a rarity, not the norm. They exist, but
they are the exception. There are some trails blazed inland, but the
way to travel both inland and in between the islands is by water.
Rivers are the roads, seas and straits are the highways. Boats are
both the carriages and the wagons, carrying cargo and stories. For
most people in The Sword Isles, water is not a barrier, but rather, the
bridge itself
There are those that came before. Other than those from the
Seventh Sun Era, there was once a diminutive people, who grew
smaller as they aged, known as the Kadanay, who had access to
powerful spiritual arti ce and more advanced technology than
anything else in the Archipelago and possibly the entire known
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world. Some of the Kadanay people can be found in the most remote
parts of the world, where the curse of man, civilization, has not yet
touched and Grappled with nature
The Sword Isles is not one island, it is a myriad of towns,

chiefdoms, and monarchies. They trade with each other, ght
against each other, have different languages and cultures, and engage
in the eternal tug of war of resources, debtors, prestige, and wealth.
Each major polity ghts and has rivals, has their own personality,
needs and wants and problems. Some polities are centralized
governments, others are reliant on a sort of patron-client relationship
between Datu, others still perfectly content to perform ritualistic
headhunting against each other. The Sword Isles is a diverse place,
with 12 major players, split into ve realms. They live, war, die,
trade, and feast, in an eternal conquest to survive in the islands of
divine bloodshed
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THE FIVE MAJOR MANDALAS AT A GLANCE
Let me get you up to speed on the Five Major Political Powers
in the Sword Isles. They’ve accrued this power because they have the
most number of people serving them, not because they have the
largest land territory. That’s only something Baikhans like to do.
Here they are at a glance, something to help you encapsulate how
they feel like from a bird’s eye view. However, as with any culture,
these broad assumptions are just that, broad. Individuals will have
differing cultures, and settlements themselves can have differing
cultures from each other even if they’re in the same Mandala. Keep in
mind that the multiplicity of cultures is exalted here in the Sword
Isles
THE RAJAHNATE OF GATUSA

- Has 999 Chiefdoms united in alliance to a single overlord, the
Rajah Batara, who controls the largest foreign trading seaport,
Kangdaya
- Tattoos are rites of passage either in love or war.
- Are never not singing
- Like to insult and mock as a war tactic and are prone to putting
family over others
- Likes rice, and so most raids and trading ventures look for rice
- Taught poetry (that is, singing and oral literature) at a very young
age. A poetic culture
- Worship a plethora of deities: some spirit gods, but usually
ancestor gods
- Raiding is a way of life, a way of revenge.
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- Have their own reading and writing system, mostly used for
messages. Traditions and rites are passed down through songs.
- Inspired by Pre-colonial Visayan Pintados, from Leyte to Samar
to Cebu to Bohol to the northern tip of Mindanao (Butuan) to the
southern tip of Bikol
THE CONFEDERATION OF APUMBUKI

- Largely decentralized. 5 major polities led by 5 elders known as
Tuwan
- Made up of 5 primary polities, each one dedicated to protecting
the Holy Mountain of Apu
- They do not claim other polities, nor do they raid for debtors.
They focus on their stewardship of nature, a holy aspect of their lives
- They perform ritual killing to appease the ancestors and the
deities
- Follow The Hiyang, oneness with nature. They pay their utmost
respect to Apu Dayaw, the spirit sleeping within the Holy Mountain
of Apu, which is said to have created causation
- Have access to the hallowed Root Paths: a network of
metaspiritual portals connected by various holy trees, usually either
strangler gs, pagoda trees, or mangroves
- Are raised to stewardship, but now children are also raised in
war
- Do not have a singular writing system, but rather, multiple
writing systems scattered across the isles. For communication, they
share a writing system with the Rajahnate
- Inspired by various Lumad and Indigenous Philippine cultures
(but are not them)
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THE NATION OF BA-

- The oldest surviving mandala in the entire Sword Isles. Follows
a pantheon of deities and spirits similar to the Rajahnate’s
- Have access to ancient knowledge and secrets, such as the
knowledge of waking the diwata within inert objects and binding
(willing) guardian spirits to barges to create sky barges and
cloudjunks that y upon clouds
- A very rich nation, with even their Debtors wearing expensive
sarong silks and bringing around expensive umbrellas. Thanks to
access to the vast wetlands of northern Rusunuga, they also have
become another major exporter of rice. And thanks to the Lake of
Puliran, the largest freshwater lake in the Sword Isles, they export
vast amounts of freshwater marine items.
- A nation on the cusp of industry, with rising necessities as
violence intensi es. They record everything: from debt to alliances to
trade in copperplates
- Ruled by a singular Sangpamegat, an ancient title that stems
back 100,000 years
- Venerates the number 8, and so their architecture and cloth and
culture align with 4, 8, and 16 (16 roofed houses for royals, 4 sided
houses, 8 types of primary weapons)
- Has intense trading ties with Baik Hu and Virbanwa, so much
so that Baikhan junks are almost always docked on shore. Has
religion in uenced by foreign Ashinin-Annuvaran, leading to such
practices such as ritual cremation and worship of lingga
- Inspired by Pre-colonial Tagalogs and Laguna
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THE LAKANATE OF VIRBANW

- Once invaded, but not colonized. They were freed after the
Lakan Conspiracy. However they structured their government after
the Issohappan one, with a Batara Lakan acting as a king, and a
Mahapari acting similarly to a pope
- Follows the Ashen Star, a monotheistic religion that venerates
the three-aspected Makagagahum, the Almighty.
- Turns ancient gods into saint intercessors. Are imperial at heart,
and wish to conquer all of the Sword Isles and turn it into the
Virbanwan Isles
- Now has a standing army and a printing press. They have their
own writing system that is intelligible by others in the Sword Isles
(same ancestors)
- Polities are still ruled by datu, and each datu has a probinsya
that they rule over, but a datu pays tribute to the Batara Lakan
- Takes advantage of the vast central elds of Rusunuga to farm
large amounts of rice
- Has larger trade with the Madaki Peninsula to the near east, the
Malirawat Empire, and the Baikhan Empire. Most of the time they
trade with them more than the other mandalas
- Inspired by Early Spanish Philippines
THE SULTANATE OF AKA

- Relatively recent, almost the same age as Virbanwa
- Ruled by a Sultan, who has a direct line to Jaris Akai the First
Sultan and the Moon Prophet of Baginda Sumongsuklay
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- Worships the moon, and the moon has angels and devils and the
Palace of Baginda Sumongsuklay
- Are expansionist just like Virbanwa, but do it in a similar fashion
to the Rajahnate, through trading, raiding, and feasting instead of
conquest
- Have larger trade with the other islands of the Crescent
Archipelagic Region, meaning they have more material culture from
those regions. They have access to horses, sarimanok, elephants, and
superior weapons
- Zealous, just as much as Virbanwa. Everything they do is in the
name of the Moon
- Their polities serve the Sultan, and are not allied with the Sultan
like the Rajah Batara is.
- Ancient sorceries let them y upon sky barges, summon storms
at will, and has let them access the secrets of external alchemy
- Inspired by the Sultanates of Southern Philippines
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INSPIRATIONAL TOUCHSTONES
Touchstones that you can consume to get a better sense of what
games are expected for Gubat Banwa
NON-FICTIO
Barangay: Sixteenth-Century Philippine Culture and Society
by William Henry Scott. One of the easiest to consume and most
complete picture of 16th Century Prehispanic Philippines. Bar none,
if you want to get into Pre Colonial Philippines, Barangay is one of
the best starting points
History of the Bisayan People in the Philippine Islands/
Historia de las islas e indios de Bisayas of Franscisco Ignacio
Alcina. An integral deep dive into late 15th - early 16th century
Visayas, where the locals still remember their old ways and practice
them, with Alcina recording all of it down. Here you see shamans
climbing trees to be possessed by gods, details about shipbuilding, the
blossoming of owers that detailed their seasons, how they wove, and
their numerous gods and spiritualities
Philippine Folk Literature Series by Damiana Eugenio.
Integral to deep diving into Filipino Culture, and a great resource for
fantastical adventures
Raiding, Trading, and Feasting: The Political Economy of
Philippine Chiefdoms by Laura Lee Junker. Important to grokking
how prehispanic Philippines worked and how increasing violence led
to further trade and intensi ed war
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FICTIO
Beast Player by Nahoko Uehashi. This novel focuses on the
relations of men with nature, and is an integral part to viewing how
nature gods might be viewed in the setting. I recommend it
Malazan: Book of the Fallen by Steven Erikson. An epic
fantasy novel series that focuses on the tragedies of war, the military,
and the sins of the past, complete with shapeshifting dragon gods and
skeleton fantasy neanderthals. The themes of Malazan greatly
inspired Gubat Banwa’s exploration into violence and evil
Shri-Bishaya and Margosatubig by Ramon Muzones. Once
serialized in Hiligaynon, English translations now abound. Great way
to look at precolonial Philippine fantasy and with all the mystic
fantasy that entails. Muzones mixes this with myth and folklore and
traditions of the Hiligaynon people Balu are inspired from
Margosatubig
The Scar by China Mieville. The weird sea-based narrative of
The Scar that follows Armada has ingrained and inspired the weird
islands that make up Gubat Banwa
Tigana and Under Heaven by Guy Gavriel Kay. Great and
absolutely poetic Fantasy novels both based on different time periods
(Italy and Song China respectively) that manage to create a beautiful
and intricate fantasy setting from the bones and esh of historical
periods. Filled with equal parts action, drama, tragedy, and touching
themes, these are great novels to get in the mood of Gubat Banwa’s
brand of historical fantasy and tragic drama
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MOVIES AND SERIE

Amaya from GMA. Unfortunately currently only in Tagalog, this
series is a glimpse into 16th Century Philippines with a costume
design to match. It’s great, although suffers from all the trappings of
being a Philippine telenovela
Princess Mononoke by Studio Ghibli. One of the easiest
touchstones to understand how diwata and yawa are like. The
seminal Spirited Away is also perfect for trying to visualize weirder
diwata, or perhaps ninuno ancestor spirits
Scarlet Hearts: Ryeo. A K-Drama that is a period piece. It’s
great for a light-hearted drama, and honestly in general take any
drama or romance focused K-Drama and you’ve got an easily
stealable plot for Gubat Banwa
RWBY by Monty Oum and Rooster Teeth. I rst became
enamored with the idea of team-based, role-focused tactical combat
after watching Team RWBY ght that Nevermore in Season 1. While
Gubat Banwa doesn’t exactly emulate RWBY’s high- ying combat
scenes, it does aim for that kinetic back and forth, that multi-hit
combos, that setting up environmental pieces for slick combat
maneuvers, and the philosophy of “No movement wasted”. Every
move ows to the next. This informs Discipline design, combat feel
goals, and role design
VIDEO GAME
Tactics Ogre: Let Us Cling Together and Final Fantasy Tactics.
Both games helmed by the seminal Yasumi Matsuno, these intricate
war narratives blend together fantasy with hard hitting political
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narratives. Gritty without being grimdark, and mixed in with a good
sense of adventure and action.
The most important things you can get from these games are the
politically focused narratives (which make for great war drama) and
the encounter design. Maps are not huge, and they are vertically
diverse, which is what you want to make combat not boring and
dynamic.
Samurai Warriors, Dynasty Warriors, and Sengoku Basara.
Less so on the one vs. 1000 gameplay and more on the high fantasy,
stylish action take on historical periods and the focus on the different
warriors, pitting them against each other. This series made me
wonder what a Warriors game based on our own ancient heroes and
warriors would look like, and helped me fantasize or make easier for
consumption the many details of Precolonial Philippines
Devil May Cry by Capcom. Devil May Cry is a huge game, and
while you wouldn’t look at Devil May Cry as a certainly “tactical”
game in the conventional grid-based sense, its emphasis on players
learning proper positioning, combat timing, juggling a large number
of techniques, and emphasizing style over combat optimization, while
still retaining combat depth, became a major game design inspiration
for Gubat Banwa.
Fire Emblem by Intelligent Systems. War drama, relationships,
permadeath, turn-based combat on a grid. Just as much as FFT and
TO, Fire Emblem is a huge inspiration for Gubat Banwa. Its intense
and lethal strategic combat and turn-based turns in uenced the math
and feel of the game itself, more so than FFT. Fire Emblem is fast,
lethal, and heavy, especially with their grand OSTs and heavy stories.
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Devil Survivor and Digital Devil Saga. These two apocalyptic

games by Atlus are huge inspirations for this game. The apocalyptic
feel of the game, with pocks of “tribes” in Digital Devil Saga and the
esoteric metaphysics and/or intensifying violence in Devil Survivor,
can show how far people can go when it seems like the world is
ending. In a world of intensifying violence, that doesn’t seem so
different. Both these games inspired the Af nities and combat system
of this game, and the mixing of mythologies with a focus on Hindu-
Buddhist Myths is something I hewed closely to for Gubat Banwa,
although focusing on Philippine Folk Religions
ROLE-PLAYING GAME
Dungeon and Dragons 4th Edition. The grand daddy of slick
tactical action combat. Its game design principles and adherence to
ful lling its game design goals, along with build crafting and party
and role focused game design, has been instrumental to Gubat
Banwa’s creation
Strike! RPG. A huge innovation in the Tactical Combat genre,
mixing together the ction rst of PbtA and the tactical combat of 4e.
Strike’s Attack Roll is a direct inspiration to Gubat Banwa’s, many
game design philosophies ( ction rst, relatively medium crunch)
LANCER RPG, Massif Press. The freedom of build variety, the
deep lore, and the narrative/tactical combat split has made LANCER
one of the largest inspirations for almost every aspect of Gubat
Banwa’s design
Exalted, Onyx Path. The focus on delivering high action wuxia-
esque martial arts in Exalted has always thrilled me, and Gubat
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Banwa is me taking 3rd Edition’s Mortal rules and spinning it into

Tactical Martial Arts
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PRONUNCIATION GUIDE
On pronouncing the terms here, which come from a variety of

Philippine languages, always keep in mind the following
“A” is always pronounced like the “a” in “water”
“I” is interchangeable with “E”, and pronounced like the “ee” in
“reed”
“O” is pronounced like the vowel sound in “thought”
“U” is pronounced like the vowel sound in “boot”
All vowels are pronounced, none are said together. “Daongan” is
pronounced as “Da-ong-an”.
LEXICON
● Apo – Pronounced two ways. If [a-PO], then it is referring to

grandchildren in Virbanwa or Ba-e. This usage does not exist in
the other mandalas. If [A-po], then it is referring to revered
grandfathers and great ones
● Anyo [an-YO] – Form. Similar in use to kata.
● Baluga [ba-LU-ga] - Baluga is the term for all tawo that have
mixed blood: being of tawo and sina blood. Mixing The Sword
Isles blood with Baikhan or Iyamat or Malirawat or
Naksuwargan, or sometimes even Isohappan Pale King or
Ramahasan Auraska. The baluga don’t exactly enjoy different
social circumstances. Sometimes Datu might nd their
countenance, their difference, enthralling or endearing, and thus
make them wives or part of their sandil, their secondary wives,
akin to concubinage
● Balyan [bal-YAN] – Spirit mediums and priests of nature
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● Batara- [ba-TA-ra] – A superlative. Comes from “bhattara”,

noble lord or god
● Bendahara [ben-da-HA-ra] - Prime minister
● Bichara Atas [bich-ARA a-TAS] - Council of elders that
counsels the Sultana
● Captives – War captives from war. Usually traded or
subsumed to their community, becoming dependents on the Datu
or servants for a noble or warrior. Some Servants can even have
Servants of their own
● Datu [da-TU] – Royalty, chie y lords. Rulers of a settlement.
Those of his family are also considered Datu, or Kedatuan. Top of
the Class system. All of the Datu’s following, from debtors to
nobles, are expected to ght at the Datu’s side when he so calls
for them, breeding a warrior culture
● Dak-/Daku- [dAk’] – An intensi er, means “great” or “big”
● Diwata [dee-WA-ta] – The term for the nature gods, spirits,
and holy powers that live in everything. They have never been
human. They are expressions and manifestations of Hiyang
● Dyus [joos] - Minor nature gods in Sampalataya
● Giribasa [gee-ree-BA-sa] - Local interpreters who usually
know more than one language
● Gugu [googoo] - Prime minister
● Hiyang [hee-YANG] - Harmony with nature and the world.
Nature itself. The very essence of reality
● Hukum [hu-KUM] - Judges, usually datu
● Iwa-garo [ee-wa-GA-ro] - The guardian spirit of raids and
violence
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● Infantry - are the footsoldiers, debtors of a particular datu or

warrior who join the warrior when they go raiding or ghting.
● Katchil [catch-EEL] - Princes of the blood
● Kedatuan [ke-da-TOO-an] – Royalty. Can also be used to
refer to settlments of a datu
● Lakan [la-KAN] – A term for a paramount datu, a datu that
holds sway over a group of datu, and is an authority. Mostly used
in Virbanwa and Ba-e
● Maygintawo [may-geen-TA-wo] - Rich people and traders
who ascended to rank of nobility through wealth and merchantry
in the Lakanate
● Mentala [men-TA-la] – Magical formulas and incantations,
either uttered or written on bamboo and palm leaf.
● Nobles – Tumao [too-MA-wo] in Gatusan, Maginoo [ma-gee-
NO-o] in Ba-e and Virbanwa. Those that are somewhat related to
the Datu but not directly. This can include blood oathed folk.
Nobles enjoy a degree of freedom and privilege, and have access
to luxuries and larger houses
● Nono – The term for ancestors and ancestor spirits in Ba-e
and Virbanwa.
● Orangkaya [o-rang-KA-ya] - Rich people treated as nobility
in the Sultanate, who have the means to trade.
● Pandita [pan-DEE-ta] - Wisefolk knowledgeable in the Iman
and other natural philosophies
● Parawali [pa-ra-WA-li] – Counselors and sage advisors of an
entire settlement
● Servants – Known as servant in the Rajahnate and aliping
sagigilid in Ba-e and Virbanwa. Servants were domestic helpers
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and workers for their employers and masters. They lived with
their masters, and if they would have children, their master would
raise the child as their own. They were not debtors as they could
pay off their debt
● Rajah [RA-jah]/Batara[ba-TA-ra]/Saripada [sa-ree-PA-da] -
Terms for trade and port lords. Rajah is used for The Rajah
● Rajah Laut [RA-ja la-OOT] - Third ranking dignitary in the
Sultanate
● Rajah Muda [ra-ja moo-da] - The title for the Crown Prince
in the Sultanate
● Salip [sa-LIP] - Alien lords and datu from outside The Sword
Isles Archipelago
● Debtors – Known as peasant in the Rajahnate, or Aliping
Namamahay in Ba-e. Debtors render labor and tribute to their
Lord. They work the swiddens, weave cotton, create pottery, and
had their own houses.
● Shahbandar [sha-ban-dar] - Port chief, collector of trade
tarriffs and anchorage fees
● Umalagad [oo-ma-la-gad] – Ancestor spirits revered as gods
and guardian spirits
● Warriors – A social class wherein one is not beholden fealty
to a single datu, but vassalage and ghting for a datu is an easy
way to survive. Given equipment and training by the datu, and is
expected to ght at the datu’s side. Not just that, but them not
having to work the Datu’s elds let them work on their own
crafts, whether it be blacksmithing, weaving, pottery,
goldsmithing, etc
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● Yawa [ya-WA] – Demons, corrupted gods and ancestor

spirits, born from man’s atrocity and neglect.
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HOW DO YOU PLAY?
Follow these steps. Gubat Banwa is a tactical game, a game of

violence and drama. Keep that in mind. You will be role playing as
prestigious warrior braves in the hyper Southeast Asian-Philippine
archipelago of The Sword Isles, where politics abound, relationships
can kill, and the sword is oiled by blood
First, gather around 4 to 6 players
4 to 6 is the recommended number of players.

You can exceed it or play with less, but keep in mind that the
game was not written with that in mind. With that done, one has to
take upon the responsibility of the Umalagad, while the others will
take on the role of the Kadungganan
KADUNGGANAN
[ka-doong-GA-nan] (literally: prestigious ones)
Kadungganan are the characters or roles that the other players
will be taking upon. They have the responsibility of immersing
themselves into their warrior culture and the emotional strain and
spiritual violence that being one of the warrior-braves brings. Their
role is to act
As a Kadungganan, you can always
• Change allegiances
• Order those below you in the social class ladder
• Unsheathe your blade at someone important
• Give yourself up for your Conviction
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• Choose when you die

• Incur the favor of the ancestors
• Describe what you do in a stylish, impressive way.
UMALAGAD
[ooh-ma-la-GAD] (lit: Ancestor Spirits or Guardian Spirits,
often both). You are not a single ancestor guardian spirit, of course,
but the vast cloud of them, the spirits that exist and live in the world.
You play as these spirits, beings that can manifest themselves to give
topsy-turvy, hard to understand advice. You revel in violence, excite
yourself in uncertainty, and live for larger than life moments. The
Umalagad’s responsibility is roleplaying as the world, as Yutadagat,
as the various NPCs, or Non-Player Characters, that the umalagad
have deemed fated to be complicated and entwined into the hearts
and drama of the Kadungganan. The Umalagad in uence the
movement of the world, after all, and the Kadungganan pay respects,
revere rites, and worship the umalagad to bring them good tidings
The Umalagad’s role is to establish ction, and then react. The
Kadungganan will act, move through the rivers of the ction, and the
Umalagad reacts to it, moving parts of the world and changing fates
to make it so that the Kadungganan will temper their conviction and
grow into the warrior they are meant to be
Part of their role is facilitating violence. They set out setpieces,
ready those that are destined to brutalize and ravage the
Kadungganan. This is the lay of the world, of course. There will
always be violence. The Umalagad has internalized this: let violence
be justice, then, retribution, the sword of eventual peace. They lay
down battlemaps, prepare Foes, and engage in exciting, brutal
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tactical martial arts with the Kadungganan to quench the

Kadungganan’s thirst for blood, and turn them into weapons that will
change the world
As the umalagad, you can always
• Foreshadow threats
• Introduce someone new
• Introduce consequences
• Describe something about the world
• Let heaven and earth move without the Kadungganan: things
happen even without the Kadungganan being there
• Threaten the Kadungganan with violence and harm
Then, gather some dice.

Each player is going to need at least 1 of each traditional
polyhedral die (d4, d6, d10, d10, d12, and d20). A surplus of d4s,
d6s, d8s and d10s are recommended for damage in combat
There are lots of online rollers now (you can even roll directly
from Google) when you need it
Then, some Character Sheets.

The itch or drivethrurpg page should have them
Then, create the Kadungganan and Kadungganan party

The Umalagad will be focusing on building the world and
creating NPCs, those destined to meet with the Kadungganan, along
with any combat rules they might need when violence inevitably
breaks out.
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To help with this, the Core Rulebook contains a bunch of easily

usable starting points below the Character Creation section, as well
as easily digestible lore for the Umalagad to use
Those that will be playing as the Kadungganan will be creating
their own warriors to ght against whatever happens in their lives.
They will ght against in both physical wars as well as social bouts
and mental violence to seize the day and survive in this land of
constant con ict
Finally, learn the rules

The rules are there to facilitate both tactical combat and war
melodrama. The following sections will detail the basic rules that you
will be using for the entire game
The Kadungganan, if the Kadungganan don’t have the time or are
not interested in learning the rules, it is your duty to teach them the
rules as they come up. Don’t worry, most of this is streamlined.
Always remember the adage: we’ll cross that bridge when we get
there
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THE RULES
THE BULAWAN RULE

Bulawan, Bisaya for Gold or pure gold.
The Pilak Rule is this: ction and drama over everything else. If
it makes sense in the ction or if its particularly dramatic, it happens.
Let the story being told take precedence over rules. In combat, if
someone is Incapacitated, they obviously would not be able to
perform effects or keep an effect going, because they’re unconscious.
Additionally, this is an endorsement for the Umalagad to create
rulings. Rulings over rules.
THE PILAK RULE

Pilak, Tagalog for Silver.
The Pilak Rule is this: speci c trumps general. A speci c rule
from a Discipline or item is what will happen instead of a general
rule. If a general rule tells you that you suffer damage, but a speci c
rule says that you do not suffer that damage, then you do not suffer
that damage
THE TANSO RULE

Tanso, Tagalog for Copper.
The Tanso Rule is the rule of rounding. Whenever you must
halve something, unless otherwise stated, round down
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THE DUGO RULE
Dugo, Bisaya or Tagalog for blood
The Dugo Rule is the rule of Conviction: the tokens of
Conviction and Destiny.
There is an ebb and ow to the walk of life of the Kadungganan,
like how the heart pulses blood throughout the body. Like a river,
like the waves upon the shore. They must give up what they have to
be able to take what they wish, what they want, what they need. To
gain honor, one must spill blood. One must prove their Conviction,
have it be tested and tempered
Conviction Tokens are the currency of drama in The Sword Isles.
Kadungganan are driven by their conviction, larger than life and
greater than those around them. You are poised to be the ones to lead
and direct the destiny of the Sword Isles, if you so choose
But you must have the conviction to do so
You begin with 0 Conviction Tokens, but you may gain and lose it
over the course of a campaign. Conviction Tokens are personal, they
are not shared across the warband
Destiny Tokens are the currency of the Umalagad, the ancestors
that permeate and guide the fate of the world. The Umalagad begins
with a number of Destiny Tokens equal to the number of player
Kadungganan. The Umalagad gains Destiny over the course of the
campaign
When spending Tokens, always remember to follow the ction.
You cannot simply spend a Token to do something that does not
make sense in the current context or narrative, such as spending a
Token to y due to having a trait that says you are a monk
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You gain 1 Conviction Token when you…
⁃ Let a Trait that you have ⁃ Reveal something about
put impede you or yourself that no one knows
complicate your efforts yet
⁃ Fail something that you ⁃ Take a moment to ponder
needed to succeed upon the violence of the
⁃ Betray someone you trust isles
⁃ Give in to your ⁃ Respect the rituals and
temptations superstitions of the Isles,
⁃ Open up about your performing proper rites
feelings, even if it may be and laying offerings to the
detrimental to you gods and the ancestors
⁃ Have your Conviction get ⁃ You let a complication
in the way or put you in a stoke your feelings
worse situation ⁃ Enter Tactical Violence
You can spend 1 Conviction Token to accomplish one of the

following…
⁃ In Tactical Violence, you only you know it. This can
can use 1 Conviction be a Trait that they have
Token to bolster your rolls ⁃ Ask the Umalagad for the
⁃ Introduce a solution for best path forward
part of an immediate ⁃ Unveil yourself to
problem someone: become
⁃ Use a Technick to solve a hopelessly vulnerable to
part of an immediate them. If you do this, you
problem owe them 1 Debt
⁃ Use one of your Traits to ⁃ Force a lone enemy to
do something surrender at the tip of your
extraordinary, as long as it blade
follows the Fiction or ⁃ Temper your emotions
makes sense in the ction ⁃ Gain Esteem.
⁃ Reveal something about
the person before you, but
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Whenever you spend a Conviction Token, it is “ ipped” and
the Umalagad gains it as a Destiny Token. The Umalagad begins
the game with a number of Destiny Tokens equal to the number of
Kadungganan.
The Umalagad can spend 1 Destiny Token to…

⁃ Cancel an expenditure of a or impede their efforts in
Conviction Token. This some way, following the
does not expend that ction. This might be
Conviction Token, and the introducing someone new,
Umalagad loses a Destiny or someone all to familiar
Token anyway ⁃ Make them honor their
⁃ Give it to a Kadungganan debt: one of the persons
as a Conviction Token to they owe debts to appear
‘pitch’ something to them ⁃ Make one of their
to make the current complications complicate
situation more dramatic. things.
This must follow both the ⁃ Make a consequence they
ction, the tone, the mood, must suffer even direr
and must be something the ⁃ Place the Kadungganan
character must plausibly into a hard situation.
do
⁃ Bring the drama to them:
introduce a complication,
THE PUTHAW RULE

Puthaw means iron in Bisaya.
The Puthaw Rule is this: follow your responsibilities. Both the
Umalagad and the Kadungganan are both players with a different set
of Responsibilities.
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THE RESPONSIBILITIES OF A KADUNGGANAN
Kadungganan are a step above the rest. They are not bayani. No,
not yet. They are warriors who have proven themselves, warriors
that have killed. Warriors that are poised to shape the world
And with such world shaping prowess comes the following duties
● Depict a War Torn World
● Agree on a theme and tone
● Care about combat
● Play into the melodrama
● Make every ght meaningful
● Learn to ght together
● Make sure everyone is safe
● Make sure everyone is having fun
DEPICT A WAR TORN WORL

The Sword Isles is not a nice place. In fact, it is a horrible place. It
is a place that is directly horrible because of the actions of those that
have gone before. They who have perpetuated this never ending war,
this endless cycle of blood and vengeance. This can only be achieved
if everyone is on the same page. This world is a world primed for the
kinds of stories Gubat Banwa wants to tell, and you must play into
your role as Kadungganan that must suffer it
AGREE ON A THEME AND TON

And stick to it. As a Kadungganan, you have an equal amount of
work needed to do to make sure that the entire game ts the tone that
your entire table has agreed upon. Make sure you hew closely to it,
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so everyone can have fun. If you agreed on a lighthearted game,

maybe don’t inject torture into it. If you’re going for a gritty war
story, try not to stray too far from it and try to marry a dragon to
create crocodile eugenics
CARE ABOUT COMBA

As a Kadungganan, your primary mode in life is to ght. You will
get into ghts eventually, so operate with this in mind. In that sense,
this is a combat heavy game. What did you expect from a war drama
game set in Fantasy Late Porcelain Period Philippines, which was
characterized by intensifying violence? Remember your stats, your
rules, your abilities, so everyone can have fun when the battle eld
music plays
PLAY INTO THE MELODRAM

Siblings locked in eternal war. Once lovers now enemies. Once
enemies, now lovers. Play into the melodrama one would see on
Filipino Telenovelas, K-Dramas, and even Chinese Dramas. This
elevated sense of drama is what makes these mediums so
entertaining, and it is pretty entertaining to see on the table as well.
Play into them. Don’t shy away from them
MAKE EVERY FIGHT MEANINGFU

Gubat Banwa ghts last long. It’s made to be that way: they are
made to be interesting and major. But the only way for you to get
invested into such ghts is if you made it meaningful. The Umalagad
will help facilitate this: maybe the current combat has your long lost
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brother in it, or maybe the footsoldiers are people you once
respected. However, it is still up to you to make it meaningful to your
Kadungganan. In fact, this can lead to some interesting emergent
storytelling, if even during a combat you realize that your
Kadungganan might sympathize or what have you with their enemy’s
plight, making it a grueling dance. Pick up the slack: the Umalagad
may be singing the song, but you are still the subjects of it, you are
the ones guiding the song
LEARN TO FIGHT TOGETHE

Gubat Banwa is also inherently a team-based game. Despite the
war torn land, you nd a little slice of family with your allies. Thus,
your objective is not to make yourself stronger than them, but rather,
nd out how to make yourself stronger for them. Gaining abilities
and skills that would help the entire party. This is a bene t as well in
combat, since much of the player and enemy math is centered around
the buffs and debuffs and abilities that can only be attained if the
players play off of each other. You will never be able to survive alone
MAKE SURE EVERYONE IS SAF

Always use safety tools and establish boundaries. Use tools such
as Lines and Veils, X, N, and O Cards, and Script Changes. If you
look up TTRPG Safety Tools on Google, you will nd a whole slew
of them. Choose whichever one you think ts well with your group. I
personally am a huge advocate for Lines/Veils, X/N/O Cards, and
Stars and Wishes
Here's a good article for safety tools: https://optionalrule.com/
2021/01/29/safety-consent-rpg-checklist
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MAKE SURE EVERYONE IS HAVING FU

This is probably the most important one, on par with having
everyone be safe. Make sure everyone is having fun. It is not only the
Umalagad’s job to reach out and ask if people are having fun (the
Umalagad is no lord or master) but also the Kadungganan’s.
Remember that this is a social activity, it is telling stories around a
bon re. It is singing an improvised song. Sometimes it might not get
fun, or something might spoil the fun. Be open, be communicative,
and always remember that at the end of the day, this is only a game.
And games are supposed to be fun. Not just for you, but for everyone
else at the table
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THE TWO MODES OF PLAY
In Gubat Banwa, there are two modes of play: drama and tactical
violence. Tactical Violence is covered later on, in Chapter 3. In
essence, however, tactical violence is the highlight of a Gubat Banwa
games: a tactical, strategic, and bloody affair where martial arts and
esoteric curses meet to prove which ideology, belief, bond, or
conviction is more powerful.
Drama mode is where the Kadungganan go through the vast
lands of The Sword Isles and connect with each other, prove their
convictions, struggle against the world itself, and maneuver through
political schemes and intensely complicated relationships. In drama
mode, you
- Do not roll dice. Instead, by playing into the drama, you gain
Conviction Tokens that can let you in uence the narrative and
trigger narrative Beats as well as use your Calling’s Ability. Some
Beats have you rolling dice however for randomization, such as
Rest Beats
- Are trying to induce as much drama as possible. This is only
possible by having buy in from you: you must be invested in your
character and in your relationship with other characters and with
the world itself
- Give context to violence. Drama mode builds up the context to
the various tactical violences that Kadungganan are prone to fall
into, as well as deals with the consequences of such violences
- Interact with the world. Drama mode lets you interact with the
world, experience the tropical and grand holy wonders of The
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Sword Isles, as well as its inherent dangers and backstabbing

politics.
TRAITS
Traits are for a Kadungganan. Each Kadungganan has three

Traits: three single-word descriptors that they can invoke to either
gain Conviction Tokens by letting it be something that complicates
things, or by spending it to showcase a moment of glory.
When you spend a Conviction Token to use a Trait, mark that
Trait. You cannot use that Trait again, either to gain or spend
Conviction Tokens, for the rest of the session.
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DEBT
Debt is used to denote someone’s personal obligation to

someone else for doing something for them. In The Sword Isles,
Debt is such a ubiquitous concept that entire polities and villages are
formed around Debt: usually of a group of people to a Lord.
Debt in Gubat Banwa is a social value and mechanic to show how
much leverage you have over someone or how much leverage
someone has on you. You usually gain Debt to someone when they
do something for you, such as give you an item, grant you protection,
food, or even interact with you romantically
When you have Debt to someone, they can spend Debt that you
have on them to make you do anything. This applies to you as well: if
someone has Debt to you, you can spend that Debt to pull on your
leverage on them. This is expanded below in the Debt Beats portion
Debt and Prestige are intricately connected. Prestige is a
measure of your personal fame, glory, and honor. Your ability to keep
face, your trustworthiness. As you rise in Prestige, you not only
become more well known across the isles, but you also become more
trustworthy when it comes to ful lling obligations. Of course, that
means that when you don’t ful ll your obligations, the consequence
falls even harder
Your Debt to others and others’ Debt to you have a limit equal to
3 + your Prestige Tier
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BARTER
In the Archipelago of The Sword Isles, there is no proper coinage.

Trade is facilitated entirely through barter: collections of valuable
items and minerals in exchange for items of equal value
Barter is not a numerical value. Instead, items are their own
things, and it is up to the person you are selling the thing to assign it
a value, from below
● Bahandi. Heirloom wealth. The most valuable item in the
islands. A show of wealth. Agung, porcelain pots. imported
silks, foreign weapons, captives, foreign captives
● Rarity. Rarer items, lled usually with prestige, made from
smiths, or owned by powerful warriors. Rarities are items that
are not exactly known as bahandi across the isles, but are
valuable nonetheless, or are only popular in a single settlement.
Kadanay pottery, prestigious weapons owned by local heroes,
blessed items from a dead datu. 2 Rarities equal 1 Bahandi
● Necessity. Necessary items. Valuable, and will almost always
be high valued in the islands. Rice, foreign coinage, iron pieces,
golden nuggets, weapons. 5 Necessities equal 1 Bahandi. 3
Necessities equal 1 Rarity
● Commodity. Items that help life, but are abundant in the isles
so they are not as valuable. Textiles, clay pots, water, root crops,
wood, pearls. 10 Commodities equal 1 Necessity. You can never
trade in Commodities for a Rarity or Bahandi
Of course, there is a cultural baseline for most of these in The
Sword Isles: rice is always a necessity, porcelain jars and foreign silks
are almost always bahandi
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When trading with other people, they will usually ask for
Necessities. However, a surplus of Commodities (around 5 or more)
might tide over what the people seek. Gaining Commodities is easy,
but Necessities and Bahandi require specialized merchants and
traders to gain, but are signs of wealth. Richer datu might want to
establish good connections with you if you showcase Bahandi on you,
such as foreign armor. This means that barter tiers are not xed, and
differ from place to place, although there are commonalities across all
settlements, especially in the trading metropoles.
Foreigners would usually count what is just commodities to the
tawo as necessities. Pearls in the islands might be commodities
(pretty ones nevertheless, and used as jewelry), but they are bahandi
in Baik Hu and Iyamat. Clay pots are commodities here, but Iyamat
folk treat them as Necessities due to their ability to store tea leaves
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BAKUNAWA EATS THE MOON
Bakunawa is a creature--some say a diwata, others say a yawa--who

night after night conspires to eat the moon. It almost succeeded once,
but the collective noise and effort of the diwata and the tawo managed
to ght it off.
The Moon is a tool used to gauge accumulated progress to a

certain goal. Use this when something takes some time or if it
requires a lot of work put into it. In this sense, they are Progress
measures. Essentially, you would use these to track an endeavor that
takes several actions to overcome. Each Moon should be named with
the eventual goal in mind. When trying to in ltrate a stone fortress,
call it that: “In litrate Stone Fortress”. This lets you remember what
the Moon is for.
When the rules tell you to create a moon, doodle a circle and
separate it into segments. The Umalagad will tell you how many. The
most common is 4-segments. If a certain activity is dif cult or takes a
long time, it might be 6-segments. If it’s extremely hard and/or takes
a really long time, it might be 8-segments.
Saniogo seeks to outrun a rushing tigbalan. The Umalagad states that this
is a moon with 4-segments. The Bakunawa begins to eat the Moon.
As the game goes on, things that you do in the ction will
manipulate the moon if what happened is relevant. Anything that
furthers the accomplishment of the goal of the Moon lls a segment
by 1. This can come from things accomplished in ction. When all
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segments are shaded, then the moon is Full, and whatever you were
making progress toward or attempting to do is achieved.
However, whenever something bad happens in the ction—
usually due to complications induced by gaining Conviction
Tokens, the Umalagad draws a single triangle on the perimeter of
the Moon. This represents the Teeth of the Bakunawa. Once you get
three triangles, the Moon is Consumed, and consequences befall you,
and your progress is either stalled for the meantime or lost
completely, whichever makes most sense in the ction
Saniogo attempts to leap across a chasm to escape a tigbalan. The

Umalagad asks what Saniogo does, and Saniogo says that he leaps up to grab
a vine that was hanging about. The Umalagad nods approvingly--he says that
Saniogo leaps across the chasm, catches a loose vine, and swings safely to the
other side. No Teeth yet, the Umalagad thinks. Saniogo shades in a segment of
the Moon. Three left. However, the Umalagad states that the tigbalan can cross
chasms with its bird wings easily. It closes in on Saniogo, and the Umalagad
points out that there is a rushing river before him. Saniogo cannot think of a
way to cross the river quickly, and decides to power through it. The Umalagad
decides that this is a perfect time to introduce a complication: he spends a
Destiny Token, and then says that Saniogo loses his balance, and is almost
carried away by the river. The tigbalan closes in. It might be too late to run. A
single Tooth circles about the Moon now
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BEATS
Beats are narrative situations that will most likely happen or

are encouraged in a game of Gubat Banwa. When a Beat is
triggered, you would look to it to let the mechanics guide and
in uence the direction of the narrative that is unfolding
Beats come with narrative triggers, written like “When…”
These are things that you might work toward, but they’re not
things that you “use”. You have to do the trigger within the ction of
the game to get the Beat to trigge
Beats can trigger even in tactical violence
When a Beat is triggered, refer to the speci c triggered Beat to
resolve it. It would be good to have a sheet of all the Beats and what
they do, especially for the Umalagad
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COMBAT BEATS
LEAP INTO VIOLENC

When violence is inevitable, the Umalagad readies the
battle eld and you ready yourselves for tactical violence. When
you Leap into Violence, you get a moment to ready yourselves. In
ction, this might be you retroactively declaring that you have
prepared yourselves beforehand, or you are actually preparing before
a ght begins. Depending on the ction and context, there might be
some time to squeeze some important scenes before a ght
When you leap into violence, you enter into the Preparation
Phase. While in the Preparation Phase, you may do the following
- Replace 1 of your current Technicks with another one in your
current Discipline
- Switch into a Discipline that you have already learned a
Technick from. Think of it as you choosing which martial art form
to adopt in combat
- Equip and Re-equip Anting-anting that you currently have.
Remember that you can only wear a number of Anting-Anting
equal to your Prestige Tier
- Use Warband Properties or any items that can only be used
during the Preparation Phase
Once all players are ready, violence begins. The Umalagad must
dictate the Victory and Defeat Conditions, and the consequences of
each. If they win, what is the consequence? If they lose, what is the
consequence? After the combat, no matter the outcome, they gain
Esteem and heal all Mettle.
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LET THEM COWE

During combat, when the player party incapacitates the leader
of the enemy or half of the enemy’s party, they may call for a
Morale roll from the Umalagad, who must do so. The Umalagad,
as much as possible, should remember this Point as follows the
ction.
The Umalagad rolls a d10 once against all the Morales of the
enemy party. All characters with Morale lower than the d10 roll give
up or are otherwise out of the battle. All characters with Morale
higher than the d10 roll keep on ghting. Once a Morale roll has
been called, the Umalagad must roll Morale at the start of every
round after (if the combat is still continuing)
QUICK AND DIRTY BLOODSHE

If you go into Violence but don’t wish to make it tactical or go
into the nitty gritty of bloodshed, set up a Moon with segments
equal to the number of Foes and ght like a team. Every
Kadungganan takes turns describing how they ght and react in the
ght. Each one goes until all have gone. On their turn, they describe
what they do, and then roll a d10.
Fill 1 segment for 3-6, 2 for 7+. They can spend a Conviction
Point to immediately ll in 2 Segments.
If they roll a 1-2, they gain a Tooth, as with a normal Moon. If
the Warband reaches 3 Teeth and the Moon is consumed, the
Warband gains 1 Wound and is considered Defeated. They may
choose to keep ghting, in which case continue the ght, but every
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time they gain a Tooth, they suffer another Wound instead. The
Umalagad can also spend a Destiny Token to describe how they also
suffer 1 Wound
DEBT BEATS
OWE THEM ON
When you do someone a solid, help them when they’re in dire
straits, give them gifts, or otherwise both parties agree that one of
them owes another, they gain 1 Debt towards you
This works in reverse as well. When someone does something
for you, gives you gift, protection, or anything that you have to
repay in the future, you gain 1 Debt to them
This is a favorite of datu. This is how datu lock Kadungganan in and turn
them into vassals. Examples of doing something for the Kadungganan is
holding feasts in their name, granting them lodging, letting them borrow ships
and warriors, among other things.
CALL IN A FAVO
When you ask someone that has Debt to you to do something for
you, spend 1 Debt and choose 1 below
● They do it, but their disposition towards you changes
● They do it, but they ask for something marginally less in
return
● They can resist you, but you gain 2 Debt from them again.
Remember the limit: if you cannot gain more Debt anymore, you
must choose something above instead
This can also be used by NPCs
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This works for most things such as, but not limited to: asking them to
follow you, asking them to protect you, asking them to ght for you, asking
them to give you money, asking them to give you shelter, asking them to grant
you informatio
FESTERING DEBT
At the end of a Session, roll a d10. If the roll is 6+, then
nothing happens. However if the roll is a 1-5, all your Debt (both
to you and to others) rises by 1. When the Debt goes beyond your
Debt limit, the following below occurs
If it is Debt to you, they will arrive as soon as ctionally possible
and provide you with some sort of aid. Afterwards, they lose all Debt
to you
If it is your Debt to others, they will arrive as soon as ctionally
possible and demand you to pay back your obligations, according to
the ction. Debt to others for their protection might lead to them
asking for you to protect them from something in turn. Umalagad are
encouraged to use this to introduce more plot hooks and dramatic
twists. Once you do what they demand, lose all Debt to them
If this is Debt to another player Kadungganan, that Kadungganan may
ask something from you, whether it be a gift or a job. Until you can
ful ll whatever they want you to do, you have no choice but to follow
their demands, even if you have Conviction Tokens. However, once
you ful ll it, you lose all Debt to that player Kadungganan
PAY WHAT’S OWE

You can choose to give one of the people that you have Debt to
items to pay off your Debt. Each Debt point is equal to a Necessity.
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Remember that Necessities are different per place, community, and

person. If the person is particularly important, such as a datu or
wealthy person, they may ask for at least 1 Bahandi to pay off 1 Debt
point
CHASE A DEB
If someone has Debt to you, you might be able to chase them
down. Roll a d10
On a 7+, you nd who you’re looking for. Interact with them as
you wish
On 5-6, you don’t nd who you’re looking for, but you get clues
as to their whereabouts. This can be in the form of another NPC
On a 1-4, you don’t nd who you’re looking for. Instead, one of
the people you owe Debt to nds you. If you owe no one Debt, then
you attract unwanted attention
DISCUSS DEB
You may choose to meet up with someone that you have Debt to
and discuss your affairs with them. Play this out. At the end of the
scene, you may choose to spend Debt you have on them to cancel any
Debt they have on you, 1-for-1. This can be used between
Kadungganan as well
Of course, the scene wherein you discuss your affairs must have a
good outcome. If the outcome is bad, as follows the ction, the other
party may choose to deny this wholly. If they do, you gain 1 more
Debt to them
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You may use the Pay Off Your Debt beat here as well, to offer
gifts and items to pay off your debt if you don’t have enough Debt to
do so.
SOCIAL BEATS
OFFER BETEL NUT CHE

If you meet someone that you want to establish good rapport
with, offer them betel nut chew. If you do, they will treat you with a
neutral disposition (if they had a bad disposition beforehand), or with
a good disposition (if they had a neutral disposition of you
beforehand). Betel nut is usually a sign of camaraderie, like offering
someone tea or a drink. You must have betel nut chew on your
person. If you invite someone into your property or your house,
whether you are datu or not, and fail to offer them betel nut chew,
you gain 1 Debt to them
ENTANGL
When you entangle yourself with two other people,
inexplicably, causing the three of you to have a complicated
relationship, write down what that complicated relationship is
with that person as a new Complication. This must be a
relationship that is solid and condensible into a single sentence: if it
isn’t, or it isn’t solid enough of a relationship, it probably does not
trigger this Point
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PRESS THEIR SOU

When you speak to someone who must heed what you say,
(those below your social class, those that harbor feelings for you,
etc. as determined by the Umalagad)
…Gain a Conviction Token and the Umalagad chooses 1 from
below
…Spend 1 Conviction Token to choose 1 from below
● You get 1 Debt from them
● You give 1 Debt to them
● You can ask them to do something that they were already
willing to do
● You create animosity between them and another person
● They get ustered and they take themselves away from the
scene
DANCE WITH HEARTS AND THOUGHT

When you want to spend some intimate time with someone, play
it out. You, the other party, or the Umalagad sets the scene of where
it takes place.
Once the scene and context have been laid out, one of the
participants in the dance chooses 1 from below. Once they’ve chosen
and it has been resolved, move to the other participant and they get
to choose 1 below
● Ask them a hard question. This should lead to an in-
character conversation. Hard question is of course contextual, but
it should be whatever either the one being asked or both of the
characters in the conversation don’t want to ask or hear
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● Recall something they did before. This can be an event

during a venture, leading to an in-character conversation
● Bring up a topic. This can be any topic: the warlord you
killed in your last violent encounter, the new weapon you created,
the meaning of debt, if love is real, etc. Try to bring up topics that
will bring your character into entanglements
● Reveal a vulnerable part of you. Show them something you
don’t usually show people. A soft side of you. Perhaps your love
for music, or a natural af nity to dogs. Whatever it is, it should be
something that changes their perception of you
● Irritate them. Do something bad, something they don’t like.
They get to tell you what it is they do that they don’t like
Once both participants have chosen, move on to the Climax of the
scene. During the climax, both of the participants choose 1 from
below, whichever makes most sense according to the ongoing ction
● Things get heated. An argument erupts. Things don’t look
good for the both of you. Play out how you resolve this. If you
don’t, that’s still okay
● Things get hot. Something good happened along the way.
Suddenly one of you is pinned against the wall, staring at each
other, feeling each other’s hot breath. Play out how this ends
● Things get soft. The participants open up, becoming
emotional and nally, accepting whatever comes out of the scene.
Play this out to nd out what happens
● Things work out. The scene ends up fruitful for both
participants: maybe they nd a new resolve, or a new conviction,
or maybe they just learn something new about each other in
general. Play it out to nd out what it is
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After the Climax, both Kadungganan gain 1 Debt to each other,

no matter how it goes down.
This Activity might trigger Beats. If the scene was particularly
impactful and complicates another character into it in one way or
another, for example, it might trigger the Entangle Beat
ATTEND FEAS
Feasts are integral parts of a Kadungganan and a settlement’s life.
It is where Datu can show off their wealth and skill, as well as nd a
way to establish more trading connections by calling other Datu and
people from other settlements to attend the feast
When you attend a feast, roll a d10. Something happened to you..
1 - You nd someone that is interested in you, and they might give
you help
2 - You drunk a bit too much. Something unfortunate happened
during the Feast, tell the group what it is
3 - You impressed or helped a person or a group of people: you
know them now, and they have 1 Debt to you
4 - Someone helped you during the Feast. Gain 1 Debt to them.
What happened? Who were they
5 - You traded with another person: give up one of your items or
equipment and get another one of equal value (ie. If you give up a
commodity in that area, you gain something that is also a commodity
in that area)
6 - You attract attention that you really didn’t want. What is this
attention? How is it a detriment to you
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7 - You blasphemed or otherwise offended an important person

during the feast. Who was it? You must make amends: gain 1 Debt to
them
8 - You kissed someone you didn’t love, or otherwise did
something you immediately regret. What was it? Gain 1 Debt to the
person (or place, or faction) that you regret doing it to
9 – You did something that you would regret. What is it
10 – You have no idea how but you are suddenly entrapped in
obligations with another person from the feast. Perhaps it is
marriage, perhaps it is work. Whatever it is, deal with it
CONNEC
If you try to befriend someone, say who it is and roll a d10. Use
this if you wish to nd a new NPC or some such during downtime.
On a 7+, you befriend that person, who might have something
you want or is friendly to you.
On a 5-6, you meet someone, but they might not be who you were
looking for, or you otherwise attract unwanted attention
On a 1-4, you meet someone, but they are hostile to you, not the
one you wanted to meet, or otherwise attract unwanted attention
SELF BEATS
THE HEART CHOOSE

When you are faced with an earth-shattering realization that
might change your Convictions
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…Spend a Conviction Token to stand resolute: unwavering in

the truth of your soul. Your Conviction does not change, but you
must live with the consequences and burden of staying true.
…Gain a Conviction Token to let your heart become weak. You
doubt everything about your Conviction. By the next scene, you must
change your Conviction
…The Umalagad may spend a Destiny Token to awaken
something in you. You must change your Conviction then and there,
no matter how inconvenient it is or how much it would endanger
those around you
CHANG
When you are at the precipice of a great change, due to some
external factor, because of an important inner acceptance or
because of self-realization, you may change the Trait that has
changed within you. This must make sense in the ction, and what
the Trait changes into must make sense as well.
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REST
Rests are lulls in the combat and action, important parts of a
Kadungganan’s life, which are almost always lled with excitement
and danger.
You can only Rest when you can spend a long amount of time
(around 6-8 hours) in a safe place without hard physical exertion.
When you Rest, remove 1 Wound, and heal all Mettle
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YOUR LEGEND GROW

At the end of a Session, as long as the Kadungganan participated
in violence and drama, all Kadungganan mark down 1 Esteem.
When a Kadungganan reaches 5 Esteem, they clear their Esteem
track and go up a Prestige
When a Kadungganan rises in Prestige, they gain a Technick from
any Discipline of their choice
Prestige is the measure of your Kadungganan’s infamy, renown,
and glory across the isles and beyond. A Kadungganan begins at
Prestige 1, which goes all the way to Prestige 12
Every time you rise in Prestige, you gain a new Technick from
any Discipline of your choice
At Prestige 2, 6, and 10, you may gain an Anting-Anting of your
choice, ctionally given to you or found as spoils of war.
There are 3 Prestige Tiers: Lingid, Kilala, and Bantug. You can
only wear a number of Anting-anting equal to your Prestige Tier
Tier Prestige Bene t
1 Raise 2 Combat Stats, Gain 1st

Calling, First Technick
1: Lingid 2 Gain an Anting-Anting, Technick
3 Technick
4 Technick
5 Raise 2 Combat Stats, Gain 2nd

Calling, Technick
2: Kilala 6 Gain an Anting-Anting, Technick
7 Technick
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8 Technick
9 Raise 2 Combat Stats, Gain 3rd

Calling, Technick
3: Bantug 10 Gain an Anting-Anting, Technick
11 Technick
12 Technick
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WORLD BEATS
PLY THE MARKE

“Today, the market has come!” You hear the townscrier scream into the
village, but none of them needed that info. Everyone knew when the traders from
Baik Hu and when the traders from Naksuwarga were coming. It’s time to
haggle and barter
When you go out and look a particular item, state exactly what it
is and roll a d10
On a 7+, you gain the item, no questions asked
On a 5-6, you gain the item, but must lose something of equal
value. If you can't, you gain 1 Debt to the seller or to that entire
place
On a 1-4, you don’t nd the item, but you nd something else, as
dictated by the Umalagad. This will always be interesting
SEEK NEWS AND INFORMATIO

When you want to go out and look for information about a
particular thing, roll a d1
On a 7+, you nd the information.
On a 5-6, you nd the information, but you either attract
unwanted attention or you gain Debt to whatever gave you the
information.
On a 1-4, you nd incomplete information and attract unwanted
attention
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TRAVE
If travel is important, feel free to say that you cover 30 miles per
day, doubled if you have anything that can help with travel, such as
boats, river paths, roads, or mounts. Half it when traveling through
dense rainforest islands or when traveling on foot through islands,
without following a river
GO RAIDIN
Raids are an integral part of a Kadungganan’s life. Raids are
bursts of action and drama that have you traveling deeper into a
place that you are Raiding to gain wealth, treasure, something
important, or prestige. Why you’re doing it is up to you. In other
games, Raids take the place of dungeons, and in fact you can convert
many dungeons from other games directly as Raids in Gubat Banwa
Raids are a gauntlet of Encounters, both combat and non-combat,
that a Umalagad puts you through to test your Mettle
Before going on a Raid, you must dictate your Raiding
Objective. This is almost always singular. Some examples are below!
You can even roll a d10 on it
1~2 – Wealth. You’re looking for as much wealth as possible, and
the objective area has it
3~4 – People. You want to recruit as much people as possible,
and you must do it by force by killing their leader. Maybe perhaps
you want to liberate the people from a tyrannical leader
5~6 – Revenge. This is a revenge raid. You want to kill and
destroy as much as possible
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7~8 – Trial. You’re doing this to prove something to yourself or

someone important to you, and you must get something from the
objective area
Designing Raids is something an Umalagad can think of in
advance or prep it, or they can choose to go with the ow and play it
out. In that case, the Umalagad will always begin the Raid with an
arrival encounter, whether it be violence or not, and then roll a d10,
adding +1 until they reach the “goal area” at 12
1-3 – An easy encounte
4-5 – An average Encounter or interesting encounter
7 – 8 – A dif cult encounter
9 – A twist in the Raid, something that might upend the
understanding of the Raid
10 – Treasure. A Rarity, perhaps. Maybe even an Anting-Anting
11 – Penultimate. You nd something harrowing. Something that
is connected to the goal perhaps
12 – Objective Area. This is where the raid will end. It might
have a boss encounter, or you might simply nd what you’re looking
for. Play it out
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CHAPTER 3: TACTICAL
VIOLENCE
Bigkasin ang panunumpa ng pagpatayan
Sa karahasan itinaguyod ang kapuluang ito, at sa karahasan ito
magugunaw. Higit na matulin sa kidlat, higit na malakas sa ipu-ipo. Sa
pagsala ng aking sandata, gigibain ko ang daigdig, sisibakin ko ang dagat, at
wawasakin ko ang langit. Sa dugo na itatapon ko, iaalay ang AKO sa
dambana ng TAYO. Ipagdiriwang ko ang labanan hanggang mawala ang
karahasan
UTTER THE KILLING OATH

In violence the islands rose, and in violence it will fall. I am quicker
than lightning, stronger than the hurricane. I shall sunder the world
with my sins. With the blood I spill, I arrive, thundering louder than
mountain gongs. I shall rejoice in the glory of combat until violence is
gone
When combat begins, consider uttering the Killing Mantra: Rejoice

in the glory of combat. What that means depends on the Kadungganan
HOSTILE ACTIONS
Hostile Actions are all actions that would in ict detrimental

effects against the target, such as dealing damage, in icting
conditions, or forceful movement.
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VALID TARGETS
You can only target other units/creatures and other spaces in the
environment, or the ground. You must have line of sight and
appropriate line of effect. Unless otherwise stated, all actions that
need a target must have Valid Targets
WILLING TARGETS
Some targets might be willing. If this is the case, they can choose
to suffer the effect of the Technick or attack immediately
LINE OF SIGHT AND EFFECT
You can only target those that you can see with your line of sight,
as well as those that you have a clear shot at: your line of effect. Line
of Sight is usually blocked by blocking terrain. To nd out whether
you have Line of Sight or Effect, draw a straight line from one of
your corners to the target. If the line touches blocking terrain, then
there is no line of sight or effect between you and the target
Foes block Line of Sight, but allies don’t. Prone units do not
block line of sight.
SETUP THE BATTLEFIELD
The Battle eld is a grid map laid down upon a table or set up on a
virtual tabletop. Gubat Banwa uses square grids for battle elds,
although you can de nitely do hexes without much dif culty. Place
down the positions of the units, as follows pre-established ction.
Most Battle elds will have a slew of slopes and Heights and other
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traits, established later. Each square is called a space, and each space
a three dimensional space, 5 feet wide and 5 feet tall
ESTABLISH FIELD TRAITS
Field Traits are parts of the battle eld that the players must watch
out for. Point them out at the beginning of a battle, following the
ction (there wouldn’t be any lava in a sea ght, for example). Some
Field Traits are going to be obvious from the battle map you use
(pillars and trees can be used as cover, for example), but others might
need clari cation (wide puddles are Dif cult Terrain, a tree has vines
that lets you move 3 spaces.) There are more examples in the
Battle eld Section of this Chapter
VICTORY CONDITIONS
Make clear the battle objectives before violence commences,

anywhere between 1 to 5. Tactical Violence is only won when the
Victry Conditions are met. Victory Conditions can change over the
course of the ght as well. Some examples are..
● Kill a targe
● Stop a ritual from being performe
● Break down the stone wal
● Get all allies to the speci ed location are
● Activate traps or contraption
● Incapacitate the enemy tea
● Convince them to take your sid
● Ensure an escape rout
● Hold out until the end of the 6th roun
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● Protect a particular important person or thin

● Destroy a target's ship or armo
DEFEAT CONDITIONS
After de ning the Victory Conditions, de ne the Defeat

Conditions. These are usually directly related to the Victory
Conditions. One Defeat Condition that is almost always present is
when all Kadungganan are defeated, although in some rare situations
this might not be the case. Other Defeat Conditions are
● A leader is killed
● A place is breached
● An enemy falls in love with an ally
● An ally reaches the enemy
● An ally attacks an enemy
BE TRANSPARENT ENOUGH
In combat, the Kadungganan are notorious for their ef ciency

and skill in the arts of war and violence. When they step into tactical
bloodshed, they will know how to size up their enemy. Players should
know the target’s Mettle, Speed, Role and Class, and Origin.
However don’t reveal their Attributes and Technicks unless they’ve
encountered it before. Only reveal an Attribute or a Technick when
you use it on the players, in which case they should always know it
going forward. Kadungganan are peerless martial masters after all
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VIOLENT GLOSSOLALIA
Ally - Any creature that is friendly to you. This does not include
yourself
Armor – Damage reduction, usually dictated by your Tenacity.
Will have a rating attached, usually either 1 or 2. Whenever you
suffer damage, you reduce the damage by the armor rating. Armor
does not stack, unless it is written with +X
Barrier – Barrier is an extra layer of Mettle. Whenever a creature
with Barrier would suffer damage, the damage is deducted from the
Barrier before Mettle. Barrier doesn’t stack: whenever you would
gain Barrier, you keep the higher Barrier.
Battered - 2x your Breath value. Represents you being beaten
back, with visible bruising or loss of initiative. Some effects trigger
on Battered
Breath - Your innate ghting spirit and violent grit. This
determines what your Battered value and Mettle value is
Brave - More powerful Foes that have x2 Mettle compared to
regular enemies and have extra Actions and Reactions. They are
equal to 2 Kadungganan
Buff – Status effects that give you positive conditions. Most Buffs
have a set time (until the start of next turn or end of next turn, or
until X)
Debuff - Status effects that persist, hampering and debilitating.
Unless otherwise stated, all Debuffs go away by save
Chief - A Foe that is more powerful than even Braves, having x3
Mettle. They are equal to 3 Kadungganan
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Crashed - When you are brought to 0 Mettle, you are Crashed.

Down on the ropes, suffered a harsh wound. When you are Healed
while Crashed, you may make a Crashed Roll. When you’re
Crashed, all Technicks and abilities that require you to keep it up
fade away from you.
Crashed Roll - When you are healed or at the start of your turn
while Crashed, you may make a Crashed Roll. Roll a d10: on a 5+,
go back up to your Breath value. On a 4-, stay Crashed.
Critical - When your Mettle falls down to equal your Breath
value, you are Critical. Some effects might trigger while you’re
Critical
Foe - Any creature that is hostile to you
Re exes – You can perform any number of this during combat.
This does not take up an action, representing easy to perform
actions
Heal X - Anything that lets you Heal lets you recover a number
of Mettle equal to the Heal value. X can be a number, or sometimes
another stat, such as “Heal Battered”, “Heal 2d6” or “Heal 3x
Breath”
Incapacitated - You are dying. If you suffer any more damage,
you die. You become Incapacitated when you suffer your 5th
Wound. While Incapacitated you are Unconscious, meaning any
effects that require you to be conscious don’t work anymore.
Fiction rst
Mettle - Measures tactical positioning, advantage, skill, grit, and
stamina. It is your ability to stay in the ght, weathering hits and
advances from an opponent. Whenever you are brought to 0
Mettle, you suffer a Wound
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Melee - Melee range is usually all spaces adjacent to you, but
some Technicks and Fundamentals can change this
Ranged - Any attack that has the “range X” tag is considered a
Ranged attack
Rival - Indomitable Foes meant to be recurring threats. They can
sustain up to four Wounds just like Kadungganan, and have x2
Mettle like Braves
Self – Target yourself
Save - Roll d10. On a 1-5, you Fail the Save. On a 6+, you Pass
the Save. Saves are usually done to save against Debuffs, in which
case you remove the Debuff when you Pass the save
Unit - Any creature ghting for something in the eld
Warrior - The standard opponent that takes a Kadungganan
effort to dispatch
Wound - Physical wounds against you, actual rip and tear, esh
ying and blood spilling. You can suffer up to 5 Wounds before
you are Incapacitated.
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READING ACTION BLOCKS
Each Action and Discipline Technick will follow the following

formatting. Most important techniques and actions will be written in
this format
Nam
Lor
Type * Tag
Prerequisit
Target | Rang
Attac
Effec
Specia
NAME
Self explanatory.
TYPE
Type is either if it spends an Action, Flourish, Stride, Re ex or a
Reaction. If it is a Reaction, it will say whether it is an Interrupt or
Response. The trigger for a Reaction will also be written there.
Some Techs need extra effort, in which case sometimes they might
need more than one Action Type to use. For example, some might
need you to spend Action + Flourish.
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PREREQUISITE
Some Technicks might have Prerequisites. These must be paid to
actually use the action in the rst place or you must meet the criteria
TARGET
The target will specify whether it is self, unit, foe, ally, or a
space. Remember that targets must be valid. It will also specify how
many targets you can choose.
RANGE
Range will specify how far the target of this attack can be. This
will usually be either adjacent, melee, a [number], close [area of
effect], a number [area of effect], or self.
Adjacent just means that you only target all spaces adjacent to
you. Remember that adjacency includes all spaces that share a
common corner or side.
Melee usually means adjacent, but some Technicks and traits
might give you higher Melee range, such as “Melee 2”, which means
you can target all foes up to 2 spaces from you, letting you strike
beyond adjacency
A Number means you can choose a target that is within the
speci ed number of squares from you. If the number is a X~Y, that
means you can only target those units not less than X, but not more
than Y. X effectively being ‘minimum range’
Close [area of effect] means the target area of the area of effect is
your space. This means the larger the origin space or creator, the
larger the burst. Close is not counted as a ranged attack
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If it is a number [area of effect], you choose a space within the

speci ed number of spaces from you. That becomes the origin space
of the area of effect
If the target area is Self, then you target yourself.
Counting Ranges: When you count ranges, start from a space
adjacent to the origin
Area of Effect is blocked by blocking terrain, as it still requires
line of effect.
AREA OF EFFEC
Area of Effect is different from ranged. In general, Area of Effect
affects all targets within the area, even if the one performing the
attack is suffering from Enmity or there is a target within that is
Shirked
● Burst X: This is an area that targets all X spaces from its
center, which can either be an origin space or the user. The
burst goes in all directions, even up and down.
● Blast X: This is an attack that must have at least 1 space in
its area of effect that is adjacent to the origin point. X dictates
how large the area is: Blast 2 would mean it covers a 2-spaces-
by-2-spaces area adjacent to the origin point. For example: a
ri eman’s ri e technick is a Close Blast 3, which means it affects
a 3x3 space area, but one of the spaces must be adjacent to the
Unit using the Technick. The blast goes in all directions, even
up and down
● Line X: This is an area that lls a single straight line in any
direction from its origin point. X is how many spaces the line is
long. The squares of a Line must be contiguous (sharing a
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common side or corner, so you can angle the Line diagonally)

but you cannot make it so that it “snakes”, it must look like a
straight line. Unless otherwise stated, the Line is only 1 space
tall, meaning it only affects targets on the same Height as the
creator
● Wall X: This is an area that can be placed in any manner as
long as at least one space is adjacent to the origin space and all
spaces are contiguous with each other, sharing an entire side.
This means you cannot place a Wall diagonally. X means how
long the wall goes
EFFECT
This speci es the effect of the Technick, usually what happens to
the target. When resolving effects, resolve them in the way they are
written
When you are told to make an attack, it will usually describe
whether this is a melee, ranged, or area attack, from which many
effects can derive. Making an attack is simply a matter of rolling the
damage dice as stated: there are no to-hit rolls. However, damage is
subtracted by armor and other Af nities, which can cause damage to
go to 1
There are three kinds of attacks: melee, ranged, and area. Effects
and Reactions can key off of and trigger based on speci c types of
attacks. Melee attacks are attacks with melee weapons, sts, or
otherwise close-ranged effects. Ranged attacks are projectiles, bolts
of sorcery. Area attacks are explosions, elds of swords, and the like
Area attacks usually target a large number of units. When rolling
damage, you roll damage separately for each target
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SPECIAL
Any other limitations.
LORE
The Sword Isles is a colorful place. Many things happen in the
setsuna moments between violences
ACTION BLOCK TAGS
Almost every action will have a tag associated with it, placed after
the action type. The general tags are as follows
• Craft. Crafts are powerful battle eld creations that
manipulate the terrain
• Maneuver. Maneuvers are physical shows of prowess and
skill.
• Mentala. Mentala are occult spells that use a magick-user's
kinaadman, or enlightened will, to focus and shape their pohon,
or their spiritual strength.
• Ritual. Spiritual rites, rituals, and practices that call upon the
spirits of the world and the holy powers that permeate it.
• Song. Songs are potent song-poetries that galvanize and
strengthen souls, or weaken and destroy them
• Tactics. Technicks that make use of strategic prowess and
battle eld knowledge
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ROUNDS
Each Round is 12 seconds of lightning action and thundering

tactics. You begin at the First Round in combat. A Round ends when
all units have nished their turns. In the ction, everything that happens
in a round happens at the same time.
TURN ORDER: AGAINST ALL ODDS

Turn Order in Gubat Banwa is alternating turns. That means 1 side
moves rst, then another, then the other. Each unit usually only has 1
Turn per round. That means once they’ve done their turn, they can
no longer perform another action.
There are three sides: Kadungganan, Foes, and Allies. The side
that has the least amount of units gets their turn rst, followed by the
one that has the next least amount of units. If there is a tie,
Kadungganan always go rst. If there is a tie between Foes and
Allies, Foes always go rst
YOUR TURN
"Quicker than lightning, stronger than the hurricane!

The following are the parts of a turn.
START OF TURN
Accomplish the following in order:
1. If you are Crashed: roll to see if you stay Crashed
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2. Then, accomplish any effects that happen at the start of your

turn
3. Then end any effects that end at the start of your next turn
THE TURN
Each unit gets 1 Movement, 1 Action, and 1 Flourish to
perform, which they can do in any order. You also gain access to
any number of Re exes
You may choose to spend another Flourish in place of doing an
Action
MOVEMENT
Strid
You move through the battle eld
Movemen
Sel
Effect: Move a number of spaces equal to your Speed. You can
move into all spaces adjacent to yours, even diagonally. You cannot
move through Foe spaces, but can move through Ally spaces,
although you cannot end your move in an occupied space. You
cannot break up your Stride. When you Stride, you spend up your
Stride for that action, you cannot insert a Flourish or Action in
between steps
Moving up into a Height higher than yours is possible as long as
you have enough Speed for it (if you have 6 Speed, and you’ve
already moved 4 spaces, and you want to get onto an H2 space from
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an H0 space, you can still do that, since that’s just a difference of 2,

and you have 2 Speed left.
When going down from a Height, you do not suffer any other
penalty, although you cannot go down from a Height that is 3
Heights higher than the target space. If you do, you suffer falling
damage
You cannot stop midway through climbing or going down into a
space. You must have enough Speed to get onto the space itself
Quickste
You ourish away, dancing through slashes and hits
Movemen
Self
Effect: Move 1 space without triggering reactions
ACTION
In ict Violenc
You harness your martial arts and unleash a barrage of attacks against
the opponent. Rejoice in the glory of combat
Action * Disciplin
Target: Discipline | Range: Discipline
Effect: Discipline. If asked to make an attack, remember that you
only roll the damage dice
Special: Each Discipline in icts violence differently. When you
In ict Violence, you choose from 1 of your In ict Violence options,
as dictated by your Discipline’s In ict Violence
Grappl
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You seize your enemy

Action * Maneuve
1 Unit | Adjacent
Effect: Make a melee attack and grapple the target. A grappled
target cannot move voluntarily and cannot do Reactions. You gain
Slowed while you are grappling, but when you move, you move the
grappled target with you. A grappled target may spend an Action to
try and break free from the Grapple, in which case they make a save.
They break free from the Grapple when they pass the save. On your
turn, you may spend a Flourish to maintain the Grapple. Otherwise,
you let go of the person at the end of your turn
Reviv
You kneel and help your ally up. The battle is not yet done
Action * Scene
1 Crashed Ally | Adjacent
Effect: Bring the ally out of Crashed, healing them equal to their
Breath value
FLOURISHE
Burs
You exert yourself to rush through the battle eld
Flourish * Maneuve
Self
Effect: Move half your Speed.
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Lea
You bow low and take a running start
Flourish * Maneuve
Self
Effect: You can jump equal to half your Speed, rounded up,
letting you ignore chasms and terrain effects on the spaces you leap
over.
Second Win
You psych yourself up. The battle goes on. Violence rages. Rejoice in the
glory of combat
Flourish * Discipline, Scen
Discipline
Special: This is also mostly dictated by your Discipline Technick
Shov
You lunge forward and push them away
Flourish * Maneuve
1 Unit | Adjacent
Effect: Make a melee attack and push the target 1 space
Taun
Show off. You have the chops to back it up
Flourish * Scen
The Foes | The Battle eld
Effect: Gain 1 Conviction Token
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Knock Pron
You lunge forward and outmaneuver your opponent
Flourish * Maneuve
1 Unit | Adjacent
Effect: Make a melee attack and knock the target prone
Interac
You ddled with what you have
Flouris
Self
Effect: When in doubt, when doing anything in action that would
take dexterity or a bit of focus, such as consuming an item, or
ddling with the environment, treat that as Interact.
REFLEXE
You have any number of Re exes, which you can usually use at
any time. They don’t take up any of your Actions, Flourishes, or
Strides.
Resolv
You reach deep within you and prove your conviction
Re ex
Self
Effect: When you roll something and don’t like the result, you
may spend a Conviction Token to reroll it. You can only use this 1/
roll
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Violent Meditatio
As a Kadungganan, you live and breathe violence. With violence
internalized, you can read the movement of your opponents better
Re e
Sel
Effect: On your turn, if a Foe will activate after you, spend a
Conviction Token to ask the Umalagad what their next course of
action will be. The Umalagad must follow what they dictate.
END OF TURN
At the end of your turn, accomplish the following in order
1. Roll to save for any effects
2. Accomplish any effects that happen at the end of turn.
3. Then roll for Fray in that order
REACTIONS
You always have 1 Reaction per Turn. That’s any Turn, whether it
be yours or an ally’s or a foe’s. All Reactions have Triggers, which
will be written in their Type line. Response Reactions take effect
after the trigger. Interrupt Reactions happen before the trigger
You cannot React to Reactions.
Div
You leap into safety.
Response Reaction: You are attacked * Maneuve
Self
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Effect: Move 1 space without triggering reactions

Special: You can only do this 1/round
Counte
You counter an attack and pulse them away.
Response Reaction: You are attacked by a melee attack *
Maneuve
Triggering Unit | Adjacent
Effect: Push the target 1 space away
Special: You can only do this 1/round
SAVES
Some effects will allow for Saves. Saves are always rolled at the
end of that unit’s turn, and you save against all effects affecting you
that turn, but a different roll for each.
To make a save, roll a d10. On a 6-10, you Pass: the effect you’re
saving against is removed. However on a 1-5, you Fail, the effect
persists
DAMAGE AND ARMOR
When you in ict violence with the intent to deal harm, you deal
damage. When you deal damage, you deduct the number of damage
you deal from the target’s Mettle.
Damage can be reduced, whether from Armor or from any other
means, but damage can never be reduced to 0 or negatives. They will
always in ict at least 1 damage, unless the unit Nulls, Drains, or
Re ects that speci c damage
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DAMAGE MODIFICATION
Damage can be modi ed in the following ways
- Strengthened Damage is a buff, and is damage with you rolling
an extra dice and adding it onto the result. If unrolled damage, this
is a at +2
- Extra Damage is conditional damage. Some effects might give
you extra damage. Extra damage is +1 to the attack, and it can only
stack two times + your Ferocity. So you can only have up to 2 +
[your Kadungganan’s Ferocity] Extra Damage on a single damage
roll. This means at max, you can deal up to +5 Extra Damage
- Precise Damage is damage that strikes true, quick and biting
deep. If you deal precise damage, you double the roll of your dice,
and then choose the highest X. X being the original number of dice.
This means if the original number of dice was 2d4, and then you
deal Precise damage, you roll 4d4, and then keep the highest 2
- Glancing Damage is damage that has been weakened somehow,
by blunting of strikes or by some kind of weakening effect. If you
deal glancing damage, you double the roll of your dice, and then
choose the lowest X. X being the original number of dice. This
means if the original number of dice was 2d4, and then you deal
Glancing damage, you roll 4d4, and then keep the lowest 2
- Piercing damage is damage that ignores Armor, Strong, Null,
and Drain. This is not a damage type, and can be put atop other
damage types: eg. Piercing re damage or piercing at damage
- If you are told to deal half damage, roll the dice, add any extra
damage, and then half the result before applying to the target’s
Mettle
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DAMAGE TYPES
One of the core aspects of Gubat Banwa’s combat system is the
interplay of Damage Types and Elemental Af nities. The spirits of
the world permeate every fabric of Yutadagat
There are 8 damage types in all
First, there are the Five Elemental Types, which you can
have Af nities against
FIRE represents ames, blazes, and heat
WATER represents jet streams, waves, and the cold
EARTH represents life, growth, boulders, animals, trees,

and rocks
WIND represents cutting gales, temperatures, lightnings,

and storms
FORCE represents damage from things that cause voids

and vacuums, such as wounds in icted by weapons and other
gross brutalisms
And then there are the Special Types, which you usually cannot
have af nities against
SOUL represents emotional and mental trauma, as well

as pure fraying damage that scourges the very fabric of
metaphysics.
FLAT damage is straight, unbroken tearing and violence.

Flat damage cannot bene t from Weak, Strengthened, or
Extra Damage
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FRAY is damage over time, sapping at your will to ght.

Longlasting burns, poisons, and strange ailments that sap at
your will. Fray damage cannot be modi ed in any way,
cannot be subtracted due to Technicks, Armor, or Af nities
FRAY DAMAGE
Fray is a special kind of damage that represents damage over time
from bleeding, open wounds, poisons, re, and the like. Fray stacks.
At the end of your turn, you make a Save against Fray. On a fail,
you suffer the Fray damage and it stays. On a pass, you remove
Fray.
AFFINITIES
Af nities are your unit’s strength or aversion to the elements that
permeate Yutadagat. Af nities don’t stack. If you make an attack
against multiple targets with differing af nities, resolve all Wk
rst, then St, then Nu, then Dr, then Rf. Resolve all af nities
separately (ie. If two targets have Rfs, you suffer both Rf).
If you gain an Af nity to something, but you already have another
Af nity, you gain the newer one
There are ve kinds of Af nities
WEAK (WK
You are particularly vulnerable to that damage. Whenever
you deal damage that the target is Weak to, you deal Precise
Damage.
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STRONG (ST)
You are resistant to that damage. Whenever you deal
damage that the target is Strong to, you deal Glancing
Damage.
NULL (NU)
You suffer no damage at all from that type. When you deal
damage that the target Nulls, you deal 0 damage.
DRAIN (DR
Instead of suffering damage, you actually heal the damage
dealt. When you deal damage that the target Drains, they
heal Mettle equal to the damage dealt.
REFLECT (RF)
Instead of suffering the damage, you deal the damage dealt
back onto the attack. When you deal damage that the target
Re ects, suffer the damage dealt. If you also Re ect that
damage, the damage against you is cancelled
DAMAGE AGAINST MULTIPLE ENEMIES

If your attack has more than one target, roll damage only once,
but any extra damage you deal is halved
This can cause you to suffer multiple consequences from differing
Af nities, as well as bonuses from attacking Weak targets
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ARMOR
Armor reduces the damage you suffer, even if it brings it to 0.
Armor usually doesn’t stack, unless it says “+X”, in which case it adds
onto your current armor. Armor is counted after Extra Damage
CRASHED, METTLE, WOUNDS, AND BARRIER
When your ability to stay in combat is compromised, whether by

sword swings or tactical presses, you suffer damage. Whenever you
suffer damage, deduct the number of damage from your Mettle.
Mettle is your situation in combat. A high Mettle means you’re
aware of the battle, weapon up and ready, and actively in the ght. A
low Mettle means you’re being beaten down, back against the wall,
but you can still ght.
When you fall to 0 Mettle, make a Crashed Roll: If you Pass,
gain a Wound and go back to your Breath value. If you Fail, you are
knocked prone and become Crashed.
While Crashed..
- You cannot ank
- You are prone
- You cannot use Technicks
- You are Slowed
- All your rolls, barring Saves or Crashed Rolls, are made with 2
Curse
- If you suffer any more damage (not including from Fray), you
instead suffer 1 Wound
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- If you are healed while Crashed, you get to make a Crashed

Roll
At the start of your turn, you may make another Crashed Roll: If
you fail, stay Crashed. If you pass, go back up to your Breath value
You can only gain a maximum of 5 Wounds. Once you suffer 5
Wounds, you become Incapacitated and die after 30 minutes if not
stabilized
When you are Crashed, anything that requires you to be
conscious or needs you to be actively keeping it up fades away or no
longer continues. The Umalagad makes the nal call, but follow the
ction. In general, most buffs disappear
WOUNDS
When you suffer Wounds, these are obvious physical injuries:
scars along your back, gashes on your foot, missing ngers, torn
limbs. It’s up to you to decide what your injury is, as be ts the ction.
This injury has no bearing on mechanics
You can only gain a maximum of 5 Wounds. Once you suffer 5
Wounds, you become Incapacitated and die after 30 minutes if not
stabilized with an Action. This can carry on to the next scene. If you
become Stabilized, you are no longer dying, but you must return to a
Rest before healing Wounds
BARRIER
Barrier in the ction is usually an actual metaphysical barrier that
protects you from violence. Sometimes, however, Barrier can also be
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a second wind, a sudden burst of strength, that lets you power

through fatigue. Whenever a creature with Barrier would suffer
damage, the damage is deducted from the Barrier before Mettle.
Barrier doesn’t stack: whenever you would gain Barrier, you keep the
higher Barrier
BREATH
Breath is your inherent grit and stamina. Your Mettle is equal to
4x of your Breath, and your Battered is equal to 2x of your Breath.
When your Mettle falls down to your Breath value, you are Critical.
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FLANKING
Flanking can only be done in adjacent range. If you and one

other ally are standing on both adjacent sides of a unit, you both deal
+1 extra damage against the anked unit. When in doubt about
whether two creatures ank an enemy on a grid, trace an imaginary
line between the centers of the creatures' spaces. If the line passes
through opposite sides or corners of the enemy's space, the enemy is
anked. Only you and one other ally can get this bene t
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STATUS EFFECTS
Statuses are temporary effects upon your unit caused by attacks

or other factors. Buffs are bene cial statuses and Debuffs are
negative statuses
If no duration is shown on a Debuff, that means it is removed
by a Save. Buffs will almost always have a duration.
When you get to remove a Debuff, you usually cannot remove
effects that are persistent, such as effects that linger while you’re in a
particular space
BUFFS
Avoid: When someone makes a melee or ranged attack against
you, not an area of effect attack or an effect that simply deals
damage, roll a d10 before the attack is resolved. On a 7+ you
avoid the attack’s effects completely
Bolstered: When you have to make any kind of roll, roll twice
and then take the higher result. If this is a damage roll, deal Precise
Damage.
Clari ed: Gain +1 range to all actions and Technicks that have
ranged
Elusive: You completely area attacks, and you do not suffer
non-attack damage (damage that is applied directly, and not from
an attack)
Guarded: You cannot be brought to 0 Mettle. You lose Guarded
when you are brought to 1 Mettle, Unbalanced, or Juggled. You
cannot Guard while you are Unbalanced or Juggled.
Hastened: Gain +2 to your Speed
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Hidden: You can move through occupied spaces but must end
in an unoccupied space. You are only a valid target to units
adjacent to you. Unless otherwise stated, lose Hidden when you
make an attack or suffer damage
Shirk X: X is a Unit on the battle eld. You are not counted as a
valid target for that unit. Area attacks (burst, blast, line, and wall)
ignore Shirk
Strengthened: Roll another dice of damage. If the damage is
at, add +2
Steady: Ignore Elusive, Avoid, Guarded, and Reactions.
DEBUFFS
Dazed: You can only Flourish on your turn, and cannot use
Reactions
Debilitated: You deal half damage
Diseased: You cannot Heal Mettle, cannot gain Barrier or
Armor, cannot gain Buffs, suffer -1 to all Saves, and cannot save
against Fray
Enmity to X: When you have Enmity to X, X being a unit, you
can only treat X as the only valid target. Area attacks (burst,
blast, line, and wall) ignore Enmity.
Immobilized: You cannot move voluntarily.
Juggled: You cannot move voluntarily, you are Airborne (1
height higher than your current Height) and you may be pushed 2
spaces away on a hit. Unless noted otherwise, you fall and lose
Juggled at the start of your next turn
Obscured: You can only target combatants adjacent to you
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Prone: You are on the ground. You have Avoid against all
ranged attacks, but all melee attacks against you deal 1 Extra
Damage. You must spend an Action or Movement to stand
Petri ed: All damage against you becomes 1. You cannot move
voluntarily and you cannot be moved either. You cannot perform
any actions, reactions, re exes, and ourishes and cannot ank.
However, if you fall to 0 Mettle while Petri ed, you shatter and
die
Quiet X: X is a Technick Tag. You cannot use Technicks with
that Technick tag
Ripped: You cannot bene t from Armor and Strong
Rooted: You cannot move voluntarily and you cannot be
forcefully moved
Slowed: You cannot move beyond 2 spaces
Unbalanced: You cannot bene t from Steady, Avoid, or Elusive,
and all attacks against you deal +1 Extra Damage.
Weakened: Whenever you have to roll dice, roll twice and take
the worse result. If this is a damage roll, you deal Glancing Damage.
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THE BATTLEFIELD
SPACES
Each space is ve feet wide and ve feet tall, which means it is
a three dimensional unit. Any space that has an object or creature in
it is considered occupied.
ADJACENT SPACE
Adjacent Spaces are every space that touch a side or corner of the
space where the target is standing. Remember that a space is three
dimensional, so this not only includes all spaces around you
horizontally, but also all spaces below and above you that share a side
or corner with your space
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HEIGHTS
Heights start at 0. Some spaces may be taller than others, which
means they have a higher Height. If a space is not at least ve feet
high or deep, then that should not be considered a different height
MOVING INTO AND OUT OF HEIGH

Moving up into a Height higher than yours is possible as long as
you have enough Speed for it (if you have 6 Speed, and you’ve
already moved 4 spaces, and you want to get onto an H2 space from
an H0 space, you can still do that, since that’s just a difference of 2,
and you have 2 Speed left.
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ATTACKING FROM A HEIGHT HIGHER OR

LOWER THAN THE TARGE
All ranged attacks against a target with a Height lower than yours
gain +1 to their range.
All ranged attacks against a target on a Height higher than yours
suffer -1 to their range
This does not affect Melee, Adjacent, and Area of Effect unless
stated otherwise.
ATTACKING THROUGH A HEIGH

All ranged physical attacks treat Height taller than their own by 2
as blocking terrain.
For example, attacking a unit that is on the other side of a Height
2 space while you’re on a Height 0 space means you cannot attack
that person, as the Height is blocking your line of effect
FALLING FROM HEIGHT

Falling from Height equal to or higher than 3 in icts piercing at
damage equal to the Height
It would be good to establish Heights before combat, but make it
also follow ction. If there’s a hill or a mountain or a bunch of trees
there then that’s probably a Height when they get to it.
OBJECTS IN THE BATTLEFIELD

Unless otherwise stated, objects and terrain out in the eld have a
Durability equal to 12 times their Size
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Objects use Durability, which is treated as Mettle. When reduced
to 0 Durability, the object is destroyed. This can occur to cover, so
destroying cover can remove its bene ts
Outside of combat, follow the ction. These stats might not
matter when trying to destroy some kind of barrier
FORCED MOVEMENT
Being pushed, pulled, or shifted by attacks or effects is forced
movement. Forced movement usually only occurs in straight lines
If the target is forcibly moved towards something

moveable, move it out of the way and continue the Forced
Movement
If it is breakable, the target and the object both suffer the

number of spaces left for them to move. If that’s enough to
destroy the object’s durability, then break the object and
continue the Forced Movement. Otherwise, the target lands
on a space adjacent to the object
If it’s unbreakable and unmovable, the target suffers

piercing damage equal to the number of spaces left on the
forced movement. If they are pushed 3, they move 1 space,
and then they slam into a wall, they suffer 2 piercing damage
due to there being 2 spaces left.
If a target is forcibly moved towards another unit, both

units suffer piercing at damage equal to the number of
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spaces left on the forced movement, and then target

continues the movement, while the one moved into is
pushed 1 space away from their original space, out of the
line of movement of the original target. This can cause a
chain reaction of pushes (a unit pushed slams into another
unit, etc.).
FORCED MOVEMENT TYPE

● Push is forced movement away from the source of the push in
any direction
● Pull is forced movement towards the source of the push in any
direction
● Shift is forced movement in any direction
TERRAIN
DIFFICULT TERRAIN
Moving into a space of dif cult terrain (rubble, swamps, uneven
ground, undergrowth, trees) costs 1 extra Speed (moving into a
dif cult terrain space and you have 3 Speed left, you have to use up 2
of that to move into that space). If you only have 1 space to move left,
you cannot move into that dif cult terrain space
DANGEROUS TERRAIN
Dangerous Terrain are spaces that can be stepped on but have
negative effects upon any creature that steps on them. All targets
that move into or start their turn while in dangerous terrain suffer
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2 + Tier piercing at damage. This is usually born from caustic

surfaces, spikes and caltrops, raging ames, etc.
HINDERING TERRAIN
Hindering Terrain prevents movement, but they do not block line
of sight. These are things like deep water, lava, re, or pits. These
spaces are usually considered occupied
BLOCKING TERRAI
Walls, doors, impassable rubble. Blocking terrain prevents
movement through the spaces it occupies, but usually can be moved
on top of. Blocking terrain removes Line of Sight and Line of Effect
TERRAIN SPACE
Terrain is important in Gubat Banwa. Thus, it is important to
consider when making maps what each terrain is. Here is a list that
you can use when cobbling together maps
Attuned
Terrain Description
Element
Soil/Grass/Sand Natural earthen tiles. Earth
Underbrush/ Dense growth of grasses.
Earth
Bamboo Patches Dif cult Terrain.
Marshes or walkable shallow
River/Lake/Ocean/
rivers or streams. Dif cult Water
Swamp
Terrain.
Rock Exposed, natural stone. Earth
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Attuned
Terrain Description
Element
Most trees in the Sword Isles
Tree are large, t to be altars to the Earth
gods. H1~H5 Blocking Terrain.
A burning space. Dangerous
Fire, Lava, Magma Fire
Terrain.
Vertiginous void that goes
Sky Wind
down to certain death.
Spaces lled with spikes.
Spikes Space
Dif cult Terrain.
COVER
When you are considered as having cover, all ranged attacks
against you deal -2 damage. Sometimes some technicks might give
you cover against all attacks
Draw a straight line from one corner of your space to your target.
If the line is unbroken, then neither character has cover. If it’s
obstructed by terrain, it’s cover.
WEATHER
If one of the Field Traits dictated has something to do with rain or
snow or whatever else that might be considered weather, nd out if it
would have an effect on sight.
In heavy rains, thunderstorms, and snowstorms, ranged attacks
suffer the Debilitated debuff.
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TELEPORTING
If you Teleport, you remove yourself from your current space and
then reappear in your target space, meaning it is not counted as
movement. You must have line of sight to wherever you’re
teleporting. Teleport ignores Reactions and breaks free from
Grapples.
CARRYING
You can carry, lift, or drag whatever during battle. If you do, you
are Slowed and you cannot take Reactions
SWIMMING
While swimming, you can move horizontally or vertically
underwater, and your movement is halved
FLOATING
All creatures that Float ignore dif cult and dangerous terrain, but
they cannot move up nor can they move past occupied spaces
FLYING
Movement that lets you Fly lets you move a number of spaces in
any direction equal to the number of Fly you can move. Moving
vertically up puts you in Height
If you are Rooted or Immobilized while in Flight, you fall to the
nearest adjacent space to you on the ground, but don’t suffer falling
damage
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INCAPACITATED UNITS
Units that are Incapacitated, unless otherwise stated, stay in the
battle eld in their spaces. However, they are not considered as
occupying the space that they are on
SIZE
Most units are Size 1. Size dictates how many spaces they take
up, in three dimensions. So Size 1 takes up a 1x1x1 space. Size 2
would take up 2x2x2: that would be 2 spaces wide, 2 spaces long, and
2 spaces tall. This means those of a Size larger than cover do not
bene t from the cover. However, being of larger size means you are
also effectively taller than your current height. Size 2 size means
you’re 1 Height taller than you current height, for example
Size 1/2 sizes takes up 1/4 of a space, meaning others can take up
their space with them.
Size 2 creatures take up 2x2x2 spaces
Size 3 take up 3x3x3 spaces.
Size 4 take up 4x4x4
Anything larger than this should be represented as multiple
gargantuan creatures or as something outside the bounds of Tactical
Violence
Size 2+ creatures cannot stay in a space wherein two or more
spaces are Height 2 or higher. They must stay further from the
Height
When moving, those of larger sizes simply move 1 space at a time,
like with other Size 1 Units, and then they must end up so that at
least 1 space of their Size includes the space that they moved into. If
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they end up in a space that they cannot put their entire Size on
evenly (if there is Hindering or Blocking Terrain, for example), then
the Unit cannot move into that space. They must be able to put their
entire Size in the chosen space
FIELD TRAITS
Here is a list of Field Traits that you can lay onto the Battle eld to
help spice it up. Choose or simply roll 1d20
1 - Heavy Rain. Whenever a ranged attack is performed, treat
targets as if they have Avoid
2 - Thunderstorm. At the end of every round, 3 random areas get
struck by lightning, dealing 3 damage. There’s a 2-in-8 chance of one
of the units getting struck
3 - Hanging Vines. There are various hanging vines that you can
interact with on an Action, letting you move 5 spaces in a straight line
to any direction, without triggering Reactions. You must nish all 5
spaces, although you are stopped if you hit an obstacle
4 - Rushing River. Cutting through the middle of the battle eld is
a rushing river, working as dif cult terrain (and enforcing swimming
if deep enough). If you fall into the river’s space, you are Pushed 3
spaces in the direction that the river is rushing down to. At the end of
your turn, if you are still in the space of the river, you are Pushed 3
more spaces. Those that can oat or y ignore this
5 - Slopes. Some spaces are slopes. This means that one side of
the space is a Height lower than the other side of the space. This
means that those that might want to enter into that space from the
side that has higher Height would need more speed
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6 - Poisonous Puddles. Some puddles are poisoned, usually in
2x2 or 3x3 spaces. When stepped upon or when you end your turn in
one, suffer Fray
7 - Harsh Winds. The winds are harsh here. All ranged attacks
suffer -2 damage. Additionally dictate a direction from where the
winds are blowing and in what direction. Every end of the round, all
units that are not in cover (whether half or full) are Pushed 1 space
in that direction
8 - Heavy Fog. Heavy Fog dominates the entire battle eld. All
spaces except those adjacent to you are obfuscated
9 - Lahar Flow. The area is bisected by owing lahar. If a
creature steps into it or ends its turn in it, they suffer 5 piercing at
damage immediately
10 - De led Ground. The ground you tread upon is lled with
the corpses of the vengeful dead. Some spaces are considered
De led. Any undead enemy that performs a hostile action while on
De led spaces gain deals 2 extra damage. An undead enemy that is
brought to 0 Mettle on De led Ground can make a save. On a 5+,
they rise up at the beginning of the next Round with 1 Mettle
11 - Jade Waves. The area is made up of waters frozen in time
and crystallized into blue-green jade. A living wave woodblock print.
All damage while within the waves in ict 1 Extra Damage. The
Waves are blocking terrain, and are usually slopes
12 - Ancestral Ground. A 5x5 area within the Battle eld is the
burial ground of honored Ancestors, in the middle of which is a Spirit
House. All saves done while in the Ancestral Ground gain +1, and all
healing grants an additional 2 Mettle.
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13 - Mountainous. The eld is of uneven Height. The battle eld
will default at Height 1-2, and have more Heights at 3 and above
14 - Attuned to a Diwata. The eld is attuned to a Diwata’s
element. Choose 1: Debilitated, Slow, Ripped, Quiet, or Root. That
debuff cannot be in icted upon any Unit within the eld. All
Magickal Attacks deal 2 extra damage
15 - Spirit Balete. A 2x2 space is occupied by an active balete
tree. The spirit balete is a conduit to the world of spirits. Whenever
adjacent to the Spirit Balete you gain heal 1 Mettle per Start of your
Turn
16 - Lantangan (spirit houses). A space is occupied by a spirit
house, whether it be made of hardwood from the Rajahnate, bamboo
from the Confederation, stone from the Sultanate and porcelain from
the Lakanate. When adjacent to it, you may spend an Action to pray
and heal 3 Mettle, once per scene
17 - The Broiling Hate of the Vengeful Dead. The battle eld is
cursed with the screams and wails of those that died without proper
recompense. All damage from Mentala technicks and Undead
creatures deal 1 extra damage
18 - Sapping Mist. A 4x4 area is in ltrated by a strange spiritual
mist. Whenever you end your Turn within the Mist, lose 2 Mettle
19 - Falling Blades. The battle eld has been cursed by Gattalim,
the Saint Intercessor of Blades. 1d4 random creatures are struck by
spirit blades from the sky, suffering 2 piercing at damage
20 - Holy Grounds of Makagagahum. The battle eld is blessed
by the presence of a Sampalataya monastery or cathedral or chapel.
All attacks from Rituals technicks and Units deal 1 extra damage.
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Once per round, a random creature is teleported to a space 1d10

spaces away
DEATH
All folk that die in battle ascend into the heaven of their choice or
faith upon a rainbow. Their blood creates the colors that streak
across the sky
Otherwise, all those that die go into the process of being picked
up by the many psychopomps that permeate the cosmos. They are
brought to the proper judgment as dictated by what faith holds their
soul in thrall. In The Sword Isles, this is most often Sulad, where they
will be judged accordingly to what items they were buried in.
For Gatusanon, Ba-enon, and Apumbukidnon, if they were
buried with many gold and material wealth, they would be given the
chance to be saved by Iraon-Daron, who brings them into one of the
many heavens, usually a place of rest atop great mountains
For Virbanwanon, this is usually the Impyerno, where they suffer
the res of Makaubos until the end of days. They do not have a
chance for heaven unless they were redeemed by their faith to
Makagagahum
For Akainon, they have a very similar process as with Gatusanon.
However, if they profess their faith to Baginda Sumongsuklay, they
get to be brought by Iraon-Daron to the tallest mountain on the
moon, where the Holy Moon City of Baginda Sumongsuklay lies.
There they rest and train until they are called into the nal
reckoning, the Ultimate War
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Those that were not given the chance to heaven either suffer in
Impyerno, or toil forevermore in Sulad, doing what they already did
in life: trading, farming, working, raiding, and feasting. This is a very
benign end, and even in the afterlife they might be able to die. If they
do, they reincarnate into the mortal world once again, although with
a smaller soul this time. Having a smaller soul is not detrimental
However, once the soul is as small as a rice grain and can t into
the many thousand miniature caskets—usually after nine lives—they
are thoroughly buried into Si Ginarugan’s garden, never to
reincarnate again
Those of Akai get to have their souls kept in great holy jars
guarded by six-winged Garuda in the Moon. The moon lies in the
fth heaven
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CHAPTER 4: THE
KADUNGGANAN
Narito na tayo, sa bangin ng pagbabago. Dadakmain mo ba ang
kinabukasan? O tuluyang ipapaslang gamit ng iyong kampilan
Here we are now, at the cliffs of change. Will you seize the
future? Or will you slay it with your sword
THE APPROACHING STORM
“Always remember, warriors: run like the wind, strike like the lightning!
Kadungganan. Those that make war. Martial Artists, Warrior
Braves, Executioners, Butchers, Warlords, Witches
Those rst one in and last one out, following the commands and
ideologies of their chie y leaders, whether that be Rajah, Datu, or
Lakan. They are those that have obtained warrior prestige--some of
them through prowess in battle, others through heritage, or birth, or
ancestry--and have thus become elevated to the sides of their leader,
acting as their sword and shield. They are known under many names:
bhayangkara, timawa, satariya, managku, bagani, bayani, but altogether
they know themselves as Kadungganan. The Class of Warrior-
Braves
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Kadungganan hold a special place of prestige in The Sword Isles:

they almost always hold the special warrior-brave class. They are
regarded as just below their warrior-chiefs in prestige. While they
might not be as rich as their noble class counterparts, they are
certainly held to a higher regard.
Kadungganan are free to shift allegiance as they wish, sometimes
paying only a small sum to the leader they are leaving. Thus
Kadungganan are free to choose whichever job or venture prospect
they would like. Some Kadungganan choose to stay for long with one
leader, but it is not uncommon to nd Kadungganan who exercise
their freedom
You play as a Kadungganan, someone who has attained that
warrior prestige. Kadungganan prestige differs per person, of course,
and you begin your Kadungganan career in the lowest rungs. The tail
end of the crocodile army. The feathers of the king eagle. You will
ght for Datu that can afford to hire you, get stronger in power and
wealth, and prove yourself amidst the bloodshed of The Sword Isles
The Kadungganan is the character through which the players
wage war and love in the war-torn lands of The Sword Isles. Thus, it
is integral to know how a Player, through their Kadungganan,
interact with the mechanics and ction of the setting
A Kadungganan has the following traits: a Name, a Folk, a

Calling, their Interesting Events, Traits, Combat Stats, Discipline,
Complications, and Convictions
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CREATING YOUR KADUNGGANAN
This will help you shape the framework of a Kadungganan that

ts snugly into The Sword Isles. This is not the be all and end all of
character creation of course, as you can nd out more about your
character during play
FIRST, CHOOSE A FOLK AND CALLING

Folk are the various people that live in Yutadagat. In The Sword
Isles in particular, there are a large number of them. Callings de ne
what your Kadungganan can be outside of just ghting. Record your
beginning Calling Ability. Go here.
SECOND, ROLL OR MAKE THREE INTERESTING

EVENTS
De ne interesting events that might have happened before the
time of the game, which can be used to de ne your character or give
plot hooks. You can make some up, or roll on the Interesting
Events section.
THIRD, FIND OUT YOUR COMBAT STATS AND

TRAITS
There are ve Combat Stats: Speed, Ferocity, Armor, Breath, and
Faith. Outside of Combat, Traits are descriptors for your
Kadungganan. You begin with 2 points to spread in Combat Stats,
and must de ne three Traits. Find it here.
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FOURTH, CHOOSE A STARTING DISCIPLINE.
Disciplines are your martial arts. You begin with a single
Discipline, gaining that Discipline’s Mechanics, In ict Violence,
and Second Wind Technick. Then, choose 1 from the four Technicks
of your chosen Discipline. Find out more here. Choose one here.
FIFTH, ESTABLISH COMPLICATIONS.

How did you get together with your current war band or party,
and why are things abrasive? Find it here.
SIXTH, DEFINE YOUR CONVICTIONS.

Why do you ght, Kadungganan? Find out in the Convictions
section.
SEVENTH, GET BEGINNING ITEMS

You begin 3 items from the Material Culture list to determine
starting value
EIGHTH, CHOOSE A MANDALA YOU CAME FROM,

YOUR STARTING AFFINITY, AND YOUR STARTING
DEBT
You then choose a Mandala you came from and choose a single
Necessity from there
And then, choose 1 Elemental Type (Fire, Water, Earth, Wind,
or Force) and become Weak to it
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You have someone that you owe something to. Find out here in
the nal portion of character creation. Even Kadungganan are
beholden to their obligations.
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A BRIEF NOTE ON SOCIAL CLASSES
All polities in The Sword Isles have a nominally tripartite social

class system, re ecting their beliefs on Sky, Earth, and Sea. These
are The Ruling Class, the Freemen Class, and the Debtor Class.
Remember that fathers always pass down their social class unto
their children, until such a time that that lineage’s debts are paid
Additionally, Social Classes are more uid than others: datu might
become dependent on other datu due to large life debts, while
Debtors are very much able to accrue so much Esteem and warrior
prestige that they become datu on their own right, and can start their
own settlements
THE RULING CLASS

Referred to with honori cs such as Lord and Lady. These are the
ones that are rich and live in their own houses and don’t pay tax to
any ruler. The Datu belongs to this class, and is the highest of this
class. It is important that the title Datu extends to the rest of his
family, forming a royal family that is usually called a kadatoan. Thus,
the term Datu does not only mean the ruling datu, but also all the
other royalty related to that datu, although the ruling datu holds
sway over the entire community.
In The Sword Isles, the ruler comes from the royalty. That is the
rst rank of nobility. The second rank of nobility are the nobles
themselves, either children of concubines or those that the datu have
formed blood compacts with for them to become allies or vassals.
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THE FREEMEN CLASS

Those that can change allegiances freely, not indebted or merely
having little debt to a ruler. They render their work to the Datu in
form of the buwis, or tax, in exchange for the Datu’s protection.
Warriors, and subsequently the Kadungganan, come from here,
treated as the “Third Rank of Nobility.
Note that freeman in The Sword Isles does not mean the masses,
but rather, a privileged class, one that can change allegiance at will,
by simply paying tribute to another datu. Many vassals and retainers
to nobility and royalty are freemen however, paying tribute to them
of their own accord
Unlike Debtors, the Freemen are free to change at any time, and
do not have to work the elds unless needed. Freemen can change
their allegince freely
THE DEBTOR CLASS

Oripun in the Rajahnate, Alipin in Virbanwa. The bondsmen, serfs,
servants, and footsoldiers for those of the higher classes. Most
Debtors are what in Europe one would call a serf: farmers and
laborers of a datu or the ruler. They live in their own houses and
render their labor up to the datu as tribute. They work until they can
pay off their debt to the datu, after which they usually continue to
live under the protection of a datu, as datu are martial rulers
These Debtors can be sold around, although it’s not them being
sold but rather, their labor. Their value is equal to the number of labor
they still have left, which usually lasts for generations. So much so
that the bulk of debtors inherit their position. However, if a debtor
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pays off their labor obligation, they become tinubos in the isles, or
Redeemed, and no longer need to serve in obligation. They can
become freemen now, or vassals to who they wish
Debtors can actually come from all Classes: warriors that accrue
huge amounts of obligation to another person might become a debtor
to that person, working to pay off their debt. Even datu can become
debtors, should they over extend and be unable to pay off their
obligations
Servants are a particular kind of debtor that serve a master as
house help. Many rulers have large numbers of servants to help in
their domestic affairs. Servants are treated with affection, part of the
master’s family, with the master even treating a servant’s child—
should they be born while they served under them—as their own
Infantry are another kind of debtor that render both eld work
and warrior duties to the one they owe labor to. They make up the
bulk of footsoldiers and boat rowers in the isles, and sometimes serve
as attendants to popular warriors
Captives are those taken from raids and traded in major
metropoles. Captives are sold around for their labor. When they are
bought or taken in, they become either Servants or just normal
Debtors to the one that bought them, and they must render labor
unto them until they’ve paid off their debts. Capitalistic merchant
princes usually sell these captives at a pro t
PRESTIGE
Kadungganan translates to honor and prestige. Your Prestige rises

as you go through your career as a Kadungganan, as you accrue fame
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and stories are sung about you. Whenever you gain 5 Esteem, you
rise in Prestige by 1.
A Kadungganan can only go up to Prestige 12. At that point,
they are movers and shakers. Over the course of the game, they
might now be Datu, leading their own following or kingdom, or
seizing heaven’s gates
There are three Prestige Tiers, which showcase the strength of
one’s Prestige
● Lingid/Unknown - Prestige Tier 1. From Prestige 1-4.
Here, Kadungganan are just building their reputation, taking jobs
from Datu that need an elite warrior
● Kilala/Known - Prestige Tier 2. From Prestige 5-8.
Kadungganan are more recognized now, and they can go on more
dangerous exploits and expect more rewards from Datu
● Bantug/Prestigious - Prestige Tier 3. From Prestige 9-12.
Bantug Kadungganan are dangerous warriors, those that have
dealt with yawa and diwata, and have brought mighty foes and
beasts to hell. Bantug can become datu from the strength of their
prestige
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TENETS OF A KADUNGGANAN
Usa: HIMAY
“Rejoice in the glory of combat.”
To die in battle is more glorious and more important than to die a
coward. Revere those that die in combat, or those that you have
killed, for they shall reach heaven
Duha: GUBAT
“Fight for those we have lost, and for those we can yet save.”
Have a reason for why you ght, lest you render nature Godless
and your principles ripped and torn. Let your valor be sharp and
tempered, like the blade you wield
Tulo: GUGMA
“When lightning strikes, let your heart be swifter.”
Die for the ones you love, but do not die in vain. Remember what
you ght for
Upat: KASINGKASIN
“Your spear must bleed with the blood of your heart.”
Love all things, and care for them. That is the burden of the
swordbearer
Lima: PAGTAHO
“Know that the world is not yours.”
Respect nature, for within is divinity. Do not upset the balance,
remember to keep silent when passing through the jungle, never
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point lest you disrespect one you cannot see. Value life, even as you
take it
Unom: KAY
“Bow yourselves before others.”
Respect your guests and those that are not you. Clothe yourself
with humility. Serve them betel nut chew, pour liquor for them, let
them sit in your most expensive silk pillows
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KADUNGGANAN FOLK AND CALLINGS
FOLK
The people of The Sword Isles are numerous. All those born in
the islands, no matter what they might look like, are known as tawo.
Together they are all called Folk. The folk of The Sword Isles are the
people that ll the entire world. The following are the Folk that are
prevalent in The Sword Isles that you can play as. However, all sorts
of folk live in The Sword Isles. If you want to live as a frogfolk or
hornbillfolk, feel free! These are just to inspire you
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BAMBOOFOL
Kawayantawo. The bamboo folk are those born from a piece of
bamboo that oated in from the Endless Sea after multiple
cosmogonies. They arose after a great king eagle pecked them out
from their bamboo vessels, and gave them man and woman roles. In
essence, the bamboofolk are humans, although differences from usual
humans (such as weird hair colorings, eyes, sharper ears, etc.) are
possible in bamboofolk. Bamboofolk are the most populous of all
the folk in the Sword Isles and Yutadagat.
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DOGFOL
Asungtawo. The dogfolk are the faithful warriors of Apu Balatik,
who followed him to the ends of heaven. As a gift for their
faithfulness, Apu Balatik blessed all dogs with the cunning ability to
hunt down all things.
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CIVETFOL
Musangtawo. The civetfolk are those that resemble large humanoid
cats. They were the children of the god of hunting, Apu Balatik,
alongside the dogfolk. When the civetfolk did not join Apu on his
journey to hunt the stars, they were deemed lazy. However it was the
ancestors of the civetfolk that invented the great number of traps and
hunting arts in The Sword Isles now.
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EAGLEFOL
Lawintawo. The eaglefolk are descendants of the ancient sky king
Rajah Lawin, who rules over all the sky raptors. When Rajah Lawin
was killed by Jamiyun Kulisa with his Thunderbolt, Rajah Lawin’s
electri ed blood coagulated and formed into the eaglefolk in mid-air.
However, Jamiyun Kulisa asked Amihan and Habagat, the Major
Monsoons, to never allow the eaglefolk to y, even with their wings
DEERFOL
Pilandoktawo. The deerfolk are diminutive mouse deer people
descended from the Almighty Trickster from Akai history, Pilandok.
Pilandok was so great that he became the sultan once without the
sultan even knowing, while he was in the sultan’s palace. Pilandok was
cut up into a thousand pieces, and that was how the deerfolk were
born. Of course, Pilandok is still alive
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MACAQUEFOL
Unggoytawo. The macaquefolk are acrobatic leapers and warriors.
They helped Rajah Mangadiri ght back and kill the demon forces of
Banjarmasir, which led them to be an exalted people. Their ancestor,
Laksamana, was the one that killed the great ten-headed demon god
Maharaja Lawana, and is the reason why Banjarmasir is the city with
the most population of macaquefolk.
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CALLINGS
Kadungganan come from somewhere. Sometimes they are born
into their roles, while other times they show their valor through
battle and combat. Callings are special identi ers that help shape a
Kadungganan, helps ground them in a reality that is not one of
violence and strife. Callings are a warriors non-combat aptitudes and
skills.
You gain 1 Calling at character creation, then 1 more every time
you rise in Prestige Tier
BLACKSMIT
You are a panday, a smith, who worked the forge, smithing
weapons and jewelry and what have you to get by.
Gain a Conviction Token when you… hurt the feelings of someone you
care about due to your craft.
Calling Ability: You gain the Portable Gusali warband property
WARRIO
You have been trained by warriors and swordsmen. All your life
you know how to ght
Gain a Conviction Token when you… hurt someone you love.
Calling Ability: Spend 1 Conviction Token to win in one-on-one
duels against non-datu warriors.
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MEDIUM PRENTIC
You are an alabay. Alabay are the apprentices to the balyan, the
spirit-mediums and priestesses of most of the spiritual religions in
The Sword Isles.
Gain a Conviction Token when you… follow the ancestors and gods
instead of your friends.
Calling Ability: Once per Session, spend a Conviction Token to
with the gods and ancestors and ask them a single question. They will
answer, truthfully
COO
You know how to cook a good meal, whether it be rice cakes,
seasoned sh, or delicious seared chicken
Gain a Conviction Token when you… take a moment to cook for
someone you care about.
Calling Ability: You gain the Stove warband property
HEALE
You are a healer, a mender of wounds, practitioner of traditional
healing practices. The usual image of healers is a white-robed person
with a basket of wooden cups, hot water, herbs, and needles
Gain a Conviction Token when you… force someone you love to not
do anything reckless so that you can heal them.
Calling Ability: You gain the Tambal Tool warband property.
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SPIRIT-TOUCHE
You have been touched by those inhuman. Whether it be from
birth or from an encounter with a diwata or a yawa, you are different
now. Physically speaking, something about you has changed: your
eyes have weird coloring, your hair might be stark white, what is it
Gain a Conviction Token when… your strange features become a
detriment to you, causing people to doubt you or fear you.
Calling Ability: Outside of combat, 1/Session, spend a
Conviction Token to do something that seemingly bends the rules of
nature
ATUBANG
You are an atubang of a Datu or a leader, their chief minister and
counselor. You carried their bamboo scrolls and copperplate
inscriptions and made sure all things were accounted for.
Gain a Conviction Token when… your being a spokesperson gets you
or those you love in trouble.
Calling Ability: You have almost perfect memory of things, and
always have something to write on. 1/Session, whenever someone
asks you for information or help, spend a Conviction Token to give
the best advice possible
MANGKUKULAM
You practice the “dark arts”, the witcheries. You know the
answers to questions others would not dare ask. Your knowledge in
witchcraft help your violent duties
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Gain a Conviction Token when… your nature is revealed against your

will and you are regarded with fear, terror, and prejudice.
Calling Ability: Spend a Conviction Token and—Umalagad
chooses 2: sacri ce a loved one, give up something important to you,
give up a necessity, put your party in danger, spend an entire year—
to conduct a witch ritual. This can be anything within the realm of
reason (changing weather, summoning a minor ghost, etc.)
RELIGIOUS MA
Siyak, Pandita, or Balyan. You are a religious man of your faith,
whether it be of the Ashen Star, the Langitnon, Hiyang, or the Moon
Faith.
Gain a Conviction Token when… Your intense faith causes you to get
into bad blood with people you care for.
Calling Ability: You follow the tenets of your faith, but especially
one de ned by you. De ne a single tenet in a single sentence (ie. “All
blackened soil is evil”, etc.). Spend a Conviction Token to let all those
that can hear you believe the tenet until the next dawn
VAGABOND
You are a traveler, unattached to no polity or state, and serving no
leader unless you were turned into a bihag. You are well-versed in a
vast variety of cultures, as well as speaking with almost anyone.
Gain a Conviction Token when… someone you don’t remember
recognizes you.
Calling Ability: You know a lot of things because of your travels.
Once per Session, when you encounter a foreign object or concept,
spend a Conviction Token to to say that you know what that is
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ROYALTY
You are true royalty, directly related to a Datu, considered
kedatuan. You are versed in the arts of royalty, politics, guile, and the
way of the court. You are considered one of the Ruling Class
Gain a Conviction Token when… your let your class privilege get the
best of you, to the detriment of those around you.
Calling Ability: At any social interaction, you are always going to
be one of the best well-dressed and most attractive. Most people will
listen to you, and 1/Session you can spend a Conviction Token to
order one of the lower classes to do something for you, and they will
obey
SERVAN
You were a servant that worked in the house of your master. You
owned no property, and all your possessions belonged to your master,
although it was your master that clothed you and housed you and
kept you safe. You know all household chores, your hands and feet
calloused from years of work.
Gain a Conviction Token when you… go out of your way to do
something in service for someone you care about.
Calling Ability: Spend a Conviction Token to perform something
you were tasked to do with ying colors
GIRIBAS
You are a translator that interpreted words and facilitated trade
between sina and tawo. You are knowledgeable in cultures not your
own, and have a good grasp of languages that not even you speak
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Gain a Conviction Token when you… step in and try to mediate

between two people.
Calling Ability: Once per Session, spend a Conviction Token to
say that you know the norms, cultures, and language of a settlement.
BILANGGOWA
You are a part of the datu’s sandig, the ones that helped the datu
as their close aide. As a bilanggowan, you function as a sheriff, and
you have your own house that works as a sort of prison for
wrongdoers, called a bilanggo.
Gain a Conviction Token when… your justice blinds you to the truth
and to your loved ones.
Calling Ability: You mete out justice. Whenever you punish
someone for breaking a particular law, even if they be from the ruling
class, spend a Conviction Token to immediately bring them to light,
1/Session. Law in The Sword Isles is not too different from modern law:
adultery and stealing are punished (with grievousness depending on the
culture), killing a datu is punished with immediate death as well, and so is
slighting a datu or disrespecting someone of the ruling class. Not honoring debts
can incur death penalties as well, and sometimes some places punish witchcraft.
It changes from culture to culture
PARAAWI
You are a professional singer and poet that sang dirges in funerals
and epics in feasts, for several nights on end. You might be known,
far and wide, or you might be a relatively household name.
Gain a Conviction Token when… you sing songs dedicated to those
important to you.
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Calling Ability: You’ve sung many songs. When having to know

a particular part or detail of your culture’s traditions or beliefs, spend
1 Conviction Token to say that you know it
FARME
You are a peasant that tilled the elds, with working to pay off
your tributes. Or maybe you own your own farming swidden or have
an island to yourself that you cultivate relentlessly
Gain a Conviction Token when… you busy yourself working with
ora and fauna, and give yourself to the elds.
Calling Ability: Gain the Farming Tools warband property
ORANGKAY
You are a rich person, merchant royalty. You are part of a petty
nobility that is nobility due to money and not by blood. You might
have your own wares, maybe even your own boat that lets you carry
your merchandise
Gain a Conviction Token when… you bribe others with wealth and
expect them to accept.
Calling Ability: When you Ply the Market, spend a Conviction
Token to immediately gain a 7+ result
WISE MA
You were a wise man, a sage, a teacher, and a counselor for your
settlement. Those that need your counsel ask for you, and depend on
your knowledge and wisdom.
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Gain a Conviction Token when… you give advice that you yourself
are not sure of.
Calling Ability: Your advice is sharp. Spend 1 Conviction Token
when you’re giving advice to give the best possible advice at that
moment
HUNTE
You go into the forest, with your knowledge of nature and your
skill in creating traps to capture all kinds of game, from wild boars to
civet cats. You use little arbalests to skewer rats, thick blades to chop
through underbrush and cut down bamboo, and create pits to skewer
down larger game. You always begin a hunt with an offering to the
forest’s diwata, and then end the hunt by giving a portion of your
game to the forest’s diwata.
Gain a Conviction Token when… you hunt something down that
you’ve never hunted down before.
Calling Ability: You gain the Hunting Trap warband property
FISHE
You are a consummate sherman, using a variety of equipment
such as large shing nets, barbed shing harpoons, tridents, and the
regular bait and line. You never forget to make an offering to the
diwata of the seas
Gain a Conviction Token when… you spend too much time in the
water, or shing in general.
Calling Ability: You gain the Fishing Harpoon warband
property
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POTTE
Your skill shines through: you create pottery that has intricately
engraved designs and harder than most imports. Using the paddle-
and-anvil technique, you create items that your settlement can be
proud of
Gain a Conviction Token when… you offer one of your crafted pots
and jars to someone you care about.
Calling Ability: When you nd potsherds, you would know how
they were made. 1/Session, spend a Conviction Token to bring out a
jarlet that you’ve made, which can carry and preserve small items
(nothing larger than a medium sized coconut)
BOATWRIGH
You are a shipbuilder, and a damn good one at that. Many datu
see you out for your expertise, and they are smart in doing so. Your
knowledge of shipbuilding extends even to knowledge of the sea, the
winds, and the winding river paths of islands
Gain a Conviction Token when… you pretty up your boat, or craft
someone you care about a boat.
Calling Ability: Gain the Boat warband property
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INTERESTING EVENTS
The life of a Kadungganan is anything but boring. Roll a d100

and then half the result on the chart below to nd out what things
have happened to your Kadungganan before they attained their
warrior prestige status. Events in general don’t give you equipment,
but they help give your character a sense of place in the world as well
as to help you grok the Classical Southeast-Asian setting of Gubat
Banwa.
1. You blasphemed the name of a great Datu. You were cast
out because of this, and you have never been the same since
2. You almost became a full- edged balyan, but you failed in
the nal test, which was a test of either killing a diwata or
befriending a diwata. Which one was it and why did you fail
3. You fell in love with a childhood friend who didn’t return
your feelings. How did you feel about it? Have you forgotten
about them? Do you still pine for them
4. You were visited by an umalagad bringing a horrible omen.
The omen hasn’t come to pass yet, but you suffer your remaining
days in fear of what’s to come
5. You angered a busalian sorcerer and caused her to destroy
your entire village. Now you must live, the sole remaining remnant
of your family
6. You owed a great debt to a Kadungganan that you have
since escaped. What was the debt? Who was the Kadungganan?
Have they caught up to you already, or are they still chasing you
across the archipelago
7. You were abducted by a tamawo before, one of the folk of
the forest that are not like you. You don’t remember much from
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the encounter, other than that they left you with a physical
marking. What is it
8. You saw a diwata in the forest in the form of a great deer
with horns sprouting up like great branches. It ed when it saw
you. Do you still seek it? You haven’t seen a diwata since. Not that
you can’t see them, it’s just that you’re unlucky. Or so you believe
9. You died. Or so you thought. You were brought back from
the brink by a balyan’s pag-uli ritual and now are indebted to
them. Who are they? Are they still alive? Have you paid your debt
to them
10.You were sent out on an important mission from your Datu
once. It caused you to lose a part of you, like an arm or a leg.
However, your Datu awarded with you with recognition that you
deserved
11.You violated a major rule in your polity and now you’re
being hunted down by that polity’s Kadungganan. Are you still
being hunted down? Have you suffered the punishment for your
transgression
12.You were raised in a farming settlement deep into the
plains of Rusunuga. All your life, you saw giant dragons tying in
the clouds and warriors ghting in the elds. Eventually, you left
your farming settlement, but this was a decision you’ve since
learned to regret. Why
13.You fell in love with a diwata. Who was the diwata? What
did you do to earn their trust? Did they love you back? What has
happened now
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14.You killed an important gure before, and no one knows

it’s you. How did you hide this horrible deed? Did you escape
whatever land you came from
15.You were raised in a shing settlement in Gatusan, where
you became skilled in the arts of sailing, boatcrafting, and
harpooning. You are intimate with the Dagatnon, the holy powers
of the sea. How do those stuck in land view you
16.You were blinded when you were younger. Who blinded
you? Was it vengeance of the gods or justice of man
17.Your sister is a datu. Who are you? Why are you simply a
Kadungganan, when you’re supposedly kedatuan? Royalty
18.Your brother or sister was killed. Who killed them? Do you
know them? Do you harbor hatred
19.You were handed down an important weapon from your
parent, but you lost it somewhere. Where did you lose it? What
kind of weapon was it? Are you still looking for it
20.You were stranded in the middle of the sea once, and you
were brought back to land by the spirits of the sea. Do you
remember this encounter? Do you dwell upon it? Has it changed
you
21.The tamawo, fey beings from the forest, stole one of your
loved ones. Did you ever nd out why? You remember the faces
and names of one of them
22.You were attacked by an asuwang before, ferocious
shapeshifting ghoul demons, but you managed to escape. How did
this experience change you?
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23.You were exiled from your hometown for something you

did not do but was deemed impossible to redeem by the leader.
What were you accused of
24.You were supposed to be wed but on your wedding day, a
jealous suitor killed your spouse. What did you do? Do they still
live? Do you still hunt them down
25.You hunted down a wild boar that showed strange signs of
unnatural corruption from beyond the World Jaws. Does the
corruption still linger? Has it affected you
26.You killed a crocodile and you were tasked to bury them
where you killed them. Did you do the deed? Are you haunted by
your actions
27.You were once part of a great war party that has now gone
defunct. One of the members is dead. What happened to them?
28.You gained a pet king eagle once, but it has left you. What
happened to them
29.One of your loved ones died because of something you did.
What did you do
30.You cooked an amazing dish once that it impressed the
Datu and they held a feast for you. Who was the Datu, do you still
keep in touch with him
31.War has led you to the edges of The Sword Isles. You’ve
seen a Pale King before. How did you escape alive
32.You were a binukot, a veiled maiden, royalty, once. You
escaped, somehow, and now your father hunts you down
33.Your village was burned down by an enemy Datu. You are
the only survivor. An assassin still hunts you down
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34.War has led you at odds with a childhood friend. Who were
they? Why are they against you now? Do you still know them
35.You’ve been chased by yawa before, but someone saved
you from them. Who was it? Do you still know them? How do you
look at them now
36.A powerful datu has blasphemed your name and station.
Did you ght back? What were the consequences? What
happened to the Datu
37.You were the apprentice of a blacksmith, but someone
killed your master, forcing you to wander alone. Did you know
who killed them
38.When you were a child, you were given a vision of the
gods. How did this scar you? What lesson did you unlearn
39.Your body is not your own. Your four-part soul inhabits the
body of another. A balyan performed spiritual surgery upon you.
Do you look for your past body, still
40.You have Yawa-taint upon your hand. Hide it. You got it
after a yawa tried to kill you while walking down Ananara’s
streets. Will you look for a way to x it? You hear voices in your
head
41.You were swindled before by an Akai Sultanate orangkaya,
who went away with all your gold before. Do you still look for
them? Do you want your shit back
42. You were trained in one of the various martial arts schools
that pock the great metropoles of The Sword Isles. What did you
train in? What was the worst lesson you learned
43.Angels came and destroyed your village. What happened
next
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44.You were raised in the streets of one of the metropoles, and

had to ght your way to survive, becoming anyone and everyone’s
servant. You were blessed eventually by Buyung Limus-an, the
Diwata of Beggars. Where do you travel now? What useless item
did Buyung Limus-an give you
45.You were taught weapon art by a master who taught you
about the oppressed cycle of this world. Do you believe in their
teachings? Do you think they are just
46.You’ve witnessed Kadungganan warring before your eyes.
How did this scar you? Why did you become what you’ve most
hated/loved
47.You were born into great privilege and royalty: perhaps
you were a son of a well known Datu within Gatusan, or perhaps
you were the crown prince of a Datu who serves the Sultana of
Akai. Nevertheless, your privilege has blinded you to the truths of
the world. What was the one truth that enlightened you
48.You were born in the cold wind islands of Vetani, where
trade with Iyamat is frequent, and you live in stone idjang. You
were forced out of your settlement. Who did that, and do you hate
them
49.You were born in Humonhon, the isle of ghosts. You made
friends with the lot of them, and have seen ghosts ever since. Does
this change how you see life
50.You are a Sina, who arrived here in the islands of violence.
Where were you from, how did you get here, and how did The
Sword Isles change you?
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COMBAT STATS
As a Kadungganan, you have 4 major Combat Stats. In essence,

you can only add up to 3 in each of the Combat Stats. These are
- Breath. This is your inherent vigor. This starts at 5, and can
only go up to 8.
- Speed. The measure of your ability to move in Combat. This
begins at 3, and can only go up to 6
- Ferocity. The strength of your blows, the intent behind your
violence. This begins at 0, and can go up to 3. You add Ferocity
to the limit of Extra Damage you can have. For example, if you
have 2 Ferocity, that means you can have up to 4 Extra Damage.
- Faith. This is your sensitivity to the gods and inherent
spirituality. This starts at 0, and goes up to 3. You add your Faith
to the amount of Mettle you Heal to an ally or yourself
During Character Creation, you begin with 2 points to spend

here. Afterwards, every time you rise in Prestige Tier, you gain 2
more points to spread
Combat Stats can in uence how you approach a Discipline. If
you’re planning on a melee attacker, it would be good to invest in
Ferocity and Breath, so you can survive in the frontlines longer, or
even a spread of Speed +2, Ferocity +2, Breath +2 to be agile and
survivable. If you plan on being a long-range sniper, then Speed
and Ferocity can help you. If you want to support, Faith is always
good, coupled with Breath if you want to weather more hits. A
frontliner defender might want to invest in both Breath and Speed
to get into position quicker and then soak up more damage.
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TRAITS
Traits are little descriptors and quirks about your Kadungganan,
things that make them unique. These can be anything, as long as it
makes sense in the setting, tone, and mood of your game. Traits can
be used to affect the narrative by using Conviction Tokens. For
example, someone with the “Shy” trait might gain a Conviction
Token by being too shy for their own good, missing important events.
However, that person can also spend a Conviction Token to use Shy
to their advantage: they become terribly great at hiding from things
Traits are only innate things, personalities and quirks, not
descriptions of what they do or their living, which is covered by
Callings, which are more tied to the setting
When you invoke a Trait to spend a Conviction Token, mark
that Trait. You cannot use that Trait again in that way for the
session
Here are some example Traits: Active, Agreeable, Ambitious, Athletic,
Audacious, Authoritarian, Charismatic, Cheap, Corruptible, Courageous,
Courteous, Cruel, Daring, Dedicated, Destructive, Devious, Dull, Entitled,
Envious, Erratic, Extremist, Finicky, Flexible, Friendly, Good Listener,
Graceless, Greedy, Hardworking, Ignorant, Imaginative, Immature,
Impatient, Incorruptible, Interesting, Intuitive, Moral, Neat, Observant,
Oppressive, Patient, Peaceful, Perfectionist, Petty, Playful, Principled,
Procrastinator, Rebellious, Self-Reliant, Slacker, Sweet, Troublemaker,
Unstable, Untrustworthy, Vain, Warm
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DISCIPLINES
To conduct violence, the Kadungganan must learn the ways of

combat. Scattered across the isles of The Sword Isles are numerous
Violent Disciplines of Martial Arts, known mostly as Disciplines for
short. These Disciplines have arisen anew in the face of the coming of
the Second Star Era, due to intensifying violence necessitating
warriors to adapt and work together
Each discipline has a unique way of In icting Violence. This is their
art, the martial art. Use these as guides to uff your attacks. What
weapons you wield are up to you.
HISTORY
All Disciplines arise out of the need for violence and combat.
Thus, they all take inspiration from the rst Martial Art, known
among the isles as Asdang. Although now known commonly as
simply "hand-to-hand combat", the Art of Asdang was in truth also
the original martial art, learned by the Malaong Paraawit
Diwatarani Pitti Dewasaya, which translates to Ancient Poet Deity
Queen Pitti Dewasaya. The story goes as follows, as presented in Sri
Saisthva's "Usakayukotnga Hilo Sutla", the One Thousand Thread
Sutla
1 - One day, after having gone over to a nearby river to bathe in the
holy waters of Bukid Majaas, Malaong Paraawit Diwata Pitti
Dewasaya watched as a six-armed monkey fought off a giant crowned-
eagle
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2 - It seemed like a dance, leaping from bamboo to bamboo,
parrying while in mid air, parrying in mid-strike, no movement
wasted
3 - Pitti Dewasaya learned much from this, encounter, and she
traveled further upstream after the monkey successfully broke the
eagle's wing
4 - Moving up the river, to a small waterfall, she found a strange
oating water lily amidst the cascade. Amused by it, she picked up a
rock and threw it at the lily, but the lily simply moved to the side
5 - Bemused still, she decided to cast her magic upon it. However, her
invisible lance of force did not do much to the lily, which only moved
away even more, before eventually returning to its original spot as the
water displacement receded
6 - Finally, now irked, she summoned her one millions krises and
went over to it and struck it one million times
7 - No matter how hard she tried, she could not sunder the lily, and
thus she pondered upon the lily's teachings
8 - Enlightenment came when Indira Suga, The Mother Sun, looked
up at her from atop the water lily. With a smile, he spoke her
revelation: 'the soft overcomes the hard'
THE BALAHALA HINAGIBAN KAALAMDAG,

THE GODLY WEAPON SCIENC
The rst martial arts were invented by the gods at the beginning
of time, when they resorted to war to arbitrate their concerns like the
hypocrites they are. When they eventually taught the ways of
violence to mortals, it became known as the Balahala Hinagiban
Agham, the Godly Weapon Science. From here the rst martial art
arose, violence taught by nature itself: Asdang.
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Asdang began the tradition of Guros passing down what they

know to learners. "Balahala Hinagiban Kaalamdag" is now a
spiritual rite, a principle, a fabled title that all aspire to. It is the
science and tradition, revered and favored, taught from ancestors to
descendants
All Disciplines are born from the Godly Weapon Science
The combat arts are known differently for each of the Mandala,
although they all mean the same thing
Virbanwa calls their martial arts Sining Pandigma
Gatusan calls their martial arts Paagi sa Gubat.
Akai calls their martial arts Agama Pagbunu
Ba-e calls their martial arts Pagdahas.
Apumbukid calls their martial arts Kaqalim Matarem.
Most manggugubat are expected to master a single Discipline
during their lifetime. But not you, Kadungganan. You, one of the
elite, must prove your strength in the islands. You learn a large
number of Technicks across the Disciplines to round out your
ghting style and to t your warband's needs
DISCIPLINE FUNDAMENTALS
Each Discipline has a particular Discipline Fundamentals that
only they can use, the elemental blocks of their particular martial art.
A Baril Witch shoots from their loaded stance, a War Balyan is
intimate with a particular holy power. Feeding into the gameplay of
your Discipline Mechanic, which is almost always dictated by that
Discipline’s Style, is a sure way to both have fun with the game as
well as to be ef cient and effective in battle
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MASTERY
Each Discipline has Mastery as well, which is proof that you have
gone above and beyond and perfected that Discipline. The Mastery
has additional mechanics and effects, making the Discipline stronger.
You unlock your Mastery once you have all the Technicks from
that Discipline. Like with Fundamentals, you can only bene t from
Mastery while you’re in that Discipline that you’ve Mastered
INFLICT VIOLENCE
This is what you’re made for, Kadungganan
In ict Violence is the basic form of attack in Gubat Banwa.
However, each Discipline has a unique form of In ict Violence that
only they can do. These are their martial art attacks and abilities
Each Discipline starts with two In ict Violences, which you can
choose whenever you get the chance to use In ict Violence.
SECOND WIND TECHNICKS

Each Discipline has a bespoke Second Wind Technick that only
their Discipline can use. This lets healing in the middle of combat be
a tactical choice, since your Second Wind usually ties in to your
Discipline’s Style or their Mechanics
FORBIDDEN TECHNICKS
Each Discipline has a Forbidden Technick that only that
Discipline can use. Forbidden Technicks are so called because they
demand the favor of the ancestors and a willingness to give it all.
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To use your Forbidden Technick, you must spend a Conviction

Token
Once you use a Forbidden Technick, you cannot use them until
you next rise in Prestige, as their usage exhausts the stamina and
favor of the ancestors, and you never know if you have the
appropriate skill or stamina to do it again. If you are already at 12
Prestige, you gain access to your Forbidden Technick again when
you Rest
You unlock your Discipline’s Forbidden Technick once you’ve
attained that Discipline’s Mastery. You can only use a Discipline’s
Forbidden Technick when you’re that Discipline.
Some Forbidden Technicks deal harrowing consequences to you.
Those that do usually are meant for the most desperate of moments,
and their base Forbidden Technicks are more than enough to handle
the situation at hand and turn the tide
MOUNTS
Some Disciplines have Features that let you ride Mounts. You
have that Mount as long as that’s your Discipline, even outside of
combat
When riding a Mount, if you are Knocked Prone or Juggled, you
must make a save. On a fail, you fall into a space adjacent to the
mount. You can get back on your Mount once adjacent to it with a
Flourish, even if you are Prone. If you do, you are no longer prone
When you are pushed off of your Mount, the Mount can be
damaged. They have Mettle equal to 20 + your Breath. If the Mount
is killed, you must look for another one where it is ctionally feasible
to, usually during a Rest
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TECHNICKS
Disciplines each have 4 Technicks. Technicks are exactly that:
combat techniques that let you bleed and in ict violence more
effectively.
During Character Creation, you choose 1 Technick from your
chosen Discipline. When you read a Technick, the order in which
they are written is the order in which you apply the effects.
Technicks are affected by Debuffs unless otherwise noted. If a
Technick lets you move 3 spaces, but you are Immobilized, you
cannot move that 3 spaces
Technicks are inherently combat moves. However, you can use a
Technick outside of combat if it applies. You can only use a Technick
in this manner once per scene
Each Technick is a bespoke mechanical widget. All the mechanics
and rules needed about the Technick will most likely be within the
Technick itself. If a Technick in icts damage, it will say what the
damage dice rolled will be
TECHNICK TAG
Each Technick will have a tag attached to them, customizing and
changing the nature of a Technick. There are 14 of these. They are as
follows
• Charge X: You can only use a Technick with this tag X times
until you need to Rest to recover all charges
• Concentration: When you use this Technick, the effect happens
at the end of the round. You cannot use a Technick with this tag if
you are the last activation for your side for the round
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• Combo: The Technick is a combo, that has a particular effect

that happens when a certain Finisher is used on the target that the
combo is used on, as dictated by the combo line.
• Field: The Technick is a eld, laying down a zone with some
sort of effect. It will have a Field effect when a particular Finisher
type is performed within it. In general, you can only have 1 kind of
the same eld at a time. If you put down another eld of the same
kind, the last one dissipates
• X Finisher: The Technick can trigger Field and Combo effects.
X will either be Blast, Burst, Lunge, or Shot. Finishers trigger from
their origin point: meaning melee, close and ranged attacks trigger
from you (since their origin points are you) while those that have
their origin space from another area (such as with Technicks that
have Range X Burst/Blast/Wall/Line X) trigger their nishers from
that space. Finishers always triggers when you use the Technick that
has this Tag, and not from any other effects within that Technick,
unless stated otherwise
• Heal: This Technick heals Mettle
• Opener: Can only be used at the start of turn, after Crashed
Rolls and Start of Turn Effects
• Perilous: Suffer 1 Wound when you use this Technick
• Round X: This means that you can only use this ability at
Round X or beyond
• Reliable X: A Technick with this Tag means you cannot deal
damage lower than X, even with Af nities, Halves, and Armor. You
will always do at least X damage
• Scene: You can only use this Technick once per scene.
Remember that combats are always 1 scene
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• Summon. Technicks that summon powerful spirits or creatures

onto the battle eld. Summons can be targeted, and have Mettle
equal to your Battered + your Tier. Summons usually have passive
effects that change the battle eld, but they do not have their own
turns
• Stance: Stances are martial arts forms that unlock true spiritual
strength. Stances cannot stack, and when you take upon yourself a
Stance that Stance supercedes the old one. Stances will always
de ne when they end
• Steady: This Technick has the bene t of the Steady Buff: you
ignore Avoid, Elusive, and Reactions
• Taxing: Once you use this Technick, you cannot use it again
until the end of the next round
• Trap. Traps are hidden effects placed on the ground triggered
by adjacency to it. A foe can spend an Action to try and see the
Trap by making a save. If they pass the save, they know a trap is in
that area. If not, they are unaware
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CHOOSING A DISCIPLINE
When you rst create a Kadungganan, you must choose a

Discipline: the martial art that you focus in on that contributes to the
river of blood that ows through The Sword Isles’s veins
Choosing a Discipline might be daunting: there are 25
Disciplines, spread across the 5 Mandalas. Read on to be guided
Each Discipline is born from a particular Mandala. That does not
mean a Kadungganan must come from that Mandala, just that it was
created within it. Disciplines being in various different Mandala is
the norm now. For example, the Sarimanok Knight was born in Akai,
but they are just as common now as mounted cavalry in Virbanwa
When you create a Kadungganan, you choose 1 Discipline that
you begin in from one of the Mandalas. You can change to any
Discipline that you already have a Technick in during the
Preparation Phase of Leap Into Violence
THE FIVE MAJOR MANDALAS

Of the warring states, ve mandalas are poised to change the
isles..
The Imperialist Empire, known as the Virbanwa Lakanate.
Imperialists, knights, and conquerors. They suffered the sword of
colonialism and lived to tell the tale. Now they use that same sword
upon their allies in the isles
The Conquering Monarchy, known as the Akai Sultanate.
Berserkers and conquerors. They will conquer all of The Sword Isles
in their own way. All will be one under the Moon Goddess
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The Painted Warriors of the Endless Sea, known as the

Rajahnate of Gatusan. Raiders and warlords, they seek to expand
their reach and bring all the people of The Sword Isles under their
jurisdiction, and soon they will raid the world
The Stewards of the Center of the World, the Confederation of
Apumbukid. Defenders, caretakers, and sentinels. Those of the
Confederation seek only one thing: to protect the Holy Mountain of
Apu, the Central Pillar of the Earth, from all conquerers, within The
Sword Isles and without. They have since adopted an aggressive
stance on Stewardship, traveling to the sacred places in hinterlands
to protec them from expansion
The Rememberers of the Old Ways, the Nation of Ba-e.
Tinkerers and scholars. The Nation of Ba-e, united under a single
chosen ruler known as the Sangpamegat, seeks to preserve the old
ways, the ancient scriptures, sorceries, epics, and potteries. They
trade far and wide, gathering gold and other culture, while
cultivating their own lust for knowledge and arti ce. They seek to
unite all of The Sword Isles under a single banner, to establish a
burgeoning merchant state that can trade with all the corners of the
world.
All these polities are in deep war with each other, an ongoing
bloodless war that began since the dawn of time, when the Moon,
Sun, Stars, and Earth fought a never-ending war against each other
to determine who will inherit the Sky and the Sea from their
grandfathers.
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STATEHOO
One thing to note is that these Mandalas have differing modes of
de nitions of states.
However, they are all in one way or another, mandalas. Mandala
is a political model that describes the patterns of diffuse political
power, wherein local power was more important than central
leadership. It is similar to how states were linked in suzerain-
tributary relationships. Each polity within a Mandala would be
obligated to follow those higher than them, but they are more or less
their own political unit as well
In general each political unit that has more than one Datu within
them is known as a Banwa. A single Datu’s village is a haop
Among the ve main Mandalas, each one de nes it differently
● For the Lakanate, their state is more or less the conventional
de nition of the state, de ned by xed borders and
bureaucracy. However, local power is still important here, and
each local ruler still answers to the Lakan with a certain amount
of autonomy
● The Sultanate operates similarly to the Lakanate, with all the
islands under the Sultana being part of the Sultanate, and with
Datu all being vassals of the Sultana
● For the Rajahnate, it constitutes more of a mandala: the
power is de ned by its center, the settlement at the center of the
Rajahnate, and all settlements around it pay tribute to the
Rajahnate, those further from the Rajahnate’s center settlement
paying less or even not choosing to be a part of the Rajahnate at
all, and only choosing to be associated with the Rajahnate to
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facilitate trade and to create kin ties for the Rajahnate’s help
when defending against the Lakanate’s expansion
● The Confederation is even looser than the Rajahnate,
although all the Confederation answers to the Five Elders that
stay in the Five Grand Banwa upon the peninsula of Pumirang,
whereupon they live around the Holy Mountain of Apu
● The Nation of Ba-e works similarly to the Rajahnate, with
datu answering to the Sangpamegat, in the city of Ba-e
There are Five Major Mandala that have the biggest sway in the
future of the Archipelago, who have the largest armies and ghting
forces, and are the most proactive in the wars within the islands: The
Lakanate of Virbanwa, The Rajahnate of Gatusan, The
Confederation of Apumbukid, The Sultanate of Akai, and The
Nation of Ba-e
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DISCIPLINES OF VIRBANW
Virbanwan Disciplines tend to believe in the power of numbers.
They work best when they are marching in step with others, as
conformity is hammered into their souls. Virbanwan Disciplines are
built with the express goal of working in step with others, so that
dominion may be achieved
● Baril Witch [BRW]. A Gunwitch that specializes in
pressuring areas with repower. A keen-eyed sharpshooter with
a strange occult knowledge and skill to guide the hand of their
bullets. They hamper and damage through the use of their
ability to reload their arquebuses and intlocks, and fuse their
bullets with elemental energy
● Bladeweaver [BLW]. An ironwood and silk clad warrior-
sorcerer that quicken allies, moves others, sharpens their blades,
and extends their range by using their soul to control their
weapons without having to touch them. They harness mentala,
ancient and magical formulas written on bamboo scrolls and
then memorized, and then uttered, which enchant their
swordplay and lets them achieve sorcerous enlightenment
● Murderglave [MGL]. A melee magick warrior that sacri ces
themselves to protect their allies. Their style is brutal. A warrior
taught in the ways of the ancient timawa of Mahadiwa Kalakatri
Duumanun, the Goddess of Murder. With your Kinaadman, you
harness your passions and turn them into constructs and
weapons of darkness, giving yourself wholly to your cause of
protecting others
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● Senapati [SNP]. A melee warlord that gets stronger if they

are in the front lines with their allies, and uses their allies as their
weapon. A strong and unwavering commander who bellows
encouragement and orders in the thick of combat, facing the
frontlines alongside their allies clad in gold and elephant hide
● Sword Saint [SWS]. A melee sword wielder that can control
the battle eld with slashes, little control zones that get
expended. A priest dedicated to St. Gattalim the Saint
Intercessor of Swords. They have internalized the Sword
Principle, but not the Principle of Cutting. Thus, they can cut
down mortals, but they cannot cut anything else. Their souls
have been sharpened into blades, and thus they cannot truly
love, lest they bisect them
DISCIPLINES OF GATUSA
Gatusan Disciplines are built with violence and speed in mind.
They are warriors that split the sea. As much as possible, Disciplines
that can survive in the undulations of the waves arise and thrive in
Gatusan
● Buwaya Lancer [BWL]. Warriors that ride in upon mighty
giant crocodiles steeds to change the battle eld. They and their
buwaya stand upon the battle eld like a rock, barring
movement, locking down those that dare move away from them,
and controlling the space that is theirs, as the river lords that
they are
● Kawal [KWL]. A frontline warrior that specializes in staying
in the front and never moving, close combat control, and
preventing attacks. Garbed head to toe in armor-raiment of the
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water buffalo, they are charged to protect the isles with their
shield, weapon, and tenacity. And they will hold the line.
● Mangangayaw [MYW]. Raiders and ghters that scour the
seas and raid other war ships and shoreline settlements without
fear or reservation. They ght to maintain a raiding high, a thrill
that carries them to perform better, stronger, quicker
● Sword-Poet [SWB]. A mid-range defender that protects
allies by being supremely mobile, moving upon the winds of
their songs, as well as manipulating the movements of foes. A
warrior who ghts with peerless weapon dancing and weeping
verses and song to twist and wrench the souls of those that
would in ict violence
● War Balyan [WRB]. A spirit medium that provides healing
and buf ng with Idols and the power of the gods. Trained to
ght in spiritual violence for this neverending war. They
specialize in offering healing and strengthening incantations and
spirits
DISCIPLINES OF APUMBUKI
Apumbukid Disciplines are concerned with stewardship and
protection. They were of course, built with the protection of holy
places in mind. Their might is in the spiritual, in what is purely
natural. Their Disciplines typically have good relations with the gods
● Death Dancer [DED]. Hypocritical Warrior Monks that
have eschewed weapons to become hypocrisy incarnate: one
who uses the strength gleaned from Hiyang to kill. They have
mastered themselves and have become one with nature, reaching
levels of enlightenment impossible for others, but has eschewed
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transcendence for violence. They internalize this bodhisattva-

twilight state, learning to use multiple stances at the same time
● Elementalist [ELM]. Powerful elemental sorcerers that use
their innate occult power, pohon, to manipulate the world
around them and to summon elemental energies to slay their
enemies
● Headhunter [HDH]. Masters of the ritual art of killing, and
practitioners of the holy tradition of decapitation. Warriors that
preserve yet at the same time blaspheme the holy rite of killing
● Tactician [TCT]. A peerless strategist that locks down foes
with wit, superior movement, and tactical foresight. A parawali,
a sage and a counselor, who has focused on learning the tactics
of war. They have superior control over the battle eld, and can
change the tide of battle with a single proclamation or tactic
● Tigpana [TGP]. Archers who master the art of sniping
enemies from afar from a vantage point. A useful and even
necessary component to war in both the sea and the hinterlands
DISCIPLINES OF AKA
Akai Disciplines train with conquest and domination at their
heart. They are faithful, and their Disciplines re ect their
steadfastness and hunger for control
● Ayam Hunter [AYH]. A hunter who hunts with a pack of
feral hunting witch dogs known as ayam, who can climb trees
with their razor sharp claws and shed them to keep them
eversharp. Using a variety of traps, nets, and pits to capture
your prey, the ayam hunter never lets go of the enemy
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● Ritual Berserker [RBR]. A severe front line warrior that

thrives in the midst of combat, outnumbered and outgunned,
with the cards stacked against them. With their sacrosanct
savage, they disregard their own safety to damage those around
them.Death berserkers anointed with prayers of a pandita lunar
bishop and, with the help of some sugapa, a root crop like
opium, transcend into rage for the Moon Goddess
● Sword sh Warrior [SWW]. A coral knight upon a balu, a
ying sword sh, that specializes in supreme movement,
manipulating movement, and attacking large swathes of foes in
tandem with their balu
● Sarimanok Knight [SAK]. A valiant warrior who rides
upon a giant rainbow-feathered rooster known as a sarimanok.
Through mounted combat they dominate the battle eld
● Strifesinger [STR]. Sonorous martial artists that sing and
use myriad instruments to bolster their allies and grant respite in
a war-torn land
DISCIPLINES OF BA-
Ba-e Disciplines are, just like the Nation they hail from, eccentric
and subversive. Despite being the oldest of the Major Mandalas, they
also are the ones that invent new ways of seeing the world, new
names for natural sciences. Past and future, it belongs to them. They
puncture holes in Hiyang and nd new ways to express their
enlightenment
● Flower Necromancer [FLN]. A ower-witch that uses the
sampaguita, the death jasmine, to converse with the dead and
animate corpses of enemies
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● Heavenspear [HVS]. A heaven-scourging warrior that

understands the lie of the earth, and moves through the air with
extreme maneuverability. Through their heaven-rending arts
they take to the skies upon spiritual arts and kites to bring the
truth like a spear unto the world: there is no throne in heaven
● Mender [MND]. Healers and combat medics that stay in the
frontlines to support their allies with prepared poultices and
readied healing items
● Warsmith [WRS]. Control. A warrior-blacksmith who has
taken to the battle eld to show their ingenuity and prowess,
crafting walls and weapons
● Starshooter [STS]. Marksman. Warriors and experts of the
sport of Sipa,using their advanced knowledge of the art to in ict
violence, making even the smallest mote of dust a deadly ball
projectile.
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THE LAKANATE OF VIRBANWA
A priest, a sonat, walks out of an Earthquake baroque
cathedral. Doves utter in every direction. He is wrapped in
three layers of silk: a robe, a jacket, and then a scarf. The
robes of a sonat. He wraps his pudong-pudog around his
forehead and it bears the seven-pointed star of his religion: the
belief in Makakagahum and all His angels
A peasant nishes his early morningroutine and walks back to
the inner village, offering a portion of his meal to the marble
statue of an angel. He then goes and drinks with his friends
As they eat, a party of armored men: dressed in abaca ber
undershirts and bamboo breastplates, riding upon tall and
noble sarimanok, saunter into town. They give a quick
offering to the church, before walking down to an inn to nd
some rest
A young girl runs up to one of them as they removed their
moriones helmet. “Can I be like you, some day?
“You want to be a bayani like us? Then youhave to believe in
Makakagahum and thepower that he can grant us all.” The
bayani smiles. He is buff, wide-set, and wearing a large textile
scarf around his shoulders like a cloak. “Then you have to
show your Datu that you are worthy of becoming one.
“I will!
“O, Huwana, come here dear!” And an elderly woman,
wearing a simple darkundyed gray robe pulls the young girl
back to her. “O, most gracious and valiant bayani, thank you.
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“There is no need. In fact, you must ee right now. Evacuate

into the hills, where the shelters are.
“Why, o great bayani?
As he speaks, the other bayani are already going about
warning the people, and the speaking kabalyero’s captain
walks up to the Datu to tell him to gather his people and his
forces for a stand
“Raiders have come,” says the bayani. “Wehave to ght them
back, for the glory of the Lakanate.
“I see. May Makakagahum bless you!
“And may the Ashen Star light your road,” replies the bayani,
just as he wheels around and brings out his bangkaw
There is a shout, a war cry
The bayani of the Lakanate charge, to protect the Lakan in the
name of their God
Ambitious warlords, imperialist nobles, and opportunistic

businessmen. The river chiefdoms of Lontok, Namayan, Malilu, and
Tundun were conquered and invaded by the Empire of Issohappa,
led by the Pale Kings, which introduced to them the concepts of land
ownership, colonization, the printing press, and the faith known as
the Ashen Star.
Issohappa was driven away ten years ago, at the turn of the
century. They adopted everything that bene tted them: Issohappan
temporality, work mindset, mercantilism, and imperialism. Tundun
did not drive Issohappa away on its own: they had the help of all the
major kingdoms in the archipelago, includingsif all the way up north
to the island of Sonyoh
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Lakan Lubu, and his Queen or Lakambini were baptized. They

installed the Ashen Star as the state religion--two ideas from
Issohappa--that meshed with the native religion. Together, they set
off with a new goal in mind: to unite the disparate warring states of
The Sword Isles into a single, uni ed state, known as the Virbanwan
Lakanate and to usher in the Millenium Kingdom
For the next fty years the Lakanate trained and grew stronger,
raiding and trading along the shores of Baik Hu for more knowledge
and weaponry, as well as more connections to gain external wealth.
They conquered the river and lake kingdoms and expanded their
domain
They learned to create earthquake baroque structures, strong
against both typhoons and earthquakes, and through this they
created huge temples for Makagagahum, their Paramount God who
was said to rule over all the other smaller deities (called dyos) which
were in the style of their own spirit houses, albeit with a few
innovations from Issohappa introduced.
These great churches, otherwise known as simbahan, or worship
places, became the centers of Virbanwan settlements, and usually
right beside their Datu. A single Virbanwan settlement is bound to
have both a pari, a priest, and a balyan, a faith healer spirit medium,
who attend to different needs
The Lakanate has since been growing their strength, earning the
ability to saddle and ride upon horses and sarimanok, as well as ght
with more steel armor, although not at length for the tropical swelter
of the Archipelago might overcome them. In addition to those, they
stole the printing press brought about by Issohappa, and have since
become the rst mandala to begin printing texts. They used this
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chance to write of cial government history texts that exalted
Virbanwa’s cherry-picked best qualities, and ignored everything else.
In this practice of nation-building, they exalted themselves,
conveniently leaving out all help gotten from the other Mandalas
during the Lakanate Conspiracy against Issohappa. Save for Sonyoh,
as they have deep ties with Sonyoh. But they would never admit that
there is any mandala within The Sword Isles that is greater than
them
The Lakanate’s power stretches from the shore city of Ananara
and conquered the river kingdoms of Lontok, all the way up to the
lake of Ba-e, where they contend the lake to this day with the nation
of Ba-e. They have also conquered polities in the far south island
chain with Vetani, as well as the far west island of Namwaran and
Ramasa
Most tawo of the Lakanate follow the rule of the Batara Lakan,
currently Huwan Rekno. They pay fealty to him, and the Lakanate
functions very closely to a classic monarchy.
Kadungganan of the Lakanate follow after Huwan Rekno, and
while are treated like knights of their own right, are expected to
travel to the Huwan’s side when expected
Lakanate Tawo are born with immediate knowledge of their faith,
the Sampalataya. Also known as the faith in the Ashen Star, they
follow the belief that Makagagahum, the Almighty, created the earth
from nothingness, and in the far future They will return as the
Maitresiya, the Final Prophet, and bring about the Milennium
Kingdom in the Land Above the Sky
Materially, they have taken upon the innovations of the
Issohappans: they now wear kalsones balones, or balloon pants, more
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than bahag, and they have adopted the wearing of wooden clogs and
slippers more often than not. Some of the richer ones even have
access to leather boots and silk socks
Growing up, Lakanate Tawo have access to military monasteries,
where they are taught the natural philosophies. The most important
thing taught here is the sovereignty of the Lakanate over the
Archipelago.
It is drilled in very early into the young Lakanate tawo’s soul that
the Lakanate, by virtue of being the chosen people of Makagagahum
and having been able to “repel” the conquest of the “more powerful”
Issohappa. The truth of this was that it was more like all of the states
in The Sword Isles chipping in to help repel the invaders, with some
help from Sonyoh
The Lakanate thus believe that the Rajahnate, Confederation, and
Sultanate are all heathens that must be brought into the Lakanate’s
embrace. They are wrong, of course, but this fuels the Lakanate’s
imperialist ambitions, and it has thus begun its inevitable march into
the rest of The Sword Isles
The honori cs Ginoo for males and Binibini for females is used
when deference must be taken
Lakanate Nobles are known as Maginoo, and usually own land
and rule over swathes of peasant in addition to their own debtors.
Nobles of the Lakanate are expected to keep being nobles, and are
taught in the more advanced knowledges, given manuscripts and
exams by their parawali to pore over
Nobles are expected to be subservient to the Datu and know the
ways of the Golden Web Tapestry, the code of conduct and political
framework among nobles, an intricate and complex web of manners
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and right speech, which “sets them apart from those of the lower
classes”.
Many nobles become warriors, Kadungganan, but also priests and
spiritual leaders. Some nobles can become Datu, if they wish, by
leaving the settlement with their own wealth and following. It is their
privilege to be able to go into any occupation that they wish
In the Lakanate, there are two kinds of Freemen: the timawa,
who are freemen that can choose who they serve and have their own
businesses, and the bayani, who are the Kadungganan who ght for a
Datu that they choose. Bayani make their livelihood through
engaging in wars and raids with the Datu that they serve
Slaves are called the same here as in any other settlement. They
are treated more or less the same, although the Batara Lakan has a
large crew of debtors that work for him as his personal attendants, as
royal chefs and butlers and all the more
NOTEWORTHY PERSON
Mandala Head: Batara Lakan Huwan Rekno. The current
Batara Lakan is a man named Huwan Rekno, who is directly related
to Lakan Lubu. He is said to be a noble man, wearing a cape and
leather boots at all times, mixing it with his bahag and baro get up
whenever he descends upon the world
When he must present himself as he truly is: the manifestation of
Makagagahum upon the earth, he is like a saint that has fallen upon
the world. It is said that around his neck oats a halo of thorns,
which is said to signify the world upon his shoulders as he performs
penance of trying to unite the islands.
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He wears a gigantic crown fashioned like a halo of ames, with
four cardinal points depicting a crocodile, a dog, a serpent, and an
eagle. This crown burns from behind his head, like a bon re of his
duty
His gown is not made of cloth, but rather, of stone feathers
plucked from slain angel wings, those too weak to properly protect
Makagagahum’s chosen. The stone wings wrap around him, ivory
and marble-like, and his face is in a perpetual pained countenance
On top of his stone gown, he wears a veil of burgeoning silk made
from the souls of the damned that he failed to save, which he keeps to
constantly remind him of his failures, of the failures of past kings, and
those that they can yet save. The souls wail
His feet never touch the oor. Whenever his feet touch the earth,
the halo digs spears into his neck. He oats with the strength of his
faith. May Makagagahum be blessed
His skin is pale, as if he is dead, and his eyes are scintillating
iridescent. His hand can kill and revive with a word. When he is
forced to ght, he makes heaven descend upon his foes
A testament to his sacri ce as the leader of this burgeoning new
Empire. He speaks slow and without menace. However, his
kabalyeros and Kadungganan are ercely loyal to him
Mahasenapati Akuna Salamangka. The head warlord directly
below Batara Lakan, who also acts as his right hand man. Or woman.
Akuna Salamangka was born as binukot to Datu Bigiris, of Put’wan,
as Himaya. When Huwan Rekno saw her beauty, he sought to make
her his new sandil, or concubine. However this was forbidden in
their new faith, and so he settled for making Akuna his
Mahasenapati, or Great Warlord. She has since began burgeoning
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campaigns into the plains of Rusunuga in an attempt to conquer

them, although Sinuku is nigh unconquerable. Soon she will try to
conquer all of The Sword Isles, in the name of love for her Lakan.
She is tall and immaculately beautiful, even in the battle eld, with a
face round like the moon and hair blacker than the sea
Maygintawo Palipidan. A warrior-merchant who made a fortune
trading items he has raided from the shores of Madaki, Iyamat, and
Southern Baik Hu. Using this trade he elevated himself to the status
of Maygintawo: a noble by wealth. He goes around now upon his
biray, which he has out tted with all sorts of items from across the
world, collecting and recruiting Kadungganan to be part of his rising
merchant nation
NOTEWORTHY POLITIE
Ananara is the crown city of the Lakanate, where the current
Batara Lakan, Lakan Huwan Rekno, and the royal family live,
ordained as divine ruler by the Mahapari (greatest priest), currently
Yesidru. Ananara is the largest metropole in all of The Sword Isles,
owing to its long history as being the eventual descendant of the
ancient grand chiefdom of Tundun. It is structured like a wheel, with
all roads being the spokes, and the Broken Bone Cathedral Palace
being the hub. Near the hub, all buildings are made of bloodstone,
created from the coagulated and then mined blood of killed Pale
Kings. In random areas of the city, the ancient Angel Machines
powered by Pale King blood have been colonized and repurposed
into apartment complexes. Important due to the ever increasing trade
and population brought about by domestic and international trade.
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Port trade is lively here, and the people here really do believe that
Virbanwa is the most powerful of the polities. All people here usually
wear silk jackets, balloon pants, and simple wooden sandals
(paruka).
Barangay Lagusnilad. A large village by the Nilad River, upriver
from Ananara itself. Known best for their yearly penitents, who ay
themselves in emulation of the First Gahumnon, to strip themselves
of their sin. Lagusnilad is also well known for being right beside
fertile rice plains, and is the farming capital in the region. It is
common for them to seek help from Kadungganan to deal with
monsters in their eld, or to help them appease a dragon. They are
the constant subject of raids from the banwa of Sinuku, who ghts
back against the sovereignty of Virbanwa. They are led by Datu
Sedero, a well known merchant warrior and penitent, who wants to
put an end to those Sinuku upstarts
Pinangilan. A barangay to the north of Virbanwa, it deals in
raiding traveling merchant ships that disembark or dock at Ba-e.
They are in constant war with Ba-e because of this. Their Datu, Datu
Yukul, has been stealing weaponry from Baikhan and Naksuwarga
shipments to better their weaponry. Some say they are readying an
attack against Ba-e. One that can destabilize both Virbanwa and Ba-
e, leading to a destructive con ict
Gibankaw. On the northeastern tip of Ramasa, right below the
Virbanwa conquered island of Rusunuga. They have adopted the
Virbanwan Faith in the Ashen Star, and have converted their bamboo
palaces and wooden spirit houses to churches and citadels. They are
most well known for their sarimanok knights, their greatest cavaliers,
which the Datu himself, Datu Isiran, trains. They have nurtured the
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greatest warriors and Sentinel in the isles. Now part of the
Virbanwan Lakanate, they weather raids from the Rajahnate who
seek to reclaim their manpower from the Lakanate. They also are
locked in constant raiding with the polity of Ibalong to their east,
whereupon they have to make sure to sail around other islands to try
and not sail past waters where Ibalongan might sail
Vetani. A village far south, where the wind is far colder and
faster. Here ancient citadels known as idyang have been built by the
natives. Their limestone houses and hill castles have since been
adapted by Virbanwa to create sturdier, stone-based constructs,
houses, castles, and churches, even as they subsume and incorporate
Vetani to their kingdom. In Vetani, the nal stages of the training of a
Virbanwan Kadungganan, known as a bayani, are held, where they
must rst prove themselves worthy in the Monastery of Ash and
Tears, and then they must weather the environment and face the
roving warbands of either Issohappans or raid the ships of Baik Hu
trading vessels to the far south. Vetani is headed by the Priest-Datu
Pari Siman Damasku, who always begins harvesting seasons with
sermons, and believes that as long as they are faithful to Lakan
Rekno, no harm will come to them. However, the expansionist
empire of Iyamat has begun to creep north, into the Southern Tip
Islands, whereupon Vetani lies
OTHER MANDALA IMPRESSION

To Gatusan: Painted devils, kin eaters and trecherous liars at
worst, at best they are useful, at the very least they understand the
concept of commerce
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To Akai: Thorns on the road to unity, savages and barbarians

who practice a baser version of our Faith. May their moon be
smothered by the light of the Star
To Ba-e: Tradition erodes, and soon they will falter like the icker
of candlelight. Our steel and star will be enough to turn them into
vassals
To Apumbukid: God has no eyes for chattel
VIRBANWAN DISCIPLINES
The following are the Disciplines born from Virbanwa
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BARIL WITCH [BRW
“The First Teaching of Gun is this: No amount of running can
save you. Pay fealty, and prostrate yourself upon the bullet throne
of Balahari Gilusot.
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Baril Witches, otherwise known as balapari, are ri emen that use

powerful arquebuses gained through trade and replicated by native
panday sa luthang (gunsmiths). These bullets can only be red by a
certain magenta witchdust created by witches across the world. Baril
Witches are peerless experts in the art of using the arquebuses, and
they have the immaculate ability to be able to reload quickly, as if
they were a bow and an arrow
Guns in Yutadagat are slow and ponderous. To reload them is a
tedious, multi-stepped endeavor. They are dangerous, but better
treated as opening re, nothing more but something to level the eld.
However, Baril Witches use a variety of gun sorceries, special
spells speci cally only usable with guns, to blast through the enemies’
defense. With their skill, they can instantly reload their guns,
sorcerously bypassing the limits of the gun
Baril Witches are trained to be hopelessly intimate with their
weapon, learning the diwata of their particular gun--not just guns in
general--to be able to be ef cient in the battle eld. With hand mudras
and incanted mantras they can summon bullets and change their
trajectories even in mid- ight. They can spin and juggle guns and hit
their target without seeing the target, due to their intimate connection
with their gun
Training a Baril Witch takes years, thus making them wanted in
Kadungganan parties and war armies. They’re in high demand, but
there are a low number of Baril Witches. They are thus treated as
elite artillery and long ranged units, and elite skirmishing parties that
are intended to kill will always have at least one in their ranks. Baril
Witches, however, are almost always strange in the head. Their soul
has been shaped into a bullet, after all
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If you choose to become a Baril Witch, ask yourself why you have
taken up secret knowledge only to in ict violence. Why do you use
your knowledge and power to in ict violence? Why have you picked
up the gun?
No blood on your gun; it is the bullets and sorcery that kill. Did
you pick up the gun out of necessity or out of cowardice
Baril Witches arose from the ranks of the Lakanate after the
witches of the wood were given the chance to serve the Lakan and be
treated as nobility if they helped with the war efforts against
Issohappa. A large contingent agreed, but other witches disagreed,
going off to ght Issohappa on the sides of the Rajahnate or
Apumbukid. Those that joined the Lakanate were given the moniker
of “Star-knelt”, for they knelt to the power of the Ashen Star. Thus,
there is a tradition among the more conventional witches in
Rusunuga to spite or even pity baril witches
The Star-knelt worked with these guns to create the Gun God
Engraves, which gave rise to Baril Witches. Baril Witches are chosen
from an early age, usually those who have aptitude to sorcery. Thus,
many baril witches in the ranks of the Lakanate are not too happy
with their forced setup. Baril Witches have since spread across the
archipelago, with the other notable creator of baril witches being the
Akai Sultanate, who harness moondust to strengthen their guns
The Baril Witch Martial Art is known as Blasphemous Bullet
Style
Gain the following when you take upon this Discipline…
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BLASPHEMOUS BULLET STYLE FUNDAMENTALS: GUN APOSTLE
You have peerless control of your gun, surpassing the limits of matchlock,
intlock, and arquebus. Through your skill, you bond with a diwata that has
arisen from your gun.
1/round, whenever you Stride your full Speed or as a Flourish,
you may load your gun, giving yourself the Loaded Stance. The Loaded
Stance ends when you suffer damage or you consume it to use one of
the following effects, as a Flourish
Gun Spin. You spin your gun, unloading shots. You can deal at
piercing damage equal to your Tier to all foes in close blast 1
Ruby Rose. You overcharge your gun. You can re your gun, aiming
it at 1 space adjacent to you. You push yourself 5 spaces away from
that space in a straight line. You must move all spaces, but you
simply stop when you collide with terrain, you do not suffer damage
Juggle Gun. You shoot, discard, shoot, discard, multiple hands erupting
from your corpus. 1/scene, when you in ict violence while in Loaded
Stance, you may perform that same in ict violence to another foe in
range
BLASPHEMOUS BULLET STYLE INFLICT VIOLENCE: GUNSORCERY
Bewitched Bulle
You re a bullet that always nds its mark
Action * Mentala, Maneuver, Stead
1 unit | Range 2~
Effect: Deal 1 + Tier re damage. If the target is Juggled, they stay
Juggled on their next turn, they do not fall to the ground on the start
of their turn, but rather, on the turn after that
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Witch Clima
You send shots about you, butter ies disperse
Interrupt Reaction: The target makes a melee attack against
you * Mentala, Ritual, Maneuve
1 Unit | Adjacen
Effect: Deal 2 force damage to the target. Then, roll a d10. On a
7+, you cancel the attack against you, quickstep 1 space away, and
then knock the target prone
BLASPHEMOUS BULLET STYLE SECOND WIND TECHNICK: VOLATILE
BULLET
You catch your breath, load your gun with a volatile spiritual malaise +
remedy bullet, and shoot yourself. The bullet stays there in your heart. When
you ourish away, you send a parasol of bullets blossoming in every direction
Flourish * Ritual, Mentala, Scen
Sel
Effect: Heal Breath. When you next Quickstep, immediately deal
1 + Tier Force damage at to all foes in close blast 2
When you learn all the Technicks of this Discipline, gain the
following…
BLASPHEMOUS BULLET STYLE MASTERY: PINAKAHARING SITAN NG
BARIL
Translates directly to Utmost Gun Devil King. You’ve mastered your

gun. You no longer go into the Loaded Stance, but rather, into the
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Desecration Stance, as you impart the divine grace of your diwata upon
the battle eld. 777 arms carry 777 guns about you
Desecration Stance is just like Loaded Stance, but with the
following effects now available to you as a Flourish
Hail You, Full of Grace. You may consume the Desecration
Stance to immediately make a close blast 5 area attack against all
foes, dealing 1d6 re damage
Valley of Tears. 1/round, deal 1d4 soul damage immediately to a
target in range 10, ignoring height, line of sight and line of effect
Evening Meteor. You shoot an ally’s projectile into a new trajectory. 1/
round, while in the Desecration Stance, and you are targeted by a
ranged attack by an ally, you may spend an Interrupt Reaction to
de ect-shoot the projectile. You become the new origin space and
they can choose a new target for the ranged attack. If you are in
higher height, the attack bene ts from height bonuses
BLASPHEMOUS BULLET STYLE FORBIDDEN TECHNICK: FINAL BULLET
REVEL “KILL YOUR GUN”
“Anything it takes,” the ancestors tell you. Anything it takes to win? You’ve
forged such an intimate connection with your GUN. “The gun is but a tool,”
BALAHARI GILUSOT tells you. “Do not get attached to beings that have
never been human. Fool, kill it! Kill it now! Before it realizes your soul and
shoots itself through you! A Gun Diwata is new and excited, and it does not
know yet its power. The power to level entire nations. Now KILL IT! Bask in
the bullet hell you’ve made, witch!
Action * Mentala, Ritual, Scene
All Units | The Battle eld
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Effect: You bring out the diwata of your gun and shoot it. The
spirit infuses the battle eld, and in its rage, explodes into a rework
of bullet patterns, resembling mandalas, lotuses, and owers. A
veritable bullet hell. Anytime a combatant of your choice moves
either voluntarily or involuntarily, they suffer 3 + your Tier piercing
at soul damage
BLASPHEMOUS BULLET STYLE TECHNICKS
SUN AND MOON DICHOTOMY
You spin, unleashing bullets, and then utter the word for the passing of
days. Contort it with your spirituality. Time stops for the bullets, and at the
end of it all, reckoning.
Flourish * Mentala, Concentration, Taxin
1 foe | Range 2
Effect: Put out 2 bullets in range. Then, choose a foe in range 3 of
the bullets. The bullets will hit the foe at the end of the round if
they’re within range 3 of the bullets and there is a line of effect.
Each bullet deals 1d4 piercing at damage. Any unit that goes
into the space with a bullet suffers the damage and consumes that
bullet
WITCH EYE
The witch aims with a breath, letting their pohon surge through their
weapon. The diwata appears above the target
Flourish * Mentala, Ritua
1 foe | Range 4
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Effect: The target gains Witch Eye. Whenever you or an ally

makes an attack against a target with Witch Eye, they may consume
the Witch Eye to give the attack Steady or Piercing, your choice. Witch
Eye dissipates when the target with Witch Eye breaks line of sight
with you
FIREBIRD LANTAKA
Among the Sinukuan, The Elder God of Fire and Lightning Suku takes
upon the form of a rebird, ravaging entire plains with a single swing of their
wing. You take this meditation and drink deep, and so does the diwata of your
gun
Action * Mentala, Perilou
All Units | Close Blast 3
Effect: You summon a lantaka cannon and make an area attack
against the target, dealing 1d6 re damage. Once you do, the lantaka
is upon the battle eld, becoming an interactable object in a space
adjacent to you. Any unit can pick this up as an Interact and then re
it to make the same Close Blast 3, 1d6 re damage area attack.
However, anyone who uses it in this way suffers damage equal to
their Breath
SINAG KIYAPU (WATER LILY RAY)
You inhale the sea brine and manifest it into your puhon. With another
breath, you grant it as a gift to the diwata of your gun. They accept it
wholeheartedly. Maybe too wholeheartedly. Why...
Action * Mentala, Taxing
All Foes | Close Wall 3
Effect: Make an area attack against the targets, dealing 1d4 water
damage. Then, the targets suffer the Slippery debuff: whenever they
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move or are moved, they must move 1 extra space in a direction that
you choose, which is counted as forced movement
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BLADEWEAVER [BLW
Bladeweavers are peerless sword-sorcerers, using their skill
with the sword and their mysterious kinaadman to strengthen
their slashes and manipulate the battle eld with ying swords,
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like the winds of a dragon. Through a seamless weaving of
enchantment and swordplay, they dominate the battle eld
The Bladeweavers are so called because the rst of them, a kawal,
or guardsman, of the City of Broken Idols named Palaliwah, learned
how to use mentala, spells that were written in the ancient Old
Matara language, the older form of the Matara lingua franca in the
isles. These writings, usually written upon bamboo and palm leaf
manuscripts with with Kasuratan, were to be uttered repeatedly like
a mantra by someone of volatile pohon, so that the spells may be cast.
Palaliwah began a loose order of Bladeweavers by teaching those
kawal that she could, those that had either inherently powerful pohon
or were eager to learn, and the teachings spread throughout the
Archipelago. Eventually, Palaliwah settled in the Lakanate, becoming
a right-hand counselor to the First Lakan. From then on, the royal
guard and the elite were taught in the Sword Sorceries. This proved
to have been the Lakanate’s largest asset in the Lakan Conspiracy, as
Bladeweavers could feign enlightenment to teleport great distances,
as well as protect themselves with both sword and sorcery. A
particular Bladeweaver named Maranan, the Leaf Dancing in
Cutting Fields, used this to steal Pale King intel from a galleon in the
middle of the night, and she fended off at least two Pale King elite
warriors to get the info back to the Lakanate. Unfortunately, she
disappeared into nothingness the next night.
The Bladeweavers are taught in swordsorcerer monasteries in
Rusunuga, although there are not a lot of them. In fact, the style has
ourished even more in the Rajahnate, where they combined the
magical formulas on mentala and mixed it with their impeccable
swordsmanship to enhance their raiding capabilities
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Bladeweaver swordplay is much respected by many of the

warriors of the Archipelago, wheren they fuse not just
swordsmanship but all sorts of weaponry into their sorcery. It
presents a transcendent fusion of two powerful forces, all af xed with
a beautiful dance-like martial art, which has been called Habul-
Sulab, or blade-weaving
Bladeweavers are taught to be careful of their power, and to only
accept chie y patrons that would honor their ability. Those that they
know wouldn’t be using them for only wealth-gaining ends.
Bladeweavers are taught a strict oral code that boils down to: protect
those that cannot protect themselves, dismantle those that hold
oppressive power. Bladeweavers are respected for their oath, and
they are well known across the Archipelago as altruist weapon
sorcerers, although not all Bladeweavers have such an altruistic
mindset in the war ravaged land of The Sword Isles
As a Bladeweaver, ask yourself why you have chosen to become
one who brings violence. Do you ght for peace? To honor your
code? To enforce it? How lofty is your goal, and how desperate are
you, really, to achieve and uphold it?
The Bladeweaver Martial Art is known as Sword Sorcery
Weaving Style
When you take upon this Discipline, gain the following…
SWORD SORCERY WEAVING STYLE FUNDAMENTALS:
SWORDMASTERY
Mastery of the sword is much more than just mastery of the weapon. It is,
in fact, mastery of self, of tradition, of culture. It is the mastery of the principle
of cutting, like a rock, oneness with the nature of something. Achieve Hiyang
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through swordmastery. You are not a weapon to kill, but rather, a weapon to
cut away the brambles and tangles that bar you and your people from the
future
1/round, whenever you move into a space adjacent to a foe, gain 1
Swordmaster Die, which is a d6. You can only have up to 3. You can
spend the Swordmaster Die to do the following. You start with 0
Swordmaster Dice at the beginning of a scene
- Lunge. Before making a melee attack, you may spend X
Swordmaster Dice to quickstep X spaces.
- Long Arm Defense. If you are the target of a melee attack, you
may spend a Swordmaster Die to roll a d10. On a 7+, deal 1d6 force
damage and then quickstep 1 space before the attacker’s attack
against you is resolved. On a 6-, you suffer the attack as normal
- Enlightened Strike. When you deal damage with a melee
attack, you may spend any number of Swordmaster Dice to deal
that many Extra Damage
SWORD SORCERY WEAVING STYLE INFLICT VIOLENCE: LONG ARM
SINAWALI
Forward Stepping Strik

You lunge forward to strike at an opponent from a strange angle.
Action * Maneuver, Combo
1 Unit | Melee 2
Effect: You may quickstep 1 space before the attack. Then make
a melee attack, dealing 1d6 force damage
Combo: If the next attack against the target is a Lunge Finisher
and it deals damage, the target becomes Unbalanced.
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Wind Serpent Strik

You strike like a viper, as taught to you by your guro, out maneuvering
your opponent.
Action * Maneuver, Steady
1 Unit | Melee
Effect: Make a melee attack, dealing 1d6 wind damage, and then
shift the target to another space adjacent to you.
SWORD SORCERY WEAVING STYLE SECOND WIND TECHNICK:
ADVANCING STEEL MONSOON
Your heart sings: your sword is oiled by the blood of your soul. All your
strikes will nd their way: this was taught to Bladeweavers by a traveling cat
who chopped trees with a single claw.
Flourish * Mentala, Maneuver, Scene, Heal

Sel
Effect: Heal Breath and your next physical melee attack gains
Reliable 3. If you are Battered, also gain 1 Swordmaster Die
following
SWORD SORCERY WEAVING STYLE MASTERY: SWORD DEITY
You can now have up to 5 Swordmaster Dice during a scene, and

you now gain Swordmaster Dice whenever you use a Mentala.
Additionally, you have the following option to spend
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- Unchain. As an Action, spend a Swordmaster Die to increase

your melee attack’s range by 1, as you throw your weapon and
control it with the strength of your spirit. This lasts until the end of
your next turn
- Bladestorm Barrier. As an Action, you release your weapon
and it ies about you, creating a Barrier of Arms until the end of
your next turn. You are considered as having cover against all
ranged attacks against you. All foes that move into a space adjacent
to you or start their turn adjacent to you suffer your Tier in
piercing at damage
- Far Reposition. Your superior footwork and bladework will bend the
foe. When a melee attack against you misses, you may spend a
Swordmaster Die to move 1 space away, and pull the target to a
space you vacated
SWORD SORCERY WEAVING STYLE FORBIDDEN TECHNICK:
ENLIGHTENMENT MENTALA
Only reserved for the best of Bladeweavers. With the Mentala for
Enlightenment inscribed upon the air, you achieve a broken enlightenment.
Those that cannot handle the strength of this Mentala disappear forever. It has
happened before. Guro Sajavedra sought out the true answer, to slice the horizon
with his long arm. In doing so, he vanished, he disappeared, became one with the
Hiyang. Perhaps he has become a spirit of weapons, or a spirit of trying to
reach what is impossible.
Flourish * Mentala, Perilous, Opener
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Effect: For the rest of the scene, you feign enlightenment. You
gain +3 Speed, +2 Range to all Melee Attacks, and when you Stride,
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you teleport. All your attacks gain Reliable 3. At every start of your
turn, gain 1 Swordmaster Die.
SWORD SORCERY WEAVING STYLE TECHNICKS
VOLATILE BLADE
You bow low and release your blade. To Guro Sajaveda, this is the ultimate
learning of his style. The battle eld becomes one space.
Flourish * Maneuver, Mentala, Scene, Summon
Sel
Effect: You let go of your weapon, and it oats about you, with a
soul of its own. Put down your weapon in a space adjacent to you. It
is a summon, but it doesn’t have its own turn. It acts through
Reactions. It can only do the following two things
- When a unit moves or leaves a space adjacent to the Volatile
Blade, it makes a melee attack and deals 1d4 force damage to the
target
- When an ally adjacent to the target is attacked, the Volatile
Blade may step in and attempt to parry the attack. Roll a d10: on a
7+, the attack is canceled against the ally, but the volatile blade is
expended. On a 6-, the attack goes as normal, but the volatile blade
is not expended.
HEAVEN RENDING MENTALA
The sacred ability of the Bladeweaver. With a quick utterance, their blade is
imbued with their pohon, and nothing will stand in their way. Heaven will be
cut, and hell shall be rent.
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Flourish * Mentala, Taxing, Comb

Sel
Effect: Your next melee attack becomes Piercing and shifts the
target 1 space
Combo: Until the end of your next turn, when you are the target
of a lunge nisher, you may quickstep 2 spaces as a response
reaction.
STORM MENTALA
You ing your sword and it begins twirling into a bladed dance, creating a
eld of scorn, enchanting it with the storm mentala. A Bladeweaver tandem,
Dulog and Kimat, were known to have used this to overpower a single Pale King
general.
Action * Mentala, Field
All Spaces | Close Burst
Effect: The target area becomes a Storm Field until the end of
your next turn. You and all allies that move through, or start their
turn within, the Storm Field gain Hastened until the end of their next
turn. All foes within the Storm Field become Ripped. You can only
have 1 Storm Field in the battle eld at a time
Field: If a blast nisher is performed within the Storm Field, you
and all allies within the Field deal Strengthened damage on their next
attack. This dissipates the Storm Field.
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SAKMIT MENTALA
“I-It was like she was disappearing and then reappearing! She was a
shadow, no. Something quicker than the shadow. Lightning? Diri, the lightning
is too loud, too bright. No, she was the wind. She was the wind!”
Action * Mentala, Lunge Finisher
1 Unit | Range 2, ignores Height
Effect: Make a ranged attack against the target, dealing 1d4 wind
damage. And then teleport to a space adjacent to the target.
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MURDERGLAVE [MGL]
In the ancient past, the Suladnon of Murder Mahadiwa
Kalakatri Duumanun raised an order of warrior-monks whose
sole purpose was to use their passions and pain to protect those
around them. These revenant martyrs were called the Murderglave,
and only a scant few of them remain today. They have been stolen by
the Batara Lakan, the Suladnon of Murder turned into Saint Qali
Those that go through the training of the Karimlan are set out to
the middle of the forest or the sea, and taught to face their fears.
They must use their Kinaadman to harness their primal passions,
their primal emotions, and turn it into powerful sorcery that can
strengthen them against their heart. They understand the truth: pain,
fear, love, passion, regret… all these things are what makes a human.
And thus to embrace them all is the ultimate strength
They get their power from the Suladnon of Murder, the Diwata of
Sword Hell. The nal initiation of a Murderglave is being immersed
into a blood pond before an altar to Mahadiwa Kalakatri Duumanun.
Using this near-death experience, they come face to face with the
Mother of Ten Thousand Bloody Spears, and they become
transcendent
In their transcendence, they come to enlightenment. A petty
enlightenment, but still an enlightenment to be sure: that violence
should not be the end. This was obvious, they know, but they never
wished to admit it. It is like realizing that you are being stabbed in
the face by an enemy lance at the last second because you did not
bring your shield. Thus, the Murderglave’s passion is inherently
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hamstrung with regret. Mahadiwa Kalakatri Duumanun always

leaves them with the words: “There is no atonement for this, sinner.”
They have been cultivated the most by Virbanwa, who creates
Murderglave chapels and training monasteries at the edges of
Virbanwan territory and conquest. This way, they seem exotic to
those in the city, while at the same time not too interfering with the
faith since they get their power from a diwata outside of
Sampalataya. They were, however, integral to the Battle of Binangku
Channel, where ve poweful Murderglaves stood their ground and
staved off an entire Issohappan battalion and river eet long enough
for their allies to be saved by Sinuku war barges.
These passions of the Murderglave manifest as tendrils of
darkness, of shadow. They understand that to embrace humanity is to
embrace darkness. And that using that darkness, they can bring
about life and light. By their pain, they create walls of obsidian. By
their fear, they shield their allies. By their love, they grant others
another chance.
If you become a Murderglave, ask yourself why you have chosen
such a bloody path. The Left-Handed Path of the Blackened Blood is
not the safest path, and is not the friendliest. Why do you suffer to
help others? When you know that all your suffering is potentially in
vain
The Martial Art of the Murderglave is known as Bloody Handed
Redemption Style.
Gain the following when you take upon this Discipline
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…
BLOODY HANDED REDEMPTION STYLE FUNDAMENTALS: PAIN AND
PENITENCE
Live in regret and shame, penitent. Then claim passion.

Whenever you suffer damage or gain a Debuff, generate 1 Pain.
You can have a maximum of 3 Pain at any given time. You start with
0 Pain in a scene
You can spend Pain on the following effects each:
- Reaping. Spend 1 Pain as a Response Reaction when you or an
ally adjacent to you suffer damage. The attacker gains Enmity to you
until the end of their next turn
- Nadir Kalasag. Spend 2 Pain as an Interrupt Reaction when an
ally in range 2 is the target of a hostile action. You may move to a
space adjacent to them and you suffer the effects instead
- Dark Knight. Spend 2 Pain as a Flourish to gain +1 Armor until
the end of your next turn.
- Harvest. Spend 2 Pain when you deal damage with a Ritual or
Mentala to heal yourself by 2 + Tier Mettle
BLOODY HANDED REDEMPTION STYLE INFLICT VIOLENCE:
MURDEROUS RIVER
Glav
You slam your weapon into the enemy, and your passion clamps them to the
earth. Darkness builds
Action * Maneuver, Mentala, Lunge Finisher
1 Unit | Mele
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Effect: Make a melee attack, dealing 1d6 force damage. Then,

they must make a save. On a failed save, they become Slowed until the
end of their next turn and you gain 1 Pain.
Passionate Edg
Your weapon burns with murderous scarlet intent, which you hurl at your
opponent
Action * Maneuver, Mentala, Combo
1 Unit | Close Line
Effect: Make an area attack, dealing 1d4 soul damage.
Combo: If the next attack against the target is a lunge nisher and
it deals damage, the target becomes Ripped.
BLOODY HANDED REDEMPTION STYLE SECOND WIND: ATONEMENT
Mahadiwa Kalakatri Duumanun has never been one for atonement. Only
when framed by the Ashen Star religion does she understand. In Virbanwa,
Mahadiwa Kalakatri Duumanun is known as Saint Qali, Patron of
Vengeance. She doesn’t like it herself.
Flourish * Ritual, Heal, Scene
Sel
Effect: Heal Breath. Consume all Debuffs upon you, healing an
additional 2 Mettle per Debuff consumed
When you learn all Technicks of this Discipline you gain
BLOODY HANDED REDEMPTION STYLE MASTERY: SELF LOVE
You attain passion. In darkest night, in brightest day, you will only have
yourself
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You can now have up to 5 Pain during a scene. 1/scene, while you
are Battered, when you gain Pain while you already have 5 Pain, you
go into the Passionate Stance. Passionate Stance only lasts until the end
of your next turn. While in the Passionate Stance gain the following
bene ts
• You have +1 Armor
• You deal +1 extra damage
• All foes in close burst 4 of you treat you as the only valid
target
• All Fray damage you have you can choose to suffer instead
of saving against them. If you do, instead of suffering the
damage, you instead gain Barrier equal to the Fray damage,
which stacks.
• You cannot gain more Pain while in Passionate Stance
When you lose Passionate Stance, also lose all Pain
BLOODY HANDED REDEMPTION STYLE FORBIDDEN TECHNICK:
POSSESSION
Each Murderglave is told to bring with them a crystal, one which they can
pour their innermost darkness within. In darkest night, they may shatter it
upon their heart, and let their Passions burst forth. Blood spills from their
ori ces. Mahadiwa Kalakatri Duumanun arrives, and possesses them.
Flourish * Ritual, Stance, Opener, Perilous
Self
Effect: You sink into the blood and become an avatar of Mahadiwa
Kalakatri Duumanun. You sink into the Kalakatri Stance, which stacks
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with any other stance you have. You gain multiple hands, a demonic
visage, and tendrils of shadow and darkness bursting through you.
While in the Stance, all targets you attack gain Enmity toward
you until they deal damage to you. All your attacks gain +1 Extra
Damage, and you cannot be forcibly moved for any reason. For the
purposes of spending Pain, you are considered as having In nite
Pain. You lose the stance at the end of the scene or when you are
Crashed
As an Action, you can choose to become a Halaran, an altar of
worship. An Aspect of Mahadiwa Kalakatri Duumanun, one of the
666,666. You turn into her, become her. You are subsumed. Gone.
You ful ll the 57th Lesson of Mahadiwa Kalakatri Duumanun:
“unlearn my teachings and become a fool”: you bring all units in the
battle eld to 1 Mettle, and then you die. Kalakatri herself comes to
take you away
BLOODY HANDED REDEMPTION STYLE TECHNICKS
REGRETFUL RECKONING
You beckon with your heart burning with regret. To pull enemies to you is
the rst teaching of all Murderglaves.You must suffer the hurt, not them. Never
them.
Flourish * Ritual, Shot Finisher
1 Unit | Range
Effect: Pull the target 2 spaces. Deal 1 piercing soul damage.
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MURDERPRIEST’S CLEAVE
You have trained long and hard. Your heart is hardened, and you will
always sacri ce yourself. With your weapons, you will sunder the world.
Action * Maneuver, Blast Finisher
All foes | Close Blast
Effect: Make an area attack against the targets, dealing 1d4 soul
damage. All targets you hit gain Enmity to you until the end of your
next turn
FEARSOME WALL
Taught to all Murderglave at one point or another, you use your

Kinaadman to summon a wall of frozen fear. This was Mahadiwa Kalakatri
Duumanun’s rst teaching: a wall that pulses fear and hatred.
Action * Ritual, Taxing, Field
All spaces | Close Wall
Effect: Lay down a wall of frozen, wailing fear in the target area.
This is hindering terrain for foes and can be used as cover by allies.
Any foe caught within the target area when you rst put this space
down suffers 2 at soul damage and is pushed to a space adjacent to
it by you
Field: If a shot nisher is performed within the eld, the target of
the shot nisher becomes Frightened. While they are Frightened, their
Speed becomes 2 and they deal -2 damage
Special: You can only have 1 Fearsome Wall at a time. When you
put down another Fearsome Wall, the last one you put down
dissipates.
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SPILL THE BLOOD
The nal passion is Love. To control love is to tame the entire human
condition. An impossibility. And still yet, you do it. And to do this, Mahadiwa
Kalakatri Duumanun’s priests and priestesses teach you the nal lesson: in the
bleakest of nights, in the bloodiest of battle elds, you will always have yourself.
For where else could you be? Who else could you love but you?
Flourish * Scene, Perilous, Summon
1 space | Adjacen
Effect: You summon an Umbral Clone, a manifestation of your
soul’s overwhelming Passion. The Umbral Clone is a Summon. At
every start of your turn, it will move 4 spaces and make a melee
attack at a foe, dealing 1d4+1 soul damage. If it cannot, it will simply
move and then end turn.
At every end of your turn, the Umbral Clone will suffer damage
equal to your Breath
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SENAPATI [SNP
Senapati means Warlord. Senapati are born and bred on the
battle eld, born from blood spilled and shed on the pook-
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karahasan, the place of violence. With formidable tactics and

peerless knowledge of the eld, they guide their allies to victory
Senapati is the common term for commander-at-arms of a Datu,
someone who is the Datu’s right hand man, who handles the statistics
of armies and war bands and makes sure morale is high. They know
the skills of their allies, and they make sure that their war party is
optimized, ensuring victory in raids. They hire Singers that will sing
epics and songs to their armies, securing triumph and the favor of
both the umalagad and the epics
To become a Senapati, one does not exactly need to be the right
hand of the Datu. Senapati are trained and honed in the battle eld:
anyone who gains an intuitive ability to support their allies, call out
tactics, and learn the strengths and weaknesses of their comrades are
viable to become Senapati.
Of course, guro, teachers, can and will help, as many guro have
built up military houses that teach warriors the art of war as well as
the more intricate tactics, taught in the Digmaan Bamboo Scrolls.
Senapati are sought after across all the Archipelago, and their
military tactics have been largely adopted by most of the warfare of
the Archipelago. Judicious use of the environment, tactics that
ensure victory through either guerilla warfare or positioning and
knowledge of natural formations.
Senapati are common across the isles now, even though they as a
formal tradition arose during the Lakan Conspiracy, when they
needed to rally warriors and to marshal tactics required to bring
down the Pale King Hegemony. Senapati have always existed even
before then: the title is an ancient one, belonging to the oldest of
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oldest of kingdoms, written and passed down in unweatherable

copperplate.
Senapati are warlords of warbands, but Panglima are
commanders of warrior armies. Laksamana, a name shared by an
ancient monkey god-king that killed Maharajah Lawana in
Banjarmasir, is the term for admiral of a sea warband. With the rise
of sky barges, the term Galura, a term for the spawn of the great
Eagle God Garuda, has become used as a term for sky admirals
If you become a Senapati, ask yourself why you lead your allies
into inevitable violence. Your skills are ne tuned for the bloodshed
caused in combat. Do you revel in the melee? Do you see yourself as
a god of the battle eld? Why? Why have you chosen to be a creature
of battle, a master of war yet beholden by it
The Senapati Martial Art is known as Conquering Violent King
Style
CONQUERING VIOLENT KING FUNDAMENTALS: WARLORD GAMBITS
Your mastery of the battle eld is apparent and well known. However, the
most important thing is actually your mastery of your allies. With the proper
maneuvers and training, you command the battle eld through the strength of
your bonds
Whenever you perform a Tactic, gain 1 Warlord Die, which is a d6,
to a maximum of 3. As a Flourish, you may spend a Warlord Die to
perform the following effects
- Assure. An ally in range 2’s next attack becomes Steady
- Mandate. An ally in range 2’s next attack becomes Strengthened
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- Steadfast. An ally in range 3 becomes immune to all forced

movement until the end of their next turn
CONQUERING VIOLENT KING INFLICT VIOLENCE: COMMANDS
“Charge!
You bellow a crocodile roar, and all your allies move forward.
Action * Maneuver, Comb
1 Unit | Range 2
Effect: Make a melee attack against the target, dealing 1d4 force
damage. Then, you and 1 ally adjacent to you may move 1 space,
ignoring reactions
Combo: If the next attack against the target is a lunge or shot
nisher, it deals +1 extra damage
“Now!
You blow your bodyong, signalling the attack.
Action * Tactic, Fiel
1 Ally | Range
Effect: The target may in ict violence
CONQUERING VIOLENT KING SECOND WIND TECHNICK: BRAVURA
You show your allies that there is nothing to fear. With your sword raised
like a standard, you charge
Flourish * Scene, Heal, Tacti
Sel
Effect: Heal Breath. All allies in close burst 2 may move 2 spaces
without provoking reactions
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When you learn all of this Discipline’s Technicks, gain the

following
CONQUERING VIOLENT KING MASTERY: PANGLIMA
You now gain Warlord Die whenever an ally in range 2 uses a

Maneuver. You can now gain up to 5 Warlord Dice
- Fortify. An ally in range 2 gains your Warlord Die. When they
suffer damage, they can roll it as a Re ex and reduce the damage
they suffer by the number rolled
- Reposition. An ally in range 2 gains your Warlord Die. They
may spend it as a Re ex during their turn to roll it. They may move a
number of spaces equal to the number rolled, ignoring Reactions.
CONQUERING VIOLENT KING FORBIDDEN TECHNICK: EDICT OF THE
CONQUERING KING
Rajaraya Pintas was said to be the rst datu. He gathered the rst children
of man and waged war against the gods. The Conquering King killed all the
spirits in heaven, but did not anticipate the strength of all the demons in hell.
To commemorate the datu, his countenance was carved into the cloudstone in
heaven, turning his body into a giant walking armor, where demons and
guardian spirits dance and recreate in neutral ground
Action * Maneuver, Perilous, Tactic, Concentration
1 willing ally | Battle eld
Effect: You no longer take your turn as normal. Instead,
whenever the target takes its turn, you take your turn as well.
However whenever they suffer damage, you suffer the damage as
well. You can end the Edict with an Action. This lasts for the scene
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CONQUERING VIOLENT KING STYLE TECHNICKS
KILAT ORDER
The Warlord utters the word, and charges forward. Like lightning, one of
their allies moves through as well, and they strike a foe at the same time, like
twice-striking lightning. You command your allies to descend into a whirlwind
of steel, a combination attack, a meeting of sky and sea
Stride * Tactic, Taxing, Comb
1 Unit | Range 2
Effect: You and one other ally in range may move 3 spaces. You
can move through the target’s space. If both of you move through the
target’s space, the target suffers 1d4 at damage
Combo: When a lunge nisher or shot nisher is used against the
target and deals damage, it pushes them 3 spaces and knocks them
prone
DOMINEER
Command your allies to get going. Embolden your allies with words of
encouragement, or with harsh and rigid commands.
Flourish * Tacti
1 ally | Range 2
Effect: The target gains +1 extra damage on their next attack
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LAKSAMANA GAMBIT
When steel is drawn, re erupts. The Warlord yells a single word, and their
team bursts into action, victory assured. Like Laksamana, the Monkey
Warlord General, you lead others to victory, even against those unkillable.
Flourish * Tactic, Stanc
Self
Effect: Gain the Laksamana Stance.
Stance: While in the Laksamana Stance, melee attacks against
you deal Strengthened damage, but you gain Avoid. When a foe misses a
melee attack against you, 1 ally in range 2 may move to a space
adjacent to them and in ict violence. This stance ends when you are
damaged.
IMPASSION METHOD
You rush forth, burning with your passion, and your allies are lled with
your spirit. You move across the battle eld like a burning spirit of war, and
your enemies will feel your scorn
Flourish * Tactic, Taxin
1 Ally | Range 2
Effect: The target’s next attack deals piercing damage. If it already
deals piercing damage, they also deal Precise Damage.
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SWORD SAINT [SWS]
Sword Saints are the faithful patrons, preachers, and priests
who worship the violent aspect of Makagagahum, Makaubos, and
pray to Gattalim, the intercessor of swords, to bring their woes to
God. Makaubos is the aspect of God who will arrive at the end of all
things. He will cleanse it in a single blood tornado of steel and
gnashing of teeth
Sword Saints are given the Blade Commission: they mus travel
from settlement to settlement to teach the word and truth of the
Ashen Star, the upcoming Edge Eschatology, or as they call it: the
Paguubos, the emptying of the land. They are taught extensively the
teachings of the Sword, and their primary conviction is this: “All
things will be cut in the end by Makaubos. We are the end.”
Those that follow the aspect of Makaubos are also taught
extensively the ways and arts of their God’s violent and jealous
aspect, which they say is the human state of their God, as all things
have the binary states of man and nature. Through communion and
following the 77 Sword Tenets of Gattalim, they sharpen their souls
until they turn their very spirits into blades. Sharper than any other
soul, they will never nd love, for those that try to embrace a Sword
Soul will be bisected
Sword Saints are seen as strangers and outsiders by the
settlements. Those of Apumbukid see them as bastards, mindless,
idiots. That they have turned themselves into “Swords” is stupid, for
they have honed themselves to be Swords that Kill, not Swords that
Cut. In essence, they are useless, and forever will be.
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Sword Saints travel as the swords of Makaubos. They frequently

travel with Exorcist and War Mendicants, forming what are called
Crusading Parties.
If you choose to be a Sword Saint, your soul has been sharpened
into a killing sword. Your soul kills you. Once you achieve peace, you
become worthless. Will you survive enlightenment?
The Martial Art of the Sword Saints are known as the Blade
Gospel Style
BLADE GOSPEL STYLE FUNDAMENTALS: SWORD|SOUL
Your very being, your soul, has become a sword for killing, useless for
anything else. One thing one must understand when realizing how useless this
is is that in the isles of The Sword Isles, the sword is also considered as a
multipurpose tool: not just for cutting, but for chopping, for splitting wood, for
cutting meat, for holding arbalests, and even for measuring grains and other
such things. They are useful. But you, as a Sword Saint, have become useless.
Such is the fate of one who has honed a sword into becoming a tool of precise
killing
At the start of your turn, you may put down a Cut in a space
adjacent to you. You can only have up to 3 Cuts at a time. Whenever
a foe moves into a space adjacent to the cut, or through the cut, they
suffer [Tier] piercing at damage. This expends the cut
When you put down a Cut beyond 3, the rst Cut you put down
is replaced by your newest Cut
As a Flourish, you may expend a Cut to perform in ict Ripped to
all foes in close burst 2
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All Foes adjacent one of your cuts suffers Weakened when saving
against Fray
BLADE GOSPEL STYLE INFLICT VIOLENCE: SWORD|SOUL
Rend Heave
Be one with the blade, lest you cut yourself. You send a second urry, a
storm of cuts and incisions.
Action * Maneuver, Ritual, Comb
1 or 2 Units | Range
Effect: Make a melee attack, dealing 1d6 wind damage. Then
in ict Fray 1
Combo: When the next attack against the target is either a burst
nisher or a lunge nisher and it deals damage, in ict Fray 3 on the
target
Bleed Hel
Finally, become the sword, so that all you know is horrible slashing. You
sheathe and then unsheathe. All becomes still, for a breath, even the raindrops.
And then, the slashes manifest as you ease back into your blade
Action * Maneuver, Ritua
All Foes | Close Burst
Effect: Deal 1d4 piercing soul damage and in ict Unbalanced.
BLADE GOSPEL STYLE SECOND WIND TECHNICK: SELF LACERATION
You let your cuts heal you, proving your penitence, your guilt
Flourish * Ritua
Sel
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Effect: Heal Breath. You can expend Cuts to gain Fray X, X
being the number of Cuts expended. If you do, remove X Debuffs
and gain X times 2 Barrier.
When you learn all the Technicks from this Discipline, gain the
following
BLADE GOSPEL STYLE MASTERY: REGRET
Your sword has become as sharp as a sword, unusable for cutting. Only for
killing. You can slice with just a glance
You are now considered as a Cut (which does not count to your
Cut limit). Whenever you expend yourself for an effect, you suffer
damage equal to your Breath
Moving into a space adjacent to the cut no longer expends the
Cut
When you expend a Cut, you can now also choose from the
following effects instead
- Unassailable Cutting Saint. All foes adjacent to the cut suffer
1d4 force damage.
- Come Not With Peace. 1 foe adjacent to the cut loses all Buffs.
- Perishing Rosary. 1 foe adjacent to the cut is chained to the
space where the Cut was. The foe is Slowed, and if they end their
turn not adjacent to the Cut, they are pulled back to adjacency to
the Cut. This can only be removed by cutting at the Rosary Chain
that binds the unit, which is a 12 + [Your Tier] Durability object.
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BLADE GOSPEL STYLE FORBIDDEN TECHNICK: “ALL THINGS WILL BE
CUT IN THE END”
“The Principle of the Sword is this: if your soul is not sharp enough to cut
your own esh, then you have not learned the true principle of the sword. The
Principle of Gattalim is this: if your esh is cut by your own soul, then you
have achieved the Sword Nirvana: that you are now worthless and harm all
those around you. Have you ever noticed why you cannot cut down trees with
your techniques?” – The 77 Tenets of Gattali
Action * Ritual, Perilou
Self
Effect: You achieve Sword Nirvana until the end of the scene. All
spaces within burst 2 of you are part of the Sword Dimension: a
realm where every space, every strand, is a cutting sword. All foes in
the Sword Dimension suffer extra damage equal to your Tier, and
whenever they start your turn within your Sword Dimension, they
suffer 2 + [Your Tier] piercing damage. When you in ict violence
against a target within the Sword Dimension, you deal piercing
damage and ignore Avoid
As an Action + Flourish, you may spend a Conviction Tokent o
consume the Sword Nirvana. Cut the battle eld in half, bisecting it
cleanly down the middle. No unit can move across the bisection.
If your regret has consumed you, you can choose to die to lay
down another bisection, cutting the battle eld into four quadrants,
with the other slash crossing across where you die.
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BLADE GOSPEL STYLE TECHNICKS
BLADESTORM
You unsheathe your blade, moving through all the battle eld in a storm of
slashes
Action * Maneuver, Ritual, Steady, Scen
1 Unbalanced Foe | Range 3
Effect: Move to a space adjacent to the target before making the
attack. During this move, you may move through foe spaces. Any foe
that you move through suffers [Tier] piercing at damage.
And then make a melee attack against the target, dealing 1d4
piercing force damage. The target is then Juggled.
SWORD JUDAS
Preach the Blade Gospel: be as a sword, indiscriminate and betraying.

1 Unit | Range 2
Effect: The target in icts violence against the nearest one of their
allies. If none is in range, they chuck a rock against their nearest ally,
dealing 1d4 earth damage
FLYING BLADES OF MAKAUBOS
All at once a prayer and a spell. With an intercession to Gattalim,

Pintakasi (Patron Saint Intercessor) of Blades, Makaubos allows his blades to
circle around the target of your scorn, ready to bring them down
Flourish * Ritual, Charge
1 Foe | Range 3
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Effect: Iridescent blades oat around the target. When the target
performs a hostile action, you may consume the iridescent blades as a
Re ex to immediately skewer them, dealing 1d4 soul damage.
CUT TONGUES
Final Cut: sheathe your blade once again. Revel in the knowledge that your
psalms and sermons are useless cutting words that do nothing but rip open
wounds that should have never been there.
Action * Ritual, Scene, Perilou
1 Unit | Range
Effect: The target must make a save. On a pass, they suffer Quiet
Maneuver, Ritual, Song, or Tactic (choose 1) until the end of your next
turn
On a fail, they suffer Quiet Maneuver, Ritual, Song, or Tactic (choose
2).
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THE RAJAHNATE OF GATUSAN
A small company of sea raiders sang their shanties and echoed
their songs of wars to the setting sun. They sailed home from a
long day of raiding, covered in tattoos and abaca armor and
hardwood breastplates, brandishing their kampilan and krises
and bows and bangkaw spears. Their song was a song that
echoed across all of the Gatusan: “We warriors of Datu
Tupas... Are warriors undefeatable!” And they sang and
danced and chanted
“Captain, incoming!” shouted the young man clinging atop the
roof of their karakoa, like a monkey. “To the northwest!
All of them turned to where the sun was setting and sure
enough, there was a small battalion of them, heading straight
for an engagement. “Warriors of Datu Ha-ik Lawot!
Tiglantakas, man your stations and re when ready!
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The booming sound of the lantakas resonated across the sea.

The warriors of Radya Sandata sung and laughed as they took
out at least two of the incoming warriors. The others were
quick, howver.
One of them, a large brown man with tattoos covering his face
in the visage of a demon, hollered. “O, these stupid warriors!
They’ve come to take their revenge.
“And shall we let them have it?” Asked the man standing at
the bow of the ship, raising his kalasag and kampilan. He wore
a hardwood pakil breastplate and a pakupya helmet. “To
arms! Buwaya riders at the ready!
The slender man of the raiding party nodded, and they began
prodding the large crocodiles that rested on the back end of
the ship. The crocodiles slipped into the sea, and the buwaya
riders hopped atop them, positioning themselves onto their
mounts. There were only three of them: one of them wielded a
salapang trident, two more wielded bows
“Charge!
The buwaya riders split wide, hoping to ank in on the
incoming warriors, who seemed to be riding on the backs of
sharks
“Captain!” Shouted the scout once again. “I can see what
they’re riding now! They’re... O Indira Suga! They’re balu
riders!
And when the scout screamed that warning, the incoming
warriors of Ha-ik Lawot screamed ululating cries, and their
sh mounts took to the skies. Balu were winged sword sh,
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and the warriors of Ha-ik Lawot were infamous for having
them
“And I thought we were going to have an easy one,” said the
captain. “Buwaya riders, advance! Men, bring out your
spears: We have a sh to catch!
Regal raiders, ferocious merchants, and wealthy nobles. The

Rajahnate of Gatusan is a loose collection of Kedatuan ruled by
Datu. Each datu in turn, recognizes one that binds them all together,
called a Rajah. While these datu do not see the Rajah as superior,
they do go to the Rajah to resolve intersettlement disputes
The Rajahnate was established by the Auraskan Prince from the
far eastern kingdom of Mahajola. This prince, named Sri Bishaya,
left to establish his own kingdom. He found it in the far island of
Tauhaw, in the island hinterlands
Eventually, Sri Bishaya had two sons: Sri Bantug and Sri Daya.
They warred for ownership of Kangbishaya and Tauhaw, and in the
end Sri Daya struck the killing blow upon Sri Bantug’s breast. Thus,
Kangbishaya became Kangdaya, the seat of the Rajah across the
Rajahnate. After Sri Daya became Rajah, he went on a tour of duty,
making sure that surrounding islands swore a blood oath to him, and
traded with him, strengthening his own mandala. Then, he proceeded
to focus his efforts on creating forti cations and weapons to combat
the invading hordes of the magalo from beyond the jaws of the world
The current Rajah is Rajah Batara Ambasi, who is the third son of
Sri Malaya, who is the last direct descendant of Sri Daya. He carries
within him auraska blood, which shows in the crimson tinge of his
hair
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At one point in a dream, he saw the Suladnon Bakunawa--one of

the many sun and moon eaters--rise from the sea and attempt to eat
the sun instead of the moon, and she spoke to him, telling him that as
she will consume the sun, so will the Rajahnate consume the islands.
Promising victory, Batara Ambasi solidi ed his connections and kin
and proceeded to conquer a Sultanate city on the opposite coast of
his island. Through this act of supreme valor, he consolidated his
Rajahnate
The Rajahnate’s Mandala is called the Gatusan, which
encompasses a wide variety of islands. Warrior States here are
known to tattoo, while Merchant and Farming States prefer to be
mapuraw, or natural colored.
They are known to worship a pantheon of Gods in the sky known
as the Langitnon, the heads of which are Mother Sun Indira Suga
and Lightning Father Jamiyun Kulisa
Tawo born into the Gatusan are born into grand spiraling temple-
trees and sprawling balay neighborhoods and communes that help
each other. From a young age, they are taught by their parents their
trade and what they know about the natural world. This knowledge
is known by all--there is no “secret higher form of knowledge” in the
Rajahnate, save for the knowledge and wisdom of the elders and the
spirit mediums, who can speak with the knowledge of the world
Gatusan children are taught war at a very young age, and each
person always carries a balaraw, or a push dagger, for which is their
most personal implement. In addition, Gatusan and Ibalong tawo are
expected to cultivate and sharpen their skill for poetry, lest they be
left behind in social gatherings and contests of wit
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The tawo here are not taught a speci c religion--although it has

been classi ed as Anito-- instead being taught the reverence of
nature, of the ancestors, and the names of their own diwata. The only
thing that can be found across them is the existence of the pantheons
of the Langitnon and Suladnon--the deities of the Sky and the
Underworld respectively. Everyone knows Jamiyun Kulisa, the
Thunderbolt Father, and Indira Suga the Mother Sun. Taotao idols
can be found, modelling Somarajah Daktul, the Quicksilver Moon,
and of Dakhari Barangaw the Rainbow of Victory.
Nobles in the Rajahnate are known as kedatuan, royalty or
related to the Datu. They have access to wealth and trade routes, and
usually are pro cient in Trade Mataram, the trading lingua franca of
the Maritime Known World, which spans from the Medaka
Peninsula, to Naksuwarga, and to The Sword Isles.
Gatusanon and some Akainon refer to Ba-enon and Virbanwanon
as “Baikhan” since they are the main source of Baikhan artifacts and
trade goods. Younger generations have begun to refer to them as
their Mandalas now though.
The honori cs Laki for males and Bayi for females is used when
deference must be taken
They are beholden to almost always wearing gold and jewelry,
and have larger balay than those of lower social classes. Many tumao
can also become spirit mediums, although many prefer to follow their
Datu into battle instead as warrior vassals
Tumao are supporters of the datu and are often part of the
kedatuan. In simpler terms, they are the Datu’s vassals. A tumao
might be the Datu’s steward, or paragahin, who did all the hard work
of collecting and distributing tributes and preparing for feasts
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A tumao might also be an atubang, the loyal private counselor of a

Datu. They might be a bilanggo, his personal sheriff, whose own
house served as a jail called a bilanggowan.
Many kedatuan are beholden to following lucrative trades such as
seamanship, crafting, hunting, and shing
In a collection of states and cities such as the Rajahnate, war was
the lifeblood that kept it running. And thus all the freedmen of the
Rajahnate, the timawa are all Kadungganan. They all follow their
Datu into combat and wage war for him
The major prohibiting factor here is the existence of obligatory
debt: many Datu take in timawa and protect them, and this serves as
debt to the Datu
Debtors are common here, and the Datu has the most amount of
peasant debtors that work his elds and offer him tribute.
A Datu is expected to guard and treat their servant servants most
preciously, as if they were one of their own.
NOTEWORTHY PERSON
Rajah Batara Ambasi is the current Rajah, who heads a
Rajahnate that has at least twenty Datu under them. Rajah Batara
Ambasi sits upon his high-backed bamboo throne: a bamboo dais
whereupon he sits in a lotus position, overlooking the Throne Hall of
the Dawneater Longhouse Palace, which takes person a few minutes
to walk from end to end. His presence looms over all: like a god he
watches. Whenever a visitor enters, he lifts his right hand with three
ngers pointing up, and another hand resting upon his feet. His arms
are covered in bangles and armlets of pure gold until his hands,
which are so scarred and tattooed that they look more like tiger
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claws. He wears a sarong that is as long as the great hall of his

Dawneater Palace, and he wears three garments atop that: a single
cuirass of gold and abaca, a long-sleeved gown of foreign silks and
gold spun so thin that they are as silk, and a giant shawl that wraps
and covers his shoulders and neck, which oats about him like a
cloud and fulminates as if a living ame. His feet are always covered,
none of his tattoos can be seen by lowly mortals and non-royalty.
His hair is white like tiger fur, braided intricately yet still wild, so
long that it lies in a spiraling pile beside his bamboo palace. Over that
he wears a golden pudong that is as tall as his torso, ornamented with
carnelians, agates, sapphires, emeralds, and golden nuggets folded
into owers with in nite petals
His face is intricately tattooed in crimson and black in the face of
a howling tiger, a beast rare in the islands. His eyes, most frightening
of all, are the true eyes of a tiger’s: feline, striking, and lusting for
blood
The Rajah is a peerless swordsman, and one who has an
impeccable handle over sorceries, trained by a powerful Hexers.
Many have tried to extinguish the ame of his majesty: his policies
tend to open up too much, and Rajahnate patriots wish for a
Rajahnate that puts their own culture rst, pushing out foreign
in uences
The Rajah says this is folly, and wishes to incorporate all. His goal
is said to be this: the destruction of the Rajahnate itself. A goal which
Rajahnate faithful cannot abide
He has managed to survive every assassination attempt thus far.
Only a truly concerted effort can bring him down now.
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Rajah Batara Ambasi’s taste for grandeur is re ected in the grand

city of Kangdaya, golden and gleaming, with rivers running up its
densely populated neighborhoods. With Baikhan junks and
Naksuwargan adyongs all embarking and disembarking within, with
their marketplace always lled. The Rajah will make sure that those
that try to depose him understand why he is Rajah in the rst place
Datu Sukarno. A mustachioed Datu who hails from the island of
Buwol, upon the grand city of Tajilaran. Datu Sukarno is a well
known scheming warlord, who wants nothing but the safety and
freedom and prestige of his home banwa. Thus, he seeks to become
the new Rajah, planning on gathering as much power as he can, to
make sure that Tajilaran becomes the trading entrepot that Kangdaya
is today. He regularly raids trading ships to Kangdaya to try and
destabilize the Rajah’s power, and he is quickly amassing a ghting
force of a hundred Kadungganan to ght beside him in the growing
tensions
Balina Hugyu. The granddaughter of the now dead raider-datu
Sipulapula, who fought against Sri Malaya himself in an attempt to
destabilize his power. Evidently, Sipulapula hasn’t succeeded, and
with his family returned to his homeland of Sonyoh. His
granddaughter, Balina Hugyu, is a skilled Kadungganan who excels
with the songil. She regularly travels to try and nd more challenges,
in the hopes that she can be strong enough eventually to become a
Datu
NOTEWORTHY POLITIE
Sinugpo. A city-state ruled by a long line of blue-blooded Datu,
in the western peninsula of the Ramasa Island. They hold diplomatic
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relations with Naksuwarga and are known to train the ercest of

warriors. They conduct raids along the coast of Virbanwa, leading
them to become hated enemies. They are masters of sea raiding and
are known to hold good relations with almost all the other city-states,
making them a formidable force to anger. Their current Datu, Datu
Sangbagsik, is rumored to be plotting to overthrow the current Rajah
and become the next one
Gandara. A small shing polity led by the Fisher-King Datu
Balahura, who has a pet whale shark. Every year, someone is
abducted by the forest, never to be seen again. None question this,
although they say it is so that shing remains bountiful, and that it is
the unglu, lithe and tall shadowfolk that live in the mountains and the
forests that need to be appeased. Many missions are sent there by the
Lakanate but so far none have succeeded. At night, people speak of a
mysterious City of Lights, which they have come to call Lungsod-
Liwanag. Shining City. It trades amiably with the kingdom of
Ibalong
Norok. A popular polity led by Courtesan-Datu Sinhata. It can
be found in Salima Falls, one of the steepest and tallest waterfalls in
all of The Sword Isles. There, the Salima Hotsprings lie at the base,
heated by the volcano Duluum. The people of Norok have monastic-
sages named Tigtimbang, those that weigh or keep the balance, and
preach the holy faith of Hiyang, oneness and balance with nature.
They are most known for worshipping the holy mountain of Ubir,
whereupon a great Dakbalete can be found, said to house a number
of spirits within. The Dakbalete, known as the Spirit’s Bathhouse, is
said to be a gateway into the realm of the spirits, as well as to Sulad.
Norok is the constant giver and receiver of trades against Pannai
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Put’wan. Once a burgeoning rajahnate of their own, they have

since fallen in glory. Much of the Put’wan warlords have traveled to
Akai, where they grew in power and fealty to the Sultanate. The
current Datu of Put’wan, Datu Sahaya, is the current brother of
Rajah Batara Ambasi. Thus while he pays fealty to the Rajah, he still
commands a great deal of autonomy. Put’wan itself was known as the
City of Gold before Kangdaya. Built kilometers along the Inagos
River, the river itself yields gold by just panning. Thus, gold was used
as decoration for houses, for plates, for weapons and armor and
more. Even debtors. A great number of goldsmiths, showing off their
skill in their craft with their ability to fashion and craft gold like silk,
come from Put’wan. In ancient times, Put’wan also had regular
contact with Baik Hu and Loc Luang, trading and raiding their
shores.
Kangdaya. The largest city of the Rajahnate on the western island
of Tauhaw. Kangdaya is the richest settlement in the Rajahnate, ruled
by the Rajah Batara Ambasi from within its golden walled pagodas.
Known as the City of Gold, they are in position of large amounts of
iron from mining, gold from their homes and rivers, and weapons
from their diplomatic relations with the Baik Hu Hegemony, of
which they have become an honored vassal state, thus giving Rajah
Batara Ambasi the title of Hwang, and also thus being recognized as
King by not just his own people, but also by the Hegemony of the
Baik Hu Empire. Those that live in Kangdaya enjoy greater
pleasures and privileges when it comes to trade and import. One can
nd bamboo-and-balete magdantang (communal spirit houses) and
layered city walls in Kangdaya, They have since become a major
target of Naksuwarga and Virbanwa during the Second Star Era.
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Destabilizing Kangdaya is the key to conquering all of Rajahnate.

The greatest of the Rajahnate’s Kadungganan, all of which are called
timawa, are trained here in the Monastery of Winds

To Virbanwa: Feh, those knights have sat on their horses for so
long their saddles run up their ass! Fuck their livers, they don't own
shit
To Akai: We used to raid them, now we raid each other. Come,
moon raiders: the seas part for we alone
To Apumbukid: Friends, but the raiding we do is a cesspool for
atrocity, breeding ground for disharmony, for Hindi Hiyang. They
don't like that, and when they strike without remorse, we don't like it
either
To Ba-e: Like my sister always said: respect your elders! But if
they get uppity, we'll sail to their trading docks and remind them who
it was that raided the shores of Baik Hu
GATUSAN DISCIPLINES
The following are the Disciplines born from Gatusan
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BUWAYA LANCER [BWL

Buwaya Lancers are often considered a threat upon the
entirety of The Sword Isles. Borne from the need to travel quickly
across both water and land, an ancient warrior tamed one of the rst
buwaya, which is the native term for crocodile. It has since become
the name for buwaya that are bred to become mounts: tall, long-
legged crocodiles that are fast and have a huge amount of stamina
Buwaya Lancers arose during the end of the Second Moon Era.
To escape capture from powerful Put’wan cataphracts, which rode
upon great six-legged steeds, the great Laksamana Tuhon
Langkasingbangis and his reduced war band of a measly 12 managed
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to escape by speaking to a buwaya and the buwaya accepting his
oath, remembering that ancient warrior that tamed the rst buwaya.
Thus, twelve buwaya managed to ride down the river and boarded
their biray to escape to the distant land of Ramahasa. There they
honed their ability in buwaya taming, creating saddles and tasselled
bardings, made of gold and mother-of-pearl and bamboo and more.
Rajahnate Buwaya are painted in a same manner the warriors were,
although not tattooed. In this way their bond becomes tighter,
stronger
The buwaya lancers have since become one of the most well-
known Disciplines across The Sword Isles. It has become a stable
cavalry, one used extensively by Rajahnate polities that could afford
it, and the Akai Sultanate to combat the cavalry of the other polities.
Buwaya lancers were called thus because they were made to
break the enemy’s frontline. In The Sword Isles archipelago warfare,
this would not be the end of an enemy’s formation, as war was waged
not through formations but through force of will. However, the
ability to break the ranks through Buwaya Lancers is a very effective
tactic that has huge effects upon the moralization of warfare. Buwaya
Lancers are usually trained to use spears (bangkaw) or tridents
(salapang), but other kinds of weapons are just as viable
Buwaya lancers are much wanted in Kadungganan parties, as
they are made to crush the frontline and stay there, using crocodile
and military armament to crush the opposition.
If you become a Buwaya Lancer, ask yourself why you ride upon
the greatest of spirits only to bring violence. You are one with a beast
known both for death and for the ancestors. You say you protect, so
why do you let your buwaya rip that man’s head off? Why do you
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stab while atop your enslaved holy power? Why do you think you are
as great as the gods themselves
The Martial Art of the Buwaya Lancer is known as Death Maw
Style
When you take upon this Discipline, gain the following

bene ts
DEATH MAW STYLE FUNDAMENTALS: RIVER GOD MOUNT
You have a buwaya mount, a giant crocodile. Crocodiles are venerated like
ancestor gods in the isles, and to have one ght with you is a sign of respect and
prestige. Buwaya are powerful, can barrel through foes, and can bite when
needed
You have a Buwaya Mount. While on the Mount, your Size
becomes Size 2, your Speed becomes 3, you gain Armor +1, you
ignore all water based terrain, have 5 Speed when swimming, and
you are considered as being on a higher Height.
Whenever a unit voluntarily moves out of a space adjacent to you,
you may make spend an Interrupt Reaction to perform a buwaya
clamp: grapple the escaping unit. Any unit that tries to escape this
grapple suffers Weakened on the save
DEATH MAW STYLE MASTERY: REVERENCE TO THE BUWAYA
Fishin
You chuck a spear or perform a maneuver that brings others closer to you
Action * Maneuve
1 Unit | Range
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Effect: Make a melee attack, dealing 1d6 water damage. And

then pull the target 1 space towards you
Buwaya Ma
Your buwaya bites and brings the target about
Action * Maneuver, Burst Finishe
1 Unit | Adjacen
Effect: Make a melee attack, dealing 1d4 earth damage, and then
shift the target 1 space. If the target is Grappled, you may knock the
target prone as well.
DEATH MAW STYLE SECOND WIND TECHNICK: PSYCHOPOMP
Buwaya are known to also bring the souls of the dead to the underworld as
psychopomps. You and your buwaya beat your chest, reach for that truth, prove
your conviction
Flourish * Maneuver, Scene, Hea
Effect: Heal Breath. Heal an extra 1 Mettle for each unit in the
eld that is Incapacitated
following bene ts
DEATH MAW STYLE MASTERY: REVERENCE TO THE BUWAYA
All spaces adjacent to the buwaya mount now become Dif cult
Terrain for foes. You can now grapple up to two units at a time. All
foes adjacent to the buwaya gain Enmity to you. You cannot be
forcibly knocked off of your mount
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When you Stride while mounted on the buwaya, and you move all
3 spaces of your Speed, you may create a Size 1 piece of blocking
terrain in a space adjacent to you at the end of the movement.
DEATH MAW STYLE FORBIDDEN TECHNICK: NAGA EXALTATION
For a second, you and your buwaya take upon the visage of a sea dragon,
glowing through the air. Your buwaya gains storm ns and torrential whiskers,
and you glide through the battle eld as if upon a dragon. Naga are the dragons
of The Sword Isles, known as the Rajah of Buwaya. They are the oldest of
crocodiles, ancestors of ancestors. They are the most powerful of the spirits, not
representing anything for they are not diwata, but are simply ancient beings
that have existed in the nebulous before. When one sees a Naga, one must
perform the same obeisance one would do to datu, even if they are datu
themselves
Flourish * Maneuver, Ritual, Opener
Self
Effect: Your crocodile becomes a Naga until the end of the scene.
While riding upon the Naga, ignore all terrain and Height, you have
+1 Reaction per turn, your Speed becomes 5, and whenever you deal
damage, you may push the target 3 spaces.
Your Buwaya also grows to Size 4. Whenever you move through
foe spaces, deal 2 piercing at damage. You can move through
hindering terrain and destroy blocking terrain. Any object you move
through suffers 20 x your Tier damage
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DEATH MAW STYLE TECHNICKS
HEAVEN SEIZING ATTITUDE
Your muscles and strength is unparalleled. You can wrestle with the Gods in
the Sky. Crowns shall slip from heads unworthy. Your spear shall impale the
gods upon high, and all shall bow down at your feet. This tenacity and boldness
helped Ramasa keep their strength even after the advent of the Issohappans
Action * Maneuver, Taxin
Up to 2 foes | Adjacent
Effect: Make a melee attack, dealing 1d4+1 earth damage, and
then all targets are immediately grappled by you.
DEATH ROLL
“Usa: Who will nd you when you are in fragments?

Duha: Do you not quiver at the sight?
Tulo: This is the divine butchering, the ancestors ripping the world.
Upat: Do you understand? You are not meant to see this
Lima: Rejoice, then. Rejoice. Here, you shall taste bliss. Only in Sulad will
you achieve enlightenment.”
- Pagoda Tree Sage Sutla 4
Action * Maneuver, Scene, Perilou
A Unit you’re grappling | Adjacent
Effect: Deal 2d8 earth damage and push the target 2 spaces. This
ends the grapple. All foes in close burst 2 of the target become Dazed
until the end of their next turn and are knocked prone
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BUWAYA CRASH
1. The Buwaya brings with it hell

2. And with a bellow, it brings others with it
- Makara Exalt Sutla 128
Flourish * Maneuver, Taxing, Perilou
All spaces | Close Burst 1
Effect: The target area falls by 1 Height (Example: on Height 0,
those spaces become Height -1). You cannot bring a space to below
-2. All combatants in the Burst are knocked Prone
RIVER GOD TRANSGRESSION
1. Woe, woe be to those that would dare defy the Buwaya

2.That ancient god of the rivers, that dragon of the lake
3. Woe, and calamity
- Daknunuk Sutla 9
Movement * Maneuver, Taxin
Sel
Effect: You may Stride and move through foe spaces. If you do,
the foes you move through are knocked prone, and become Weak to
Water until the end of their next turn
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KAWAL [KWL
Kawal are faithful Sentinel and defenders of their Datu,
Sultana, Rajah or Lakan. They are the greatest paragons among the
Kadungganan: they exemplify all the virtues of a Kadungganan and
then more, protecting their fellow Kadungganan by attracting the
attention of the enemy and stopping them in their tracks
Clad in a mix of metal chainmail and kalabaw hide armor,
kalabaw horn breastplate, and hardwood shields, the Kawal is an
indomitable force in the battle eld, controlling the battle eld with
superior movement, tactics, and their force of will
Kawal only get their prestigious name after undergoing a grueling
training process, which weeds out those that cannot handle the
pressures and responsibilities of a kawal. Using techniques that
sythesize native forms as well as learned arts from Madaki and
Naksuwarga, the Kawal excels in keeping their allies safe while
staying alive. Rajahnate Datu employ techniques of the Kawal, and
more often than not they do it so that they can keep their people safe.
Akai have deployed their own contingent of Satariya, which use giant
ceremonial blades instead of spears to guard their allies. Apumbukid
is known to train entire settlements in this art as well, the most well
known one being Saginda in Pumirang, where they’re trained by
ancient guardian spirits in deep underground coral river caves
Kawal are well versed in all forms of combat and weaponry, and
they cannot be outmatched when it comes to their favored weapon.
Additionally, their ability to move in heavier armor makes them elite
troops of any Kadungganan party
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If you choose to take up the mantle of the Kawal, say who you
pledge your allegiance to and why, and why your faith in them has
led you to making sure that they will never be harmed
Ask why you give your life to them. Is loyalty your virtue or your
sin? Why do you break the sky for someone who might not do the
same for you
The Martial Art of the Kawal is known as Unbreakable
Vanguard Style
UNBREAKABLE VANGUARD STYLE FUNDAMENTALS: ROYAL GUARD
At the end of your turn, you can take on the Royal Guard Stance,
which lasts until the start of your next turn. You have Armor +1
while in Royal Guard Stance. As an Interrupt Reaction, you may
consume the Royal Guard Stance to do the following effects:
- Crocodile Watch. When a foe enters or exits a space adjacent
to you, make a melee attack against them, dealing 1d6 force
damage
- Kalabaw Guard. When an ally adjacent to you suffers damage,
you may take the damage instead, suffering -2 damage
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UNBREAKABLE VANGUARD STYLE INFLICT VIOLENCE: FURIOUS
GUARDIAN
Tide of Iro
You move forward, letting your conviction carry you
Action * Maneuver, Steady, Comb
1 Unit | Mele
Effect: Make a melee attack, dealing 1d6 force damage. Push the
target 1 space away
Combo: If the next attack against the target is a Lunge Finisher
and it deals damage, the target is knocked prone
River and Sea Any

You strike with breaking momentum
1 Unit | Melee
Effect: Make a melee attack, dealing 1d4 force damage. The
target is then Slowed until the end of their next turn
UNBREAKABLE VANGUARD STYLE SECOND WIND: GUARDSTRENGTH
You remind yourself of your conviction, of why you hold your weapon, your
shield
Flourish * Maneuver, Heal, Scen
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Effect: Heal Breath. If you are Battered, gain Guarded as well
until the start of your next turn
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When you learn all the Technicks of this Discipline you gain
UNBREAKABLE VANGUARD STYLE MASTERY: SACRED FLAME SHIELD
You no longer go into the Royal Guard Stance. You can use any
Royal Guard effect without needing to be in Royal Guard Stance.
You gain the following Effects as Interrupt Reactions
- Aura. When a you start your turn, you may make all spaces
adjacent to you dif cult terrain until the end of your next turn
- Shield. When you are damaged, roll a d4 and then subtract the
result from the damage. This can bring the damage to 0
- De ect. When you or an ally in adjacent range is damaged by a
ranged attack, roll a d10. On a 7+ you cancel the effects of the
attack and change the target to another unit within range 3 of you.
UNBREAKABLE VANGUARD STYLE FORBIDDEN TECHNICK: PASSAGE
OF THE KAWAL
You bring all to bear, turning yourself absolutely impervious to all attacks,
to bring all hurt away from your allies. For that is what the Kawal must do.
For those that we have lost, and for those that we can yet save
Flourish * Round 2, Maneuver, Scene
All Spaces | Wall 7
Effect: You become the Passage. Lay down a wall of conviction
that is Blocking Terrain in the target area, and you only suffer 2
damage from any source, which cannot be raised or lowered for any
reason, even with Armor. However, you are Rooted, and you cannot
perform Actions. You cannot be brought below 1 Mettle while you
are the Passage.
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The Passage lasts until the end of the scene until you spend
another Flourish to end it. If you end it, all foes in close burst 5 gain
Enmity to you until the end of your next turn
UNBREAKABLE VANGUARD STYLE TECHNICKS
RAGING HARIMAU PROVOCATION
You bring your weapon up, and then slam it into the ground, sending fury
and steel across the battle eld. “A kshatriya must know that they are the wall,
and for the wall to be effective, the swords must crash against it,” says
Apumbukid Datu Daya.
Flourish * Maneuver, Tacti
1 Unit | Range
Effect: The unit suffers Enmity to you until the end of their next
turn
WATER BUFFALO CRUSHES BOULDERS
“A kshatriya never falters, no matter what weapon they hold. Their

training lets them be like the anowang, wild and perseverant, facing challenges
head on with whatever weapon their hands may fall upon.” – Akai Datu Arrak,
as she teaches her daughter the ways of the Kerbau Satariya
Flourish * Maneuver, Taxin
1 Unit | Melee
Effect: Become Guarded until the end of your next turn. While
Guarded, you lose all Weak Af nities. When you are the target of a
melee attack, you may consume the Guarded as an interrupt reaction
to immediately push the target 3 spaces back. If they collide with
terrain, they are knocked prone
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TIDE OF IRON PAAGI
“The kalabaw’s perfect tactic is never letting a target from their sight. A
second sight, guided by their umalagad. That is the Kawal’s ultimate skill.
Perfect battle awareness.” – Confederation Tactician Sarinlawi, trying to pick
apart the skill that makes a kalabaw kshatriya so that it can be written upon
copperplate
Flourish * Maneuve
Sel
Effect: Gain Watch. When a foe enters or exits a space adjacent to
you, you may consume the Watch to immediately make a melee
attack against them, dealing 1d6 force damage
KAWAL ULTIMATUM: BULU
You call out: “You! I challenge you. Face me or face the wrath of Jamiyun
Kulisa!” Kawal are masters of the battle eld. With a single command, they
invoke the rite of violence: the Bulu, a duel in the midst of battle. One that they
will surely win. A bulu is a duel to the death, after all
Flourish * Scene, Maneuver, Round 3
1 Foe | Range
Effect: You declare a bulu with the target. For the rest of the
scene, until one of you is Crashed, or you call it off, both of you gain
Enmity to each other and Elusive. However, when attacking each
other, you both deal Strengthened damage
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MANGANGAYAW [MNG
Mangangayaw (Mah-nga-nga-ya-o) burn through the sea upon
boats that slice the waves. They raid shoreline settlements with
impunity, usually forcing those living within to travel further inland
to avoid them.
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While raiding is the main form of warring in The Sword Isles,

mangangayaw are those that are specialized in the art of Raiding. In
the art of catching enemies with their shields down, in the midst of
the night, and looting what they need. Mangangayaw might kill, but
their main goal is resources: bahandi property wealth (like brass
gongs, porcelain jars, and the like) and debtors
Through this they get richer, stealing shoreline settlement’s riches
and porcelain and tradeware to sell from their own villages and
towns. Mangangayaw are usually not mercenaries: they usually
follow their own datu, and in truth do usually raid with their datu
during raiding season, to collect money and wealth from enemy
states.
Mangangayaw are not only feared within the Gatusan, but also
among the shorelines of the Akai Sultanate and the Virbanwan
Lakanate, although the Akai Sultanate are peerless raiders on their
own.
They have mastered boat technology and sea navigation to a point
that they raid upon the far southern shores of Baik Hu and terrorize
the shore settlements of the Malirawat Empire as well as the
Naksuwarga Empire to the north
Demons, kin-eaters, ogres, they are called, for they are unceasing
in the face of adversity. Like a storm approaching that cannot be
stopped, only avoided, the kayaw raiders come. Kayaw is the root
word for sea raid in most of their tongues, shared among settlements
in hushed and whispered tones, too afraid to speak it out loud lest
they call their ire
Mangangayaw are wont to wear light armor--and truly enough
usually none at all--depending on their skin-scarred tattoos to defend
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them in the midst of the sea. The bravest of them all have tattoos that
scrawl up to their faces, making them to look like demons.
Mangangayaw are brothers with Pinatikan in this regard, and in
truth, many Pinatikan are also Kayaw raiders, and vice versa
If you take up the path of the Raid, ask yourself why and for what
reason: glory? Power? Wealth? You’re losing that reason. Why do
you enjoy the killing
The Mangangayaw Martial Art is known as Skysea Raiding
Style
SKYSEA RAIDING STYLE FUNDAMENTALS: FLOW
A mangangayaw must always be showing off, or else they die. No, really: if
a sea raider slows down, they will be consumed by the waves of war. And so they
must keep moving, so that they are above water
When you move your entire Speed when you Stride, you become
Raiding. If you gain Raiding while you have Raiding, you rise in
Raiding level. Raiding is sequential: there are three levels of Raiding.
There’s Raiding > Burning > Smoking. Rising in Raiding level only
happens 1/round.
While you have any level of Raiding, you have Avoid. You lose all
Raiding Levels when you suffer damage from an attack
- Raiding: You have +1 Speed and deal +1 extra damage
- Burning: You have +2 Speed and deal +2 extra damage
- Smoking: You have +3 Speed, deal +3 extra damage.
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SKYSEA RAIDING STYLE INFLICT VIOLENCE: HINAGIBANON
Water Pulsing Strik

You perform a strike quicker than rushing rivers
Action * Maneuver, Lunge Finishe
1 Unit | Mele
Effect: You may quickstep 2 spaces before or after making a
melee attack, dealing 1d6 water damage
Typhoon Any
1 Unit | Mele
Effect: Melee attack against the target, dealing 1d6 force damage,
and then gain Avoid until the end of your next turn. If you already
have Avoid, gain Elusive until the end of your next turn instead
Combo: If the next attack against the target is a lunge nisher or
blast nisher, they remove Avoid or Guarded if they have it.
SKYSEA RAIDING STYLE SECOND WIND: MOMENTUM
You leap onto boats, ride the waves, and increase your momentum no
matter what might try to hinder you
Flourish * Manuever, Heal, Scen
Sel
Effect: Heal Breath. You may move 3 spaces without provoking
reactions after healing and then raise your Raiding level by 1
When you learn all the Technicks of this style, gain the
following
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SKYSEA RAIDING STYLE FUNDAMENTALS: SMIRK
When you rise in Raiding level while you’re already Smoking,

you Smirk. While you Smirk, you enjoy the bene ts of Smoking and
deal an additional +1 extra damage on top of that. Smirk lasts until
the end of your next turn
As a Flourish, you can consume the Smirk, removing all your
Raiding Levels, when you deal damage to deal maximum damage for
that roll
SKYSEA RAIDING STYLE FORBIDDEN TECHNICK: RAID HEAVEN AND
EARTH
The entire battle was a setup. Heaven sees your movements: you were
priming yourself for the ultimate raid. With your warband you charge, strings
of fate binding you together. You move like the hurricane, slam like the
tsunami. “Violence is life, and life is violence. Rememer this dichotomy, and
every move you make will be an attack.” – The Teachings of Panglima
Namwaran, warlord-datu of ancient Tundun
Action * Round 3, Tactic, Maneuver
Self and All Allies | The Battle eld
Effect: The target may move 7 spaces. If they end up in range to a
unit, they may in ict violence against the unit.
SKYSEA RAIDING STYLE TECHNICKS
ABAKA RAIDING ROPE
An abaca ber hemp rope is tied to the hilt of one or two weapons, letting
them push and pull enemies. “This might seem like a nondescript thing, but
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trust me. You’re going to want to use this.” – Rajahnate Datu Gabat, teaching
teenaged warriors on the way to raid a settlement that had blasphemed an allied
datu by saying that his dick was small
Flourish * Maneuver, Charge 3, Comb
1 foe or space | Range 2
Effect: Pull the target to a space adjacent to you. If the target is a
larger Size than you or the target is a space, you move to a space
adjacent to them instead
Combo: If the target is a foe, if the next attack against them is a
lunge nisher, the target is also Unbalanced, and suffers 1 extra
damage.
LIVE HAND
Just like your practiced drills with your Guro. Your movements become
your opponent’s, and before they know it, their body is covered in cuts. Your
mastery of the undulating waves knocks them off balance, and you kick them
toward an ally to nish the job
Interrupt Reaction: You are the target of a melee attack *
Maneuver, Scen
The triggering foe | Adjacent
Effect: Step in and perform a quick martial movement to disarm
the attacking foe. You do not suffer the attack against you and deal
1d6 force damage to the target or another unit adjacent to you
MONSOON
You’ve mastered the art of Catching Lightning: a Raiding Art taught to

only the greatest of Mangangayaw. Your hands move faster than the wind.
Your attacks ow into the next one, not one being a mistake, each one a set up
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for the next. All will fall under your salt, your weapons ash like lightning in
your hands
Flourish * Maneuver, Stanc
Self
Effect: You take on the Monsoon stance.
Stance: While in the Monsoon Stance, whenever you Stride, you
may move through foes. If you do, you deal 2 piercing Force damage
to them. You lose Monsoon Stance when you are knocked prone
SINAWALI ANYO
Mangangayaw are expected to be quick, surehanded, and surefooted. None

can match their skill in combat, one that is sure even in the undulations of the
sea. You strike with two weapons: whether it be something you wield, or with
your bare hands, taking advantage of superior tactics and teamwork
Action * Maneuver, Steady, Reliable 3, Scen
1 unit you are anking | Mele
damage, and then in ict Unbalanced until the end of their next turn.
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SWORD-POET [SWP
Commonly known as the Sundang Balaknon. It has been long
said that the only time the people of the Rajahnate are not singing
are when they are sick, asleep, or dead. This is doubly true for the
Sword-Poet, Poetic Sword, an elite Discipline of Kadungganan that
focuses on ghting while singing. Even in battle, even without the
accompaniment of agung, they sing a song of beauty and sorrow, one
that wrenches the hearts of enemies
Sword-Poet, or Warrior-Poets are not a formal organization: they
rise naturally, out of the common stock of the Rajahnate or
Confederation, for in the Mandala a rite of passage into adulthood is
the ability to perform combative poetry (and all poetry was sung)
against another of the same age. They sing in either glorious boasting
tones or in low rapid-syllable drawls
These warrior-poets, through their battles and shared techniques,
use their words and songs to defend their fellow men, letting their
violence-charged verses and words strike the hearts of enemies that
attack their allies, like the ogres they are. Their heart wrenching
melodies force enemies to focus on the Warrior-Poet, lest they face
the weight of the world. Their Gahum (spiritual power) emanates
from them, carried upon the winds of their words, strengthening
allies and crippling enemies. This philosophy has created a subset of
Hiyang faith called Hiyang Awitan, which focuses on the philosophy
that believes that song is the source of all life, and that Diwa is a
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harmony constantly played across all time, and is what connects all
things together
Sword-Poet, whenever they sing, sing in a different language.
One more owery and lled with impossible metaphors and idioms
that only they can truly understand. This language is known as
Flower Tongue, and it is said to be the most beautiful language never
spoken, only sung
When you become a Sword-Poet, ask yourself: why do you ght
for a land that does not hear the notes of your sorrowsong? Your
song falls upon bloodied ears and corpses. Will you wait until your
song ends
The Martial Art of the Sword Poet is known as Flower Song
Cuts Petals Style.
FLOWER SONG CUTS PETALS STYLE FUNDAMENTALS: SWORD SONG
When you leap into violence, you begin singing a song of war. A song of
your warband overcoming overwhelming odds. A song of you and your friends
ghting for a better world. A song of you and your family, your closest loved
ones, proving their conviction in a world of death and war
As a Flourish, you may go into the Sword Song Stance. While in
Sword Song, all foes in burst 2 of you gain Enmity to you and you
have +1 Armor. You can choose to end Sword Song as a Re ex
during your turn or any of your allies’ turn
As a Response Reaction, when one of your allies is damaged by a
foe within range of your Sword Song, you may consume the Sword
Song to immediately quickstep to a space adjacent to the foe and
in ict violence against them
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FLOWER SONG CUTS PETALS STYLE INFLICT VIOLENCE: SWORD AND
SONG
Melody Swor
You explode into a quick staccato of words as your strike
Action * Son
1 Unit | Range
Effect: Make a melee attack, dealing 1d6 wind damage. Then,
until the end of the next turn, every time you use a Song, you heal 1
Mettle
Cutting Son
You sing and strike
Action * Maneuver, Song, Blast Finishe
1 Unit | Melee
target gains Enmity to you until the end of your next turn.
FLOWER SONG CUTS PETALS STYLE SECOND WIND: DREAMSONG
Dream of a better world

Flourish * Song, Scene, Hea
Sel
Effect: Heal Breath. You Re ect 1 elemental damage type of your
choice until the end of your next turn. If you use this while Battered
and you have 1 ally adjacent to you, they also heal their Breath
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FLOWER SONG CUTS PETALS STYLE MASTERY: WAR AND PEACE
While in Sword Song Stance, you gain access to the following

effects
- Flower Mockery. As a Flourish, consume the Sword Song
stance to in ict Unbalanced on all foes in close blast 2
- Song of Blossoms and Orchids. As a Flourish, consume the
Sword Song to perform this song: choose up to 3 foes that have
enmity to you. They dance to your tune. Shift them 2 spaces
- Salinggogon Petal Poem. As a Response Reaction, when a foe
in range 2 attacks an ally, you may consume the Sword Song to push
either the foe or the ally 2 spaces away from the other
FLOWER SONG CUTS PETALS STYLE FORBIDDEN TECHNICK:
ALMIGHTY SIDAY
You sing a siday, the folk epic songs of your people. Your song bolsters those
around you, and entrances your enemies. They are thrown into a reverie state,
forced to play out the Siday that you sing, wherein you are the inevitable victor.
However, it is a well known fact that Siday last for up to seven days and seven
nights, enumerating the exploits of great datu and dayang
Action + Flourish * Maneuver, Son
All Foes | Range 5 Burst 5
Effect: You sing your song for the entire round. The target
cannot perform any any Hostile Actions until the end of their next
turn. If they do anyway, the Umalagad must make a Morale Roll
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FLOWER SONG CUTS PETALS STYLE TECHNICKS
SWORD AMBAHAN
You sing your sword’s steel in a graceful urry about you. A amboyant
Sword-Poet, Si Pahimuot, once performed this amidst the kshatriya forces of
Datu Mabigi, from the league of Pannai, who hunted him down due to him
killing his bride. He escaped by staying silent—unheard of for a Sword-Poet—
and amplifying the cutting tang of his blade. He performed a quick dance,
cutting all those about him.
Action * Maneuver, Song, Fiel
All foes | Close Burst 1
Effect: Make an area attack against all units, dealing 1d4 wind
damage. Then, put down a Sword Ambahan eld in the target area
until the end of your next turn
Field: If a burst nisher is performed within the eld, the Sword
Ambahan crescendos and diffuses, granting Strengthened to the next
attack of all allies within the eld
SONG OF CHAOS
Sing an ululating song of confusion and mockery. A confusing song that

befuddles minds and hearts, favored by Sword-Poet that prefer a certain degree
of paci sm. This song was created by Datu Belaskes, who was born in
Virbanwa but became a Rajahnate Datu and swore alliance with Ambasi. In
his quest for peace, he created a song of chaos.
Action * Maneuver, Son
1 foe | Melee
Effect: Make a melee attack, dealing 1d6 soul damage. The target
must make a save or be Marked by you until the end of your next
turn. When your Mark makes an attack that does not include you as
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a target within range 3 of you, you may leap into a space adjacent to
them and in ict violence
VIOLENT OFFERING POEM
Sing a song that is an offering of yourself. One that utters that undeniable
truth. You sing a poem-song that infuses an ally's soul with your song. This
song is sung by ancient ascetic Balaknon to protect villagers from raids from
other polities.
Interrupt Reaction: An ally in range is the target of a hostile
action * Song, Ritual, Scen
Triggering Ally | Range
Effect: Switch spaces with the target, and you suffer the hostile
action instead
PAIN WITHOUT CEASE
A song that echoes truths about the world. Sing a song of broken lineages,
of war unending, one that asks: why must you ght like this? And do you accept
that when the pain does cease, that you will cease with it
Flourish * Stance, Son
Self
Effect: You take the Unceasing Song stance
Stance: While in the unceasing song stance, any unit of your
choice that starts their turn or steps into a space adjacent to you
suffers [Tier] piercing at damage. Every end of your turn, this
damage goes up by 2, to a maximum of 10. When you start your turn
and the damage goes up past 10, you suffer 10 piercing at damage
and the target area dissipates. You lose the Unceasing Stance when
you move, either voluntarily or involuntarily
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WAR BALYAN [WRB
War Balyan are those balyan, or spirit mediums, that wade
into the frontlines of violence to mend hurting souls. They come
with their superior knowledge of tambal (medicinal herbs) and their
af nity and rapport with the ancestor and nature spirits to help
allieviate their allies in a war without end
Balyan are the spiritual leaders of the polytheist-animistic faith
that encompasses almost all of the Archipelago, which is known to
outside people as Anito. Usually female, but men can also become
Balyan, although they must take upon the trappings and present as
female, becoming the asug gender. Asug, however, is said like an
honori c or a title.
As the spiritual leaders, they must know the principles of nature
and the world, including the imperative to live harmoniously with
nature, where all spirits live, as well as to do what the ancestor spirits
nd good and right, so as to not incur their wrath and accrue grave
misfortune.
They are the masters of ritual, performing all rituals such as the
ritual before travel, ritual for war, ritual for the death of a Datu,
burial rites, and more. They know rites for casting off diseases,
healing wounds, as well as in icting wounds and diseases. They
speak and ask guidance from the ancestor spirits, known as
umalagad, to give them power or answers, or to defend them in
forthcoming tribulations as guardian spirits.
As Balyan, they know the truth of the world: that nature is alive
and all things have souls, nature spirits. Those that live in the
environment are Yutanon, and nature gods are Diwata. Anything
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without its diwata loses the essence of that thing, similar to how a
tawo without a soul becomes a bumbling animal fool. A sword
without its diwata becomes a sword that cannot cut, which is what
makes a sword a sword. When a balyan is possessed by a spirit,
whether umalagad or diwata, they go into a fevered trance-dance,
wherein the spirit speaks through them, overwhelming their body.
Balyan are all at once sage and scientist. They learn about the
natural world and its secrets and teach it to their settlement. These
inscriptions stand the test of time
Ask yourself: why do you abuse your connection with the divine
to perpetuate this cycle of endless violence? You have blood on your
hands, balyan. Does it matter whether it is yours, your allies’, or your
enemies’
The Martial Art of the War Balyan is known as Hiyang Ladder
Style
HIYANG LADDER STYLE FUNDAMENTALS: CHOSEN
When balyan nish their apprenticeship and complete their initiation rites,
they are usually befriended by a single diwata. Sometimes these are local
diwata, other times they dedicate themselves to higher callings, and become
balyan and mediums of the Langitnon. Whatever it is, each diwata is attuned
in one way or another with the ve natural elements
When you rst become a War Balyan, choose a diwata that you
follow and dedicate your life to below. When choosing a diwata,
consider that when using Ritual technicks or the Flourish of that
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particular diwata, the diwata itself possesses you and warps reality
through you. Use this to your advantage in describing
- Fire Diwata. Diwata of passion, strength, dynamism, and
ames. You can spend a Flourish to imbue an ally in ranged 3 with
power, giving their next attack Strengthened damage or make their
next attack deal re damage
- Water Diwata. Diwata of owing water, of movement, nesse,
litheness, and travel. You can spend a Flourish to imbue an ally in
ranged 3 with either Hastened until the end of their next turn or make
their next attack deal water damage
- Earth Diwata. Diwata of strength, stability, tradition, and
protection. You can spend a ourish to imbue an ally in ranged 3
with Armor +1 (which stacks) until the end of their next turn or
make their next attack deal earth damage
- Wind Diwata. Diwata of life, breath, cold, hot, storms and
lightnings. You can spend a Flourish to give an ally in ranged 3
Barrier equal to your Breath or make their next attack deal wind
damage
- Silence Diwata. Diwata of emptiness, the space in between, the
halting moments, time, space, and calmness. You can spend a
Flourish to give an ally in ranged 3 either Hidden until the end of the
next turn.
HIYANG LADDER STYLE INFLICT VIOLENCE: WAR SUMMONING
Summon Sword Diwat

You summon a diwata of the sword from an idol trinket upon you and cut
Action * Ritual, Maneuver, Fiel
1 Unit | Range 2~
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Effect: Make a ranged attack, dealing 1d4 force damage. Then, a

sword eld explodes in close burst 1 of the target
Field: All attacks made in the eld become Reliable 2. If a burst
nisher is performed within the sword eld, the eld dissipates: you
and all allies within the eld gain +2 extra damage until the end of
their next turn
Summon Healing Diwat

You summon a diwata of cleansing, of river sources and waterfalls
Action * Ritua
1 Unit | Range 3
Effect: Summon a Healing Diwata to heal the target 1d4 Breath.
All foes adjacent to the target suffer 1 piercing soul damage
HIYANG LADDER STYLE SECOND WIND TECHNICK: WORSHIP
You ululate in tongues and dance in a trance as healing diwata possess you
and purge you and all those about you from wounds
Flourish * Scene, Heal, Ritua
Sel
Effect: Heal Breath. All allies adjacent to you gain something
according to your currently befriended diwata.
- Fire: All allies gain +1 extra damage on their next attack
- Water: All allies may move 1 space without provoking reactions
- Earth: All allies gain Barrier equal to their Breath
- Wind: All allies heal equal to half your Breath
- Silence: All allies gain +1 range on their next attack, even melee
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HIYANG LADDER STYLE MASTERY: HARMONY
You are attuned to hiyang, and the diwata are simply

manifestations of the Hiyang: the ow of nature itself. During the
Preparation Phase, you can choose which two Diwata you have
befriended.
Whenever you heal an ally, you heal yourself the same amount of
Mettle
HIYANG LADDER STYLE FORBIDDEN TECHNICK: ACHIEVE HIYANG
This is your nal testament, and your own minor transcendence, your own
inkling of enlightenment. A little taste of what Achieve Hiyang truly means.
You become a little Makinaadmanon, a minor being. How do you feel? Take
that next step
Flourish * Heal, Ritual
You
Effect: Achieve Hiyang. You become immune to all damage (and
this cannot be pierced through), but you cannot deal damage either.
Instead, whenever you deal damage, you heal the target instead.
This lasts for the entire scene, but you can leave Hiyang with
another Flourish. If you do, you extend your Hiyang to others for a
moment: all allies Null all damage until the end of their next turn.
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HIYANG LADDER STYLE TECHNICKS
SUMMON APUNG MAKANGAYAW
"Are you happy with what you've done?" asked Makangayaw, grinning,
with burning ame shooting out of his nostrils
The Second Man nodded. "I have lain retribution upon what my sister has
cursed upon me.
"And what have they cursed upon you?
"Jealousy.
With another mighty laugh, Apung Makangayaw answered: "And so the
cycle begins.
Apung Makangayaw is offered to whenever a ceremonial raid is enacted,
whether it be a raid to gain resources or a revenge raid. In this way, the raid
itself becomes more than just war, but ritual. If the omens were bad during the
offering, however, it will be a sign that Makangayaw does not approve of the
raid, and the raid will be called off. This usually happens when an omen bird
ies across their path, or when the sky is red, or when in the distance they hear
laughter during their offerings, or when they perform their boat divinations the
boat shudders wildly. Offerings to Apung Makangayaw are frequent, for the
main mode of war in the islands is raiding
Apung Makangayaw usually takes upon the form of a slave raider: wearing
a short bahag with nothing else, and with tattoos that cover their entire body,
the completion of the canvas. Their true form, whenever they should want to
show it, is in the form of a naga-headed god, who sits upon a throne of seaspray
Apung Makangayaw is one of the principal members of the Anito faith.
Anito, meaning act of worship, is the most widespread faith in the islands, so
prominent that they do consider it more as tradition and way of life, and not
just performative religion. In the Anito, Apung Makangayaw is one of the
Hundred Thousand Panganitohan, panganitohan (meaning: things
worshipped) being the catch all term for holy powers, nature gods, ancestor
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spirits, and guardian deities that would be worshipped, revered, and offered to in
rituals
Apung Makangayaw's spirit house is often situated by the shore, always by
the shore. The usual spirit idol carved out for him is made usually with wood
from sunken boats, and showcases a naga-headed man sitting cross-legged,
with both hands upon his waist. Apung Makangayaw idols are frequently
carried unto boats that would embark on raids
Action * Ritual, Summon, Taxing, Blast Finishe
1 Unit | Range 3
Effect: A spirit of Apung Makangayaw leaps out: make an attack
against the target, dealing 1d4 force damage. And then the spirit
implants themselves on a space adjacent to the target. A Raiding Idol
now exists in the space adjacent to the foe, which is a summon. All
allies adjacent to the summon deal +2 extra damage. You can only
have 1 Raiding Idol at a time
FURY OF LAWANA SINIGIDA
Lawana Sinigida is the Langitnon of war and poisons. Using rituals and
incantations, you summon the spirit of Lawana Sinigida and allow a small
portion of it to bolster you and your allies' attacks. A part of them grows
crimson-pink hues, as the war god’s being possesses them. While important, she
is worshipped less due to the prevalence of raiding in the isles. In The Sword
Isles, war is raiding
Action * Ritual, Taxing, Summo
1 Unit | Range
Effect: Lawana Sinigida rips into reality: make an attack against
the target, dealing 1d4 earth damage. Summon a Venom Idol in a
space adjacent to the target. All allies adjacent to it in ict Fray 2
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when they deal damage and gain Avoid. You can only have 1 Venom
Idol at a time
TESTAMENT OF DAKHARI BARANGAW
Dakhari Barangaw is the rainbow Langitnon of victory. Using the rites to

entice the rainbow, you let Dakhari Barangaw possess you, calling upon
multicolored energy. The songs and rituals of the balyan ensure triumph.
While important, he is worshipped less due to the prevalence of raiding in the
isles. Victory is not common. However, all know that when a warrior dies in war,
they ascend into one of the many heavens by the rainbow. Their blood creates
the rainbow
Flourish * Taxing, Ritual, Summo
1 Space | Range 3
Effect: You summon a Victory Idol in the target area. All allies
adjacent to it gain +1 to all Saves, Crashed Rolls, and other rolls,
excluding Damage Dice. You can only have 1 Victory Idol at a time
LIGHTNING BOLT OF JAMIYUN KULISA
Pray upon the thunderbolt and make offerings to the lightning ash.
Jamiyun Kulisa is the burning father of the Thunderbolt. By enacting
supplications to him, the war balyan channels his fulminating scorn and surges
it through one of their allies, awakening them from slumber. It is known that he
killed his grandchildren: Adlaw, Bulan, Kalibutan, and Suga. From them were
born the Sun, Moon, Earth, and Stars. All from his fulminating thunderbolt.
He lives in regret till this day.
Flourish * Ritual, Burst Finisher, Scene
1 Unit | Range 3~4
Effect: A lightning bolt slams against the target, Galvanizing them.
When a unit is galvanized, you may consume the Galvanized at any
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time as a Re ex to immediately deal 1d4 piercing wind damage to all

foes in close burst 2 of the target. The target is unharmed
While a target is Galvanized, they Drain all Wind damage
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THE CONFEDERATION OF APUMBUKID
Let us remember where we came from. The words echoed in
the minds of the managku, the warrior-braves of their
mountain kingdom. These words echoed even as they
descended down their mountain slopes. It was time for a
headhunting raid. Today’s targets were easy and important:
those peaked helmed and lamellar wearing silk men from the
Kingdom of Baik Hu. They have arrived today and traveled
deep into Pumirang’s peninsula. Dangerously close to the holy
mountain
The Datu, Datu Fikisi, brought his spear and bunag
headhunting axe to bear. He was covered in tattoos, each one
telling a story of victory, a story of courage and bravery and
fury. All these tattoos were imprinted upon him to give him
strength this day
The Baik Hu caravan, trespassing upon the holy grounds of
Apu, was large, strangely so. As they passed by the mountain
road, which was anked by beautiful blossoming trees of
azure and crimson owers, as well as bamboo, they noticed
that guarding both the back and front of the palanquin
caravans were men and women wreathed in the kalabaw hide
vests and long habay-habay of Virbanwa
“Datu,” said one of Datu Fikisi’s sandig, his right hand man.
“The Virbanwans trade with the land de lers.
“This is so,” replied Datu Fikisi. “We have warned the
Virbanwan to be careful of the land, but they do not listen.
And now they trespass upon sacred ground.
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“I suppose,” a woman’s voice this time, lying low, wearing a

large rain coat and a helmet adorned with feathers of rainbow
birds. “The promise of wealth is too much for them to turn
away.
“They will exploit the land,” said Datu Fikisi. “We must stop
them.
“But if we attack, surely Virbanwa will strike back!” Said his
sandig
“That is of no consequence to us,” replied the Datu.
“Remember where we stand. Remember that Virbanwa has
already begun its conquest of the land. They must remember
who it is that dictates our fate.
His sandig nodded. The woman spoke: “They seem to be
heading to the village of Kapkap. The trading city with the
other hinterland kingdoms.
“Come then, let us strike as the moon cuts the night.
And so they did, descending down upon the traveling caravan
like a lightning ash
Stewards of the divine wilds, warrior-priests, and enforcers of

hiyang. The Confederation of Apumbukid is a collection of kedatuans
that has grown about the Holy Mountain of Apu, the Center Pillar of
the World. They are united by Five Elders, known as the Limang
Timuay.
The people here worship the Holy Mountain Apu, for climbing
up to its peak one will arrive at the gates of heaven. Within the Holy
Mountain of Apu sleeps the Original Spirit, the one that came into
being, defying causation, and caused causation itself: Apu Dayaw.
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One of their diwata, a Deity of Law named Kakum, gave them

the Code of Rajishithra, a code of law that all people of Apumbukid
must abide by. The code has orders for the stewardship of all holy
mountains, of protection of Apu, and of the maintaining of Hiyang
Beyond the 5 Apu Kedatuan that surround the mountain of Apu,
the Confederation of Apumbukid has begun setting up their own
Kedatuan all across the Archipelago. These Kedatuan swear no fealty
but to nature, and will not back down from ghting with other
mandalas to maintain their sovereignty and stewardship
This necessitates a certain degree of oneness with nature, and
from them comes the enlightenment of Hiyang, the truth of oneness
with nature. The truth that Nature is all there is, and all things cycle
back to nature.
The truth that all of creation is split between two forces: the
forces of man and the forces of nature, and that by choosing to fuse
them together, to live both of them in harmony, is to achieve
enlightenment, to achieve true Hiyang. By achieving true Hiyang,
one becomes a true Makinaadmanon, who fuses into the land and
becomes one with the land, embodying all its forces, its death and its
life, its res and waters and airs and earths
The Confederation annually congregates, at the end of every
harvest, in the grand feast known as the Feast of Sanghiyang, which
is usually sponsored by one of the Limang Timuway. There they
embody, worship, and exalt nature, but also create trade connections,
resolve petty wars, create new architectures, trade ideas, and even
bind kingdoms together if an argument or conversation can lead to it.
The Confederation, therefore, is in both constant trade and
constant war with the other polities, as they have access to much
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resources and valuable goods necessary for international trade with

overseas kingdoms.
Meanwhile they are in need of the many goods from the shore
settlements. Thus it is a symbiotic relationship, although a very frail
one, like a loose thread that has been fraying for far too long. What
will happen of this relationship is unknown to all.
In modern times, Apumbukid has taken a more aggressive
approach in their Stewardship. Using their intimacy with the spirits
of the land, they make use of Root Paths that let them travel across
The Sword Isles without sailing. Thus they have begun to expand, to
try and take back the last remaining sanctums of nature. Before it is
lost forever. There is a Root Path in most major cities, particularly in
Ananara, Jambangan, Kangdaya, and Ba-e. These Root Paths were
instrumental to victory during the Lakanate Conspiracy, but of
course, Virbanwa has chosen to leave that out of their history texts
Apumbukid settlements, scattered across the archipelago, are
built upon stone and bamboo in the plains, cliffs, mountains, bays,
and even caves that the rest of the polities dare not to explore. Here
they create vast complexes and subterranean empires, guided by the
gentle hand of the diwata and umalagad, the spirits of nature, of
stone and rock and wood and earth and air and sky
Apumbukid has the strongest of relations with the other
guardians of the holy mountains, with Vuyu to the far south, the
Ibalong to the southwest, the Pannai to the to the Southeast, and
Sritaluk to the north. They have Root Paths so open to each other
that while Apumbukid may be the most in uential among them, they
have been most in uenced by those Mandalas. Trade and friendship
with Vuyu has allowed them to learn the Tactician’s ways and the
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skill of the Bantara Archer from Ibalong. Their relationship has

helped them grow stronger and stronger, and no doubt the
Confederation will be rst to aid these mountain stewards when the
time comes.
Tawo from the Confederation of Apumbukid are born into tight
knit communities that uphold the reverence for nature much more
than the Rajahnate. Unlike the other polities, they are born into the
responsibility of stewardship. They expand only to reclaim or secure
the sacred places of nature that lie in the hinterland
Their main trade is merchantry and agriculture, wherein they
work the resources of the land of Pumirang and trade it both
domestically and internationally. Children are taught trades from a
young age, usually the trade of their parents. They are taught the
special reverences in that particular trade
They keep harmony with Nature, or Hiyang, to the utmost
importance. They make sure it is not broken in all things they do.
Their swiddens and farmlands are given proper reverence and
offering. In this respect they are much similar to the other polities,
with the difference being that they value Hiyang to the point of
paci sm
Unfortunately, they cannot be paci st in the Second Star Era, and
so they offer their hunts and wars to their various gods and ancestor
spirits
They believe in the guardian spirit Iwa-garo, who protects them
during their raids. Iwa-garo is known as the First Steward, and he is
one of the six Katulusan that provide stewardship over all nature.
These Katulusan are revered and worshipped: Iwa-garo, the Hunter;
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Garahana the Watcher; Irigi, the Pillar; Bahdiyatol, the Deliverer;

Karadiya, the Soother; Kidab, the Hexer
The honori c Apu for males and Akbaye for females are used
when deference is required
Nobles in the Confederation are known as Maengel, warrior
braves who have validated their positions as either spiritual leaders
or those that could protect their own settlements. These maengel
excelled in con ict, whether it be spiritual, social, or physical.
Maengel nobles would band together with other maengel nobles
and settle disputes with other settlements within the island of
Pumirang. They are very much like the nobles of the other polities,
with the difference that they are expected to have a higher harmony
with nature than others. Resources are abundant in Confederation
settlements, so they not only wear gold all the time, but they even
plate their teeth with it
The Freedmen among the Confederation are given a special
spiritual warrior title known as managku. These are the
Confederation’s Kadungganan, who go out on revenge raids and
trade raids. They protect not only the maengel but their entire
settlement, and that is their prime purpose: to protect and enact
vengeance, not to wage war
Unfortunately, in this modern time, that has had to change
Peasant and Servants are given the same treatment as with other
polities, although they have less amounts of debtors and war debtors
than other polities.
In accordance to Hiyang, Confederation raids are less likely to
take captives, killing those they raid and taking heads and wealth as
dictated to them by Iwa-garo, to lessen the likelihood of war, as war
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is anathema to the diwata. However, the Confederation can still take

war captives, usually when the manual labor is needed in their
settlements or when the spirits tell them to during the pre-raid rituals
NOTEWORTHY PERSON
Ang Limang Timway. The Five Elders of the Confederation are
as follows. They all have a primary principle and duty, in addition to
their secondary duty below, which is to steward over the mountain of
Apu, and to keep it from harm. They have taken a more aggressive
approach lately, making sure that almost every hinterland is
protected from the advancing forces of the expanding mandalas
Timway Surugu, the Antlered Elder of Ministry. She is the Datu of
the Kedatuan of Niyawa, to the north of Apu, wherein they train
young nobles to become good rulers.
Timway Tabo’owan, the Diwata-Blooded Elder of Spirituality. He
is the Datu of the Kedatuan of Samring, to the West of Apu, which
trains spirit mediums and sorcerers
Timway Pagariwara, the Meek and Calm Elder of Violence. She is
the Datu of the Kedatuan of Taraboko, to the Southwest of Apu,
which trains warriors and warlords
Timway Diwangga, the Lithe and Covert Elder of Secrets. He is the
Datu of the Kedatuan of Rahasiyan, to the East of Apu, which trains
travelers and assassins
Timway Koyayaw, the jovial Elder of Trade. He is the Datu of the
Kedatuan of Barahanda, to the Southeast of Apu, upon the shores of
Pumirang, which trains merchant princes and diplomats
Sekul. Sekul is a renowned managku who travels the Root Paths
to weed out places of atrocities to prevent yawa from arising before
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they have the chance. This has caused her to come head-to-head with
a large number of Kadungganan, who usually had an opposing goal
against hers. All she wants is the land’s puri cation and harmony, so
that future generations of her Kedatuan Rahasiyan will not have to
suffer the training to become travelers and assassins
NOTEWORTHY POLITIE
Lawahun. A village by the mountain of Lawahun, where the Sage
of the Mountains lives. The bone-biting cold here requires the
warming magics of the Sage. Upon Lawahun, you consort with the
tawong lipod, wind spirits of the moon, and live side-by-side with ice
spirits, surviving and dealing with snow and ice. They engage in
ritual headhunting with the state of Vuyu.
Sanggasangga. Sanggasangga is a city-state to the furthest west
of The Sword Isles, by the base of the mountain of Aplake. Here,
everyone is trained from birth to become a Sentinel against the evil
creatures from beyond the mountain barriers, known as the magalo,
fae-demons from the Forests Beyond the World. Warriors here are
trained to be magalo hunters, with the intent of protecting nature and
defeating the unnatural. Everyone in Sanggasangga knows full well
their responsibility, and carry the burden with pride, always
consorting with spirits of the forest, their own guardian spirits, and
spirits of war to make sure The Sword Isles is safe. But the tides have
become stronger...
Usambangsa. This Kedatuan sits upon Apu itself. Upon the
Central Pillar of the World. The city itself is actually mostly empty,
but kept spotlessly clean by attendant spirits and a population of
5,000 mortal tawo, who provide stewardship and cleaning. In the
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middle of it is a great black stone, that looks as if the god Apumbukid

struck the mountain with an obsidian spear. It is said that the stone
leads to the sleeping place of Apumbukid himself, a grand city of
glittering crystal within The Sword Isles. It is said that They will rise
only when The Sword Isles needs Them the most.
Nerakihon. The settlement of Nerakihon is a large village
surrounding a single tree that grows atop the Berumer Mountain.
The tree, known as Punung-Neraka, has a hole upon its gigantic
trunk that, when entered, sends you plummeting deep into its root
systems. Villagers say it sends you straight to Nerak, hell, and that
every once in a while a busaw bursts out from the trunk. The
villagers have thus created a special force of demon slayers just to
protect Nerakihon--and the rest of The Sword Isles--from the
assaults of the otherworlds.

To Virbanwa: Forgive us. Blame yourself or your God
To Ba-e: To the river of violence we succumb, with its judgment
swift and nal. It bite as cold as steel. There is enough time for regret
in hell
To Gatusan: Why do you ght? Why do you split the seas? Fight
for something greater than you. Only then will you fear no reproach.
Only then shall you be more than just man
To Akai: Stay your blade. The sword that destroys can never
overcome the sword that protects
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APUMBUKID DISCIPLINES
The following are the Disciplines born from Apumbukid
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DEATH DANCER [DED

Death Dancers are spirit warriors and enlightened hypocrites
born out of mountaintop monasteries, sea-side temples, and cave
complexes. There, they fully immerse themselves into transcendental
animism, into the teachings of Hiyang. They perfect the Seven
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Harmonious Virtues, those truths about the world that they choose to
emulate, to be one with the world.
Death Dancers are ascetics to the highest degree, and through
this they become powerful warriors and helpers of the people. At the
height of their training, they are expected to walk out of their
enclaves and into the world, and to help the world in one way or
another. They do this every three years, as helping others in the way
and in the name of harmony is one of the paths to true unity with
nature
Death Dancers believe that all combat, all war, and all violence
and death comes from disharmony, and thus they work to mend the
harmony in it. They believe that excessive violence, war for pro t,
and other such unnatural causes are anathema to the world and
nature. Through this knowledge, they go through the motions of war
in order to end it
The rst Death Dancer is known only as The Wandering
Hypocrite. Said to have been the rst martial artist, he spoke and
preached in matters of peace, but almost always got into a ght, and
almost always killed their opponent with nothing but their sts and
feet. When he died, his sou was not a human one, but one of a diwata
of violence. However, many believe that The Wandering Hypocrite
never died
The Wandering Hypocrite left behind a great number of
grandmasters to teach the principles of violence. These have
fragmented into a thousand miniature family styles: from the Storm
Fists to the Sand Kicks to the Dance of Death, but all of them follow
the same tenets as the Death Dancer, and truly all of them claim that
name.
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Through powerful harmony with the world and nature, they can
use the strengths of their discipline to send their Gahum, their
spiritual power, into the world, let it surge through Hiyang, that
natural owing energy of the universe.
Through this pure balance, they manipulate the ow and
manifestations of Hiyang and change the eld of battle. Death
Dancers are beholden to only ghting with their sts as lithe
pugilists, wishing to feel the violence they in ict, both as reminders
and as penance. They must atone
If you choose to be a Death Dancer, learning why you ght is not
dif cult: it is almost always going to be to initiate peace. The question
is rather: do you truly believe this is the path to peace? Will you ght
forever, perpetually? Will Hiyang ever be healed?
The Martial Art of the Death Dancer is known as The Dance of
Death Style
DANCE OF DEATH STYLE FUNDAMENTALS: RELENTLESS
Death Dancers never let up on their assault. As they have become one with
the Violent Hiyang, every movement they do in the battle eld contributes to its
eventual end. Every Death Dancer tradition or school practices the same thing.
Their movements are practiced-to-perfection twitches of violence
You are a master of violence. You can take on up to 2 stances at
the same time. You can sink into any of the following Stances as a
Flourish
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- Palm Tree Stance: While in the Palm Tree Stance, as a
Response Reaction, you can make a melee attack against any foe that
makes a melee attack against you, dealing 1d6 at damage to them
- Forceful Wave Stance: While in this stance, whenever you deal
force or water damage, push the target 1 space
- Bounding Flame Stance: While in this stance, whenever you
deal damage to a foe, deal half damage to all foes adjacent to that foe
- Razing Storm Stance: While in this stance, whenever you
Stride, deal 2 piercing at damage to all foes adjacent to you
DANCE OF DEATH STYLE INFLICT VIOLENCE: BLOODY BREAK
Cusp of Enlightenment Rus

You unleash a rapid urry of blows, so quick that your foe does not feel it
until it is done
1 Unit | Mele
target then makes a save: if they fail, they become Dazed until the
start of their next turn
Hypocrite Lightnin
You take the opportunity: you zigzag across the battle eld, sending kicks
and punches at the target, going higher with every hit. Then, at the apex of your
movement, you strike straight down, bringing your target with you
Action * Maneuve
1 Unit | Mele
Effect: Make a melee attack, dealing 4d2 (roll a d4 with 1-2
counting as 1s and 3-4 counting as 2s) wind damage.
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DANCE OF DEATH STYLE SECOND WIND TECHNICK: INTERNALIZED
VIOLENCE
Your wounds are deep and your vision fades. But you cannot give up. Not
here. Not yet. Find your conviction, and the spirit of violence within you bolsters
you, bringing the Hiyang and mending your injuries
Flourish * Maneuver, Stance, Heal, Scen
Sel
Effect: Heal Breath, and then sink into the Ready Stance
Stance: The Ready lasts until the end of your next turn.
Whenever you attack or are attacked, you may consume the Ready to
immediately make the target Debilitated and give your next attack
piercing damage.
When you learn all the Technicks of this Discipline gain the
following
DANCE OF DEATH STYLE MASTERY: HYPOCRISY
You can now have up to 3 stances at a time

When a foe is forcibly moved into a space adjacent to you, you
may spend a Response Reaction to catch the foe and suplex them into
a space adjacent to you, cancelling the forced movement and dealing
1d6 force damage
When you deal damage while you’re in one of the stances, you can
choose to deal elemental damage based on your current stance
- Gleaming Sun Stance: While in this stance, increase your melee
range by 1
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- Songworthy Stance: While in this stance, all your melee attacks

deal +2 extra damage
- Voidbreaker Stance: While in this stance, all your ranged
attacks can be counted as melee physical attacks
DANCE OF DEATH STYLE FORBIDDEN TECHNICK: AVATAR OF
VIOLENCE
You breathe out, and your umalagad, ancestor and guardian spirit, bursts
forth: a six-armed, aming-eyed Avatar of Violence. The Ultimate Hypocrite.
They Who Will Bring Down Gods
Flourish * Ritual, Maneuver, Opener
Self
Effect: You become the Avatar of Violence until the end of the
scene. While the Avatar of Violence, all your melee attacks are
Strengthened, deal Precise damage, Extra damage equal to your Tier,
and Reliable 3.
When you become an Avatar of Violence, every start of your turn
that you have the Avatar, lose Mettle equal to your Breath. You may
leave the Avatar by spending a Flourish or when you are Crashed
You cannot use Technicks that won’t let you make hostile actions
against enemies.
When you fall to Crashed while you are the Avatar of Violence,
you may use Hiyang Sinag as a Re ex: You raise your st and consume
the Avatar and God of Violence, alchemizing their substance into a singular
burning beam of fulminating disharmony. For a brief moment, the One
Thousand Violent Ancestors stand behind you. You collect the Hiyang Sinag
into your hands, breathe, silence takes over the battle eld, and everything
becomes monochrome for an instant
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And then you release it, and the battle eld monochrome is ripped away by
an overwhelming ray hotter than the sun.
Deal 5d6 soul damage to all foes in Close Blast 20. Any hindering,
blocking, dangerous, or dif cult terrain is removed from the
battle eld. Afterwards, you immediately become Crashed, no roll,
and you suffer 2 Wounds.
DANCE OF DEATH STYLE TECHNICKS
FOE STEPPING STYLE
Bounce upon the heads of your foes, avoiding their strikes.

Teaching Ninth: Be as water, formless but all form, thoughtless but all
thought. The nal conceit of the transcendental animism, this oneness with
nature, this Hiyang, is to be as the bamboo, swaying in the wind, thinking not,
but becoming that thing. Through thoughtlessness, become violence
Movement * Maneuver, Taxin
Self
Effect: Move 4 spaces, gaining Avoid for the duration of the
movement. If you end your movement on a Foe’s space, you may
move 2 more spaces in any direction, even up, although you will fall
to the ground at the end of your turn. You can only bounce from each
Foe once. You can bounce off of vertical spaces as well. Deal 2
piercing at damage to all foe you step on
TEAR THE EARTH ASUNDER
Teaching 4: Empty Immovability. Your place is illusion, unroot yourself.

When the Sword of God descends upon you? Catch it, and bury God
Flourish * Maneuver, Taxin
1 prone unit | Adjacent
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Effect: Immediately make the target grappled and deal 3 piercing

at damage every time they start their turn grappled by you
You can end the grapple as an Action to make the target
Debilitated.
BULALAKAW SHOOTING STAR
Learning to hone one’s self, and let nature ow through you, is one of the
most iconic abilities of the Death Dancer. Through meditation in the scriptures
that would break the gods and topple the thrones of the devil kings below, you
become the weapon of the world: you summon the energies of hiyang and turn it
into a ball of pure fraying energy. But in so doing, you become a principle
paradox. How does one end violence through violence
Action * Maneuver, Taxing, Shot Finishe
1 Space | Range 3
Effect: Push yourself 3 spaces away from the chosen space. If
there are any units in the chosen space, make a melee attack and deal
1d6 soul damage and are pushed 1 space away
HORNBILL BREAKER
Teaching 2: Choose to do what must be done. Rushing: do what is assigned

to you, to your utmost ability, to the quality closest to the one expected. Strike,
and when you do, strike with utmost intent. Hornbill Breaker expects you strike
down so hard that your opponent becomes embedded into the earth
Action * Maneuve
1 Unit | Melee
Effect: Make a melee attack, dealing 1d6 force damage. Then,
push them 1 space away. If they collide with terrain, they become
Rooted as they are embedded into the terrain. You can also knock
them down prone instead, although they don’t become Rooted.
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ELEMENTALIST [ELE]
Elementalists are potent and skilled sorcerers, feared and
revered by almost every being in the Archipelago. Known in
Pannai as busalian, in Gatusan as dalungdongan, and in Virbanwa as
salamangkero. Elementalists gain their sorcerous
occult power through knowledge and skill, through the bolstering
of their puhon through years of magickal tempering, accruing of
knowledge, and bargaining with gods. Through this, they manipulate
the elements, weaken their foes with potent wicked curses, and
destroy gods with the strength of their soul. This sorcery is known as
busali, once reserved for healing from elements, now used for
violence. Busali is an ancient sorcerous art, the Zenith Art, taught to
Apumbukid by the Ten Datu of Pannai, who have access to great
personal spiritual power, which cannot be properly written in books.
Thus it is taught down as tradition
Elementalists are usually also well learned in the truths of the
world, in the way plants interact with the inner workings of a tawo,
as well as how the spirits deal and how Those Unlike Us work their
strange magics and enchantments. The Elementalists are powerful
harnessers of Kinaadman, the Enlightened Will, using it to
manipulate the elements and to galvanize the battle eld
Due to their feared nature, many busalian either live away from
the village, or live as royalty. A rich enough Datu would want an
elementalist on his side, by his right hand, to curse and in ict
powerful sorcery upon the enemy. They have deserved the moniker
of living sorcerous artillery
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In the rising tide of con ict in the Second Star Era, elementalists
have been deployed more and more onto the battle eld, due to their
ability to enact debilitating spells from afar. More and more busalian
have become trained and put to use, even if they don’t have the same
amount of personal spiritual power, or gahum, to reach the mystical
and legendary heights of past busalian. While still revered, and
widely considered as the beings that can upend the battle eld, they
have lost much of their mystique, turned into artillery units
If you choose to become an elementalist, it isn’t much to wonder
why you have turned your powerful elemental sorceries to war. Do
you ever wonder if your power could be used for something other
than destruction? Is this what you wanted in the rst place? Is your
perfection simply the destruction of others
The Martial Art of Elementalists is known as Five Circles Style
When you take upon this Discipline, you gain the following
FIVE CIRCLES STYLE FUNDAMENTALS: ATTUNEMENT, THE AZURE ART
The Azure Art is the art of the Five Circles Style: the understanding that
there are ve elemental building blocks that permeate and complete the world as
we know it. Azure because the Sky is the father of all our arts, as opposed to the
ancient magics of the Earth, known as the Jade Art, and the even more esoteric
arts of the Sea, known as the Black Art
Fire, Water, Earth, Wind, and Space. However Space is simply the vessel.
In the Five Circles Style, we are the representative of Space, we are the ones that
are to be lled with the rest of the elemental energies, so that we may harness
nature’s vigor and use it to create, iterate, and then destroy.
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At the start of the round, choose 1 element that you are attuned
to. Gain the effects of that element for the rest of the round
Fire: Your area attacks deal +1 extra damage. Whenever you deal
re damage, that damage gains Reliable 2.
Water: When you hit with a ranged attack, heal all allies adjacent
to the target equal to 1d4. Whenever you deal water damage, that
damage gains Reliable 2.
Earth: You gain cover against all attacks. Whenever you deal
earth damage, that damage gains Reliable 2.
Wind: When you are damaged by an attack, you may move 1
space. Whenever you deal wind damage, that damage gains Reliable 2
FIVE CIRCLES STYLE INFLICT VIOLENCE: POWER OVERWHELMING
Hoko
“Let all be sundered and impaled by my will! Hokot!” Hokot is the
invincible lance used by sorcerers to kill their prey, attuned to the element of
space.
Action * Mentala, Shot Finishe
1 Unit | Range
Effect: Make a ranged attack, dealing 1d6 (your currently
Attuned element, choose 1) damage. If you deal damage that the
target is Weak to, you may move 1 space without provoking
reactions
Gahumy
“The Force of the Sky and Sea clash together! Gahumya!
Action * Mentala, Fiel
All Units | Range 2~3, Burst
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Effect: Make an area attack, dealing 1d4 (current Attunement,

choose 1) damage to all units. Then, a gahum eld appears in close
burst 1 of them
Field: If a blast nisher is performed within the eld, the Gahum
eld dissipates and infuses all allies within: all allies may deal (your
currently Attuned element) damage on their next attack.
FIVE CIRCLES STYLE SECOND WIND TECHNICK: PAGBUSALI
You consume the element you have attuned to, and achieve a temporary
oneness
Flourish * Mentala, Scen
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Effect: Heal Breath. Gain an additional effect according to your
current attunements
- Fire. Your next area attack is Strengthened
- Water. Your next ranged attack grants 1 ally in close burst 2 of
the target stacking Barrier equal to 1/2 their Breath
- Earth. You raise the earth you’re standing upon by 1 Height
- Wind. You gain Avoid until the end of your next turn
When you learn all the Technicks of this Discipline, you gain
the following
FIVE CIRCLES STYLE MASTERY: WEAVING, THE INDIGO ART
Indigo because during the twilight is when one will be able to see the three
Rajahs of the Sky: the Sun, the Moon, and the Stars.
You may now start your turn attuning to 2 different attunements
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When you make an area attack, you may consume a current

Attunements to Strengthen 1 of the damage roll in that area attack.
You may consume 2 of your current Attunements to also make that
damage Precise and you may choose to deal Soul damage instead of
whatever was the original damage type
FIVE CIRCLES STYLE FORBIDDEN TECHNICK: SAKUNA (CALAMITY)
“Jamiyun Kulisa, offer me your thunderbolt. Habagat and Amihan, offer

me your winds! Si Ginarugan, let the almighty Earthquake shake the
foundations of this atrocious eld, and Indira Suga grant me the authority to
bring godly indignation! SAKUNA!” You raise your hand and thunderclouds
gather. You incant, writhing, spiking utterations and ululations. When heaven
has had enough of your blasphemy, the holy powers of heaven send a
fulminating lightning bolt to the earth, embodying all ve elements
Action * Mentala, Perilous
All Units | The Battle el
Effect: Deal 5d6 piercing soul damage to the target. The only safe
place is within close burst 2 of you
If it is narratively appropriate, you may spend a Conviction Token
to upgrade this to Lipol (Extinction). Deal 15d6 piercing soul damage
instead. If this brings a target to 0 Mettle, they are disintegrated, soul
and all. Afterwards, you also die, disintegrating. You do not go to the
afterlife
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FIVE CIRCLES STYLE TECHNICKS
UNOS
“Bring me to redemption! Unos!” Manuverability is important in the

battle eld. Doubly more so for a Elementalist. Weave your spells, and burst
yourself in a direction. Unos is the spell that blasts huge gusts of wind to move
across the battle eld
Flourish * Mentala, Taxing, Blast Finishe
1 space | Adjacen
Effect: Push yourself 3 spaces away from the target. If there is a
unit in the targeted space, they suffer 1 + [Tier] piercing wind
damage. Afterwards, you become Elusive until the end of your next
turn
BAGYU
“I hold you to your word, magic-giver! Grant me thine strength to vanquish

ere foes! Monsoon!” Sorcery is the ability to use your own energy to affect the
world at large, which you perform by harnessing your Kinaadman. You bring
this storm down to bear upon your enemies. Bagyu is the spell used to summon
water and to let it surge across the world
Action * Mentala, Shot Finishe
1 Unit | Range 3
Effect: If the target is a foe, make a ranged attack and deal 1d4
water damage. Then, shift the target 2 spaces, and if they collide with
another unit or terrain, they become Unbalanced
If the target is an ally, give them 1d4 + Tier Barrier instead. Then
you can choose to make them Strong against Water until the end of
their next turn
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LINOG
“Heed me, grandfather earth! Grant me thine earthquake! Linog!” The

element of earth is said to be younger than his fathers, the element of wind and
water, who were rst in the cosmos. However, earth has always been very
rebellious
Action * Mentala, Burst Finishe
1 space | Range 4
Effect: A spike of earth erupts from the space as a burst nisher,
becoming Height 1 blocking terrain and can be used as cover. If a foe
is in the space chosen, they suffer 1d4 piercing earth damage and are
pushed 2 spaces in any direction from the spike. If an ally, simply
move them to a space adjacent
You can spend an Action to collapse the earth, dealing 1d4
piercing earth damage to all units adjacent to it
SIGA
“Heaven crumbles and the seas boil! With nothing but my name writ
across the stars... Siga!” A popular spell amongst elementalist that truly
encapsulates their position as magickal artillery, they summon a beam of pure
fulminating ame, like a miniature sunburst
Action * Mentala, Taxin
All Units | Range 2 Line 3
Effect: Make an area attack against all targets, dealing 1d4+1 re
damage. The last target of this attack becomes the origin space for a
close burst 1 explosion that deals [Your Tier] piercing re damage to
all units caught within. Afterwards, in ict Fray 2 against all units you
dealt damage to.
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HEADHUNTER [HDH
In the islands of The Sword Isles, despite what others might
have you believe, killing is a ritual undertaking. Among the
shoreline settlements and metropoles, killing a man is a coming of age
ritual. One that begins your journey in these islands as an individual
Deep into the mountains of Rusunuga, in the One Thousand
Plutocracies that live upon its mountains--one of which is Vuyu--they
practice ritual headhunting. This tradition is something not speci c to
them as well: warrior braves in lowland settlements frequently picked
up their slain enemies’ heads to be portrayed upon their house, and
some plucked out the hairs of their slain enemies to use as decoration
for their kalasag shields
They do this because every body holds a certain amount of
Gahum, pure untapped spiritual power. By accruing this Gahum,
they themselves get stronger, gaining more favor in the eyes of the
ancestors. When a person dies, their Gahum is transferred to
whoever takes it, either through their head or through the sweat or
liquids from their body after a mummifying process. This is why the
burial rituals in The Sword Isles are varied, long, and revered
The Headhunter is someone who specializes in collecting heads.
They have turned this immaculate and scared ritual act into a
business, a job. This is what the islands have fallen to. What was once
a ritual tradition, that sacred act of killing, has been blasphemed
The warriors of Apumbukid have learned this tradition from the
headhunting folk of Vuyu and the mountains of Rusunuga. Many
Headhunters travel to Apumbukid to cease their ritual headhunting
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with their fellow man, and instead hunt down those that are
disrupting Hiyang, as a form of ritual sacri ce and ritual killing
Headhunters usually trawl the lands and accept jobs from Datu to
perform headhunting ritual killings for any reason, whether it be for
revenge, for murder, or for mourning. In return, Headhunters are
given lodging and acceptance into society. A sort of necessary evil. In
this way, they are no different from any other Kadungganan, but
Kadungganan have the gall to think they are different. That their
killing is in any way more sacred or more noble
Headhunters are trained in the mountains or hinterlands,
subjected to harsher conditions than normal, whether it be cloying
hot jungles or the near freezing cold of the highest peaks in The
Sword Isles. They are at home in the shadows of the trees, above the
unseen branches, clad in shade and vine. They do whatever they need
to do to perfect their killing art, taught in all manner of martial arts
by all manner of teachers. Sometimes these teachers are ancestor
spirits, sometimes these are diwata, sometimes these are the folk
living in these hinterland regions. Whoever it may be, it does not
matter to the Headhunter. All killing arts lead to the ritual art of
decapitation
When you become a Headhunter, ask yourself: are you willing to
become headless to perform your duty? Ignorance is bliss,
Kadungganan
The Martial Art of Headhunters is known as Decapitation Style
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DECAPITATION STYLE FUNDAMENTALS: RITUAL KILL
You can spend a Flourish to become Hidden until the end of your
next turn
While you’re Hidden, you can spend a Flourish to give 1 Unit in
range 3 your Ritual Kill. You can have up to 3 Ritual Kills on a single
unit. You can only stack Ritual Kill upon a single unit: you cannot
have two Ritual Kills on two different units on the battle eld at the
same time.
When you make an attack against your Ritual Kill, you may
consume a Ritual Kill to deal +1 extra damage. You may consume any
number of Ritual Kill on a single attack.
DECAPITATION STYLE INFLICT VIOLENCE: SPLIT
Shadow Inten
You strike, and then drink deep of shadows
Action * Maneuver, Combo, Lunge Finishe
1 Unit | Melee
Effect: Make an attack against the target, dealing 1d6 force
damage. You can then quickstep 2 spaces. If you end up in a space
that is not adjacent to the target, you gain Shirk to the target until the
start of your next turn
Decapitat
You lunge from the shadows and decapitate them
1 Unit | Mele
Effect: Make a melee attack, dealing 1d8 force damage
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DECAPITATION STYLE SECOND WIND TECHNICK: DRINK SMOKE AND
BAMBOO
You breathe in deep, readying yourself for the killing ritual that you must
perform. The shade swallows you as you drink deep. You blend into the sea, into
the trees, into the grass
Flourish * Ritual, Heal, Scen
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Effect: Heal Breath. Become Hidden. This Hidden doesn’t go
away when you attack or are damaged. It simply goes away at the
When you have learned all the Technicks in this Discipline,

you gain the following
DECAPITATION STYLE MASTERY: SAMPAGUITA REAPING
As a Flourish, you can now stack another Ritual Kill upon the
original target as long as you’re Hidden. Each Ritual Kill consumed
now gives +2 extra damage
While Hidden, you may consume your Hidden buff as a Flourish
to immediately teleport to a space adjacent to your Ritual Kill, as long
as they are within range 3 of you and you have line of sight to them
DECAPITATION STYLE FORBIDDEN TECHNICK: SELF DECAPITATION
You call upon your patron spirit--usually Iwa-garo, the holy power of
violence--and let it sing in your blade. As a headhunter, you bring violence. In
this nal ritual, you decapitate yourself, and in that perfect rite, you call
decimation to befall upon your kill
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Action * Maneuver, Steady

1 Unit | The Battle eld
Effect: Deal damage equal to half of the target’s Mettle. You
suffer half of the damage you dealt to the target. If this makes you or
the target Incapacitated, make a save. On a 5-, you or the target
immediately die. On a 6+, nothing happens
If this makes both of you immediately Incapacitated, both of you
die immediately
DECAPITATION STYLE TECHNICKS
VANISHING SMOKE AND BAMBOO
Verse 22: “When BA~LA~HA~LA, That Supreme Soul, stepped into the
world through the paradox of creation, Idda Mangubat vanished into the trees
in Their path. The great universal consciousness’ gaze seemed so serene that he
felt themself melting into oneness just at Their gaze”. – SONG OF IDDA
MANGUBA
Interrupt Reaction: You are the target of a melee attack * Ritual,
Scen
Triggering Unit | Mele
Effect: Quickstep 3 spaces, and then leave a smoke self of you in
the rst space that you leave. The attack of the target goes through,
immediately dealing damage to the smokeself.
The smokeself stays as a Summon. When you Stride, you may
choose to teleport and switch places with your smoke self instead, no
matter how far you are. Additionally, you can now use the smokeself
as an origin space for Technicks and actions
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AXE BREAKS THE TREE PAMARAANAN
“To truly become the axe, you must be able to puncture the carapaces of all
those that you wish to destroy. If you cannot, then you are ineffectual, useless.”
- Si Batara Padakul, Diwata of Axes
Action * Maneuve
1 Unit | Melee
Effect: Make a melee attack, dealing 1d6 force damage, and then
in ict Ripped.
SUNDER
“Thus must all things be: to weaken the soul of a warrior, destroy their
weapon. It is akin to breaking an arm, or slicing off their head.” - Si
Diwarajah Hinagiban, Diwata of Weapons.
Action * Maneuve
1 Unit | Melee
Effect: Make a melee attack, dealing 1d6 force damage, and then
in ict Weakened
RIP AND TEAR
“Verse 49 - However, their head split into ten thousand skulls, and the
Supreme Soul spoke: YOU HAVE DESCRIBED ME WRONGLY IN YOUR
LESSONS, They said. I AM NO GOD. I AM BEYOND GOD. YOU
CANNOT DESCRIBE ME. IN YOUR HUBRIS, YOU CANNOT KILL
ME. I AM BEYOND DEATH. NOW... ACHIEVE HIYANG.
50 - This lesson cannot be written down, for it exists and does not exist all
at once. I apologize on behalf of the Great Hero of Heroes, Noble Lord of
Warrior-Slayers.” – SONG OF IDDA MANGUBA
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Movement * Maneuver, Charge

Self
Effect: Move your Speed. You can move through foe spaces. If
you do, and they have Mettle equal to or less than your Prestige Tier,
immediately Incapacitate them
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TACTICIAN [TCT
Tacticians are master sages and counselors of the battle eld.
They are the tactical cousins of parawali, a Discipline focused on
counseling and advice giver for families and households. While they
don’t have the superior natural philosophies of the balyan, tacticians
are well versed in the dealings of people themselves. It just turns out
that a battle eld is won and lost by their people
Tacticians are masters of their craft, unwilling to compromise
victory. They learn all the tactics and play mindgames and tricks on
the opponent. Victory at all cost. They know how infantry men fall to
bowmen, how cavalry is important to the victory of an entire army.
Most importantly, in the common skirmish ghts in The Sword Isles,
they know how to use the environment to their advantage, and learn
the weaknesses of their enemies
If you are a tactician you have some form of knowledge or
perhaps an innate talent for snif ng out people and/or manipulating
them. A Tactician uses their usually benign knowledge to in ict
violence, and this violence is not entirely physical. Through
manipulations, they change the shape of the battle eld and exploit
learned weaknesses. A single word, a single hand movement, is all
that’s needed for the party to win
If you take this discipline up, ask yourself why you’ve chosen to
use the knowledge of people to break and kill and in ict violence.
Why you’ve chosen to turn a benign counseling trade into one that
exploits humanity itself, and why it’s needed
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Why must you lend your wits to extending the violence? Why
play games with the lives of your fellow men
The Martial Art of Tacticians is known as Peerless Heaven Eye
Style
PEERLESS HEAVEN EYE STYLE FUNDAMENTALS: PERFECT FORESIGHT
As a tactician, you have planned everything ahead. Not only that, but you
have internalized teachings and battle eld traditions passed down among
generations of warriors and likeminded tacticians. You are a master among
them. The battle eld is your plaything
You gain access to a special Interrupt known as Tactical
Foresight, which can only be used 1/round
Tactical Foresigh
You foresaw this, and so you dominate
Interrupt Reaction: A foe in range makes an attack * Tacti
Triggering Foe | Range
Effect: Cancel the foe’s attack. They cannot use that attack until
the end of the next round
PEERLESS HEAVEN EYE STYLE INFLICT VIOLENCE: WRACK
Pridefal
Your strike buries wounds ever deeper
Action * Tacti
1 Unit | Range
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Effect: The target becomes Weak to force damage until the end of
your next turn.
Ravag
Your strike knocks the wind out of the target. Your blade is still clean
Action * Tactic, Taxin
1 Unit | Range 2
Effect: Make a melee or ranged attack, dealing 1d4 force damage.
Then, remove 1d3 Buffs from the target and give it to yourself
instead until the end of your next turn
PEERLESS HEAVEN EYE STYLE SECOND WIND TECHNICK:
REPOSITIONING
With a snap of your ngers, the battle eld reforms, strange contraptions
and foreseen circumstances allow you to change it as you see t
Flourish * Tactic, Heal, Scen
Sel
Effect: Heal Breath. Shift all units in close burst 2 by 3 spaces
following
PEERLESS HEAVEN EYE STYLE MASTERY: PURE DOMINATION
Whenever you use Tactical Foresight, you can additionally in ict

one of the following effects.
- Lockdown. Give the target Quiet X, with X being the type of
the attack they used
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- Larceny. In addition to the target not being able to use the
attack that they just used, you can use that same attack as well until
the end of your next turn
- Knockdown. Push the target 2 spaces and knock them prone.
PEERLESS HEAVEN EYE STYLE FORBIDDEN TECHNICK: UNFOLDING
CLOTH THROWN TO THE WIND
What your enemies don’t understand is that you’ve already won before the
battle even started. You reveal a cunning plan, a devious trap, or some other
battle eld changing trick that completely upends the enemies’ formation, and
scatters them to the wind
Action * Tactic, Perilous
All Foes | Close Burst 10
Effect: The target becomes Delayed. When a target is Delayed, they
can only move at the end of the round, after every other combatant
has moved. If there are other delayed units, they go through turn
order as usual (player turn > foe turn, etc)
Special: You can only use this if you are the last combatant of
your side acting in the round.
PEERLESS HEAVEN EYE STYLE TECHNICKS
FLOWER SEED BOMB
A classic war item piece used by many Raiders and raiders in The Sword
Isles. A bamboo bomb lled with explosives and ower seeds, when thrown at an
area, it lls the battle eld with a choking cherry smoke that hinders vision
Flourish * Tactic, Scene, Fiel
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1 space | Range 3 Burst 1

Effect: The target area becomes a eld of ower smoke until the
end of the scene. All units within the eld have Avoid, and any unit
within the eld cannot be a valid target to any unit outside the eld,
and vice versa.
Field: When a burst nisher is performed within, it explodes,
dealing 1d6 re damage to all combatants within
MOCKERY
“A tactician must learn to exploit the weakest part of a foe: their heart.” -
The Palm Leaf Scrolls of War in Land and Sea, p. 14
Action * Tacti
1 Unit | Range
Effect: The target’s next attack is made as if the target they are
attacking has Avoid.
CHECKERBOARD
“Pave the path for your enemies, so they walk into their own doom.” – The
Manuscript of Lawana Sinigida, She Who Lives in War, verse 35
Flourish * Tactic, Taxin
1 Unit | Range 3
Effect: The target becomes Puzzled. While a target is Puzzled,
they can only move orthogonally (no diagonals)
BULIT STRIKE STYLE
You are taught, almost nonchalantly, to nd the weakness of an enemy and

exploit it. And you do so. What is a Tactician without tactics? You blur
forward, creating an opening
Action * Tactic, Taxin
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1 Unit | Range 2
Effect: The target makes a save: on a fail, they become Weak to
Earth, Fire, or Water (choose 1) until the end of their next turn. On a
pass, they lose all Af nities (excluding Weak) until the end of their
next turn.
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TIGPANA [TGP
Tigpana [tig-PA-na] translates directly to archer. This is the
discipline of long distance combat atop bamboo watchtowers,
treehouses and rocky outcroppings peppered across The Sword
Isles. This discipline actually originated in Ibalong, but was applied
to the rest of the archipelago by Apumbukid as violence intensi ed.
They measure the lay of the wind, the rustle of leaves, the whisper of
the land. What heat might do to the trajectory of a re-hardened
arrow, the nuisance of rain. To become a Tigpana is to become one
with nature, to be as silent as the rst light of dawn, to be as quick as
the darkest point in the night
Tigpana are masters of all ranged bows: from the common busog,
or shortbow, to the rarer sikarom, the bamboo longbow, which is so
long that it had to be held under the foot to be strung. They re the
initial strike when needing to protect a settlement, or if on a raid,
they will seek the highest vantage point to dictate the momentum of
the battle
Tigpana are made to watch with eyes sharper than eagles. With
escalating tensions between polities, these elite sharpshooters have
descended down from upon their lofty bamboo watchtowers to ght
alongside their fellow Kadungganan. This has done nothing to
impede their skill, of course. In fact, all it has done is to show how
much more formidable a Tigpana is up close, with perfectly lined
shots that can sever the head from the neck
While Apumbukid trains them in large numbers due to their
proactive stance on their stewardship, the art of long ranged archery
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came from Ibalong, in the northwestern tip of Rusunuga, bordered
by the volcano Magayon, the most beautiful volcano in all of The
Sword Isles, known for its perfect cone shape. The Ibalongnon are
closer to the Gatusanon than the Virbanwans in culture, and also
tattooed themselves and raided the coasts of foreign lands. When
invaders came, they were known as some of the most belligerent
warriors, evidenced by their skill with longbows. These Ibalongnon
warriors have since taught warriors far and wide the discipline of
longbow archery, and has thus bred a new breed of Tigpana across
the isles.
If you choose to become a Tigpana ask youself why you have
chosen the path of more violence, if you could’ve stayed protecting
what is yours instead. Who do you ght for? Why? Blood stains your
bowstrings, how long until it ows from your heart
The Martial Art of the Tigpana is known as Petal Piercing Style
When you rst take upon this Discipline, gain the following
PETAL PIERCING STYLE FUNDAMENTALS: PATIENCE
As a Tigpana, you are taught proper patience. Many of your technicks rely
on the fact that you’ve claimed the perfect shot, that your victim has been
cornered. This is the path to victory, to know when to perfectly strike, so such
strikes can become precise and killing
As a Flourish, you can get on one knee and then gain 1 Aim. You
can keep spending Flourish to gain more Aim, to a maximum of 3
When you next make a ranged attack, you expend X Aim to
increase the range by X and deal X extra damage.
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You lose all aim when you are damaged or you move, whether
voluntarily or involuntarily
PETAL PIERCING STYLE INFLICT VIOLENCE: BREATHING PAAGI
Bamboo Dragon Win

You swing your bow and push the target back
Action * Maneuver
1 Unit | Adjacen
damage. Then, push the target 1 + 1d4 spaces
Ar
You let judgment y
Action * Maneuver, Reliable
1 Unit | Range
Effect: Make a ranged attack that deals 1d4 + 1 damage. This
ignores line of sight
PETAL PIERCING STYLE FUNDAMENTALS: SHADOW FLITTING FROM
THE SKY
You bring the leaves and the insects to you, and feel the rejuvenation of
nature
Sel
Effect: Heal Breath. You may quickstep 3 spaces without losing
Aim
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following
THE SKY
You can now gain up to 5 Aim. Additionally, you don’t lose Aim
when you Quickstep.
You can now become Hidden at the start of your turn until you
make an attack, move, or suffer damage
Whenever you deal damage with a ranged attack, you can choose
to deal the average of a die roll instead of rolling damage. For 1d2
that’s 1, for 1d4 that’s 3, for 1d6 that’s 4, and for 1d8 that’s 5
THE SKY
“Align your shot. When you aim, breathe. That is how you know you are
one with hiyang, for hiyang is infused into the very air we breathe. Then, yes,
let go. Let go slowly. Do not have violence in your mind, but oneness. Remember
to sacri ce self upon the altar of all? Remember then, that you are not you. You
are the arrow, the bow, the vibrations of the bowstrings, the trajectory of the
bow, the warriors being cut down by your intent. You are all those and more.” –
Teachings of the Bantara Guro
Action * Maneuver
1 foe at a height lower than yours | The battle eld
Effect: Deal 3d8 + [Tier] piercing Force damage to the target.
Trace a line from one of your corners to the corner of the target. If
the line touches a side, corner, or enters through the space of a Foe,
they suffer the damage as well. This ignores Height
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PETAL PIERCING STYLE TECHNICKS
BAMBOO RAIN
“Hide earth with the shadows of your arrows, archer!” – A popular war cry
for those that keep their lives in their bow.
All foes | Range 3~4, Burst 2
Effect: Make an area attack, dealing 1d4 force damage to all
targets
KILAT EYE
Tigpana training includes instinctively learning the trajectory of your

arrows, so that you can use it to launch the target in any direction. Not only
that, but this knowledge extends to your allies: your skill is so great that you
can intinctively turn to an ally and entrust upon them knowledge to break the
opponent’s defense.
Flourish * Tacti
1 Unit | Range 3
Effect: Give the target the Kilat Eye. When you or an ally makes
an attack against a target with Kilat Eye, they may consume the Kilat
Eye to deal Precise Damage.
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BAMBOO REROUTES THE RIVER
The Tigpana’s Response Reaction time is feared across the isles. Nothing
matches them. In truth, this is the rst lesson of the Tigpana: to catch an arrow
from mid-air. The second lesson is this: throw the arrow back. Si Taka is a
legendary folk hero among Apumbukid, a Hinapanun noble who fought against
a Virbanwan iron foundry village that seeked to kill the diwata of the forest
Ibusi, Apu Ibusi
Interrupt Reaction: You are hit by a ranged attack * Maneuver,
Taxin
Self
Effect: Roll a d10. On an 7+, you catch the ranged attack,
canceling the effects of the attack against you.
ODD EYE
Tigpana are taught to watch over the entire battle eld. Entire settlements
have been saved due to the tigpana’s vigilance
Flourish * Tacti
Self
Effect: You gain the Overwatch until the start of your next turn.
When a combatant within range 4 voluntarily leaves their space, you
may consume the Overwatch to immediately deal 1d4+1 force
damage to them
You can only have 1 Overwatch at a time
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THE SULTANATE OF AKAI
The war gongs sounded. Our armies assembled. On one side,
under the blazing crimson banner of Sultana Yarashgara XII,
the Omniscient King, chosen by Baginda Sumongsuklay
herself, we stood. In front of the attened plain, facing the sea.
We prepared our lantakas, our arquebusiers raised their guns,
our longbowmen raised their bamboo bows the length of their
bodies. Our frontmen raised their kampilan and kris and
sundang, beating them against their kalasag. Our cavalry rode
upon water buffaloes and elephants, wielding arquebuses and
spears. We were ready to take them on, and we will bring
them down
Off to the distance, like a black blade sweeping in from the
horizon, sailed the bastard forces of the wicked sea king,
Radya Gaputan. He declared himself true sultan and declared
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war upon us last moon, and now he comes with the full force
of his eet
My Beloved Sultana walked up beside me. I lowered my head
to her, the golden threads of my sarok creating a soft rustling
symphony. “Parawali,” he said. “Report.” She was garbed in
the full ensemble of war god armor: elephant hide breastplate
and steel armor from head to toe, a helmet fashioned to make
him look like the dragon that eats the moon, and a kiwo-kiwo
kris that was larger than any other. Around her armor she
wore a colorful textile sarong of white, pink, and crimson,
which owed to her feet
“Beloved Sultana,” I said, and I pulled out the bamboo scroll
from my sleeve. “Radya Gaputan comes in with a force that is
seven times stronger than our land army.
“But our army is all supremely trained,” replied my Beloved
Sultana. “And they are nothing but mercenaries and horohan.
“It may be so, but their superior numbers leave us at a
disadvantage.
Sultana Yarashgara XII nodded, and then said, “Did my
friend Datu Kumusuli reply?
I smiled. “They did, oh Valued One.
“And? What was their reply?
The war horns began then. The agung quickened. The entire
army began screaming in rage and de ance against the
wretched horde of Radya Gaputan. On top of the hill we
stood upon, overlooking the shore, the great Paraawit sang
her greatest song. The Neverending War of the Sultanate. She
sang of all the great battles the sultanate has fought, will ght,
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and will ever ght, and told of how they were victorious above
them all
And as the war gongs clashed and the war horns bellowed, a
eet of colorful sails came in from both sides of the horizon, as
if rushing to meet the incoming horde. A multitude, like re
encroaching upon oil
“They said that they remain faithful to you, Sultana, the
Conquerer of this Earth, the Render of Heaven, the
Omniscient Queen.
The Beloved Sultana nodded and smiled. “Good answer.” And
she raised her giant kris, and lightning struck it, and she ared
like a god
Proud warriors, Lovers of Freedom, Sages of the Moon. The Akai

Sultanate is one of the most powerful Sultanates in The Sword Isles.
Unlike the Rajahnate, the Sultanate all serve under a single divinely
mandated Sultana, who is currently the great Yarashgara XII, the
twelfth of her name.
The Akai Sultanate was established a hundred years during the
ending of the Seventh Sun Era. Jaris Akai arrived in the island of
Siga upon a vast metal vase. Then, he found and married a princess
of one of the local settlements. Through that he, bred a powerful line
of ten sons, who eventually became the Ten Datu that ruled over the
ten regions of the region that surrounded Siga, the island whereupon
the holy capital of the Sultanate was to be born. Then, Jaris Akai
conquered and subsumed the native peoples blessing them and
granting them the title of Datu, while he himself became their grand
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emperor. Jaris Akai brought the island of Siga and the surrounding
islands to heel.
Jaris Akai, also known as Maharajah Akai, faced down a
rebellion from the Ten Rajahnates of his sons, which he managed to
win after the arrival of Sihkandag, the Warrior-Priestess of Baginda
Sumongsuklay. Through her counsel, medicine, and sorceries, Jaris
Akai brought his sons to line, and then eventually established the
Sultanate.
Soon after, the Sultanate adopted the Moon Faith, Iman, as a
state religion. As more pandita wisefolk came in and taught the
religion, more culture (both social and material) was brought into the
ten islands. They crafted powerful weapons and learned great
techniques which he taught to his ten sons. Upon his ten sons, he
conquered the island of Siga and the surrounding islands, a portion
of the islands of Simipatra, and the coasts of Kalanawan
His reign only ended due to the quarreling and politicking of his
ten Sons, who bickered and warred, ghting for inheritance of the
Throne.
Eventually Jaris Akai perished, and in mourning, the Isles of Siga
and the coastal shores of Kalawanan erupted into the Ten Datu War.
Ten of his greatest sons, Fire and Storm Kings, warriors of the
current, echoes in the forest
The winner Yarashgara I, who was not the eldest but the one
destined to be the leader among the Ten Datus, as spoken by
esteemed pandita Saka Iskandr. And thus it was so, and the rest of
the ten cities and states paid fealty to him, for he and his line became
the inheritors of the Lunar Throne.
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The Akai Sultanate believes in what they call Iman. It is the faith
that the Moon Goddess Baginda Sumongsuklay created the islands
after warring with the sun, and became the Resplendent Night
Queen that held sway over both night and day. Baginda
Sumongsuklay was privy to power over the most powerful realm in
the world: the Sea, and the Sultanate became peerless sea raiders and
warriors thanks to their blessing from Baginda Sumongsuklay. They
have created Lunar Temples for her in spiritually powerful places. All
diwata pay fealty to her, the greatest of the diwata.
As of present day, the Ten Datu and the Sultana still have a
convocation at every Full Moon for feasting and trading and
speaking and organizing new ventures, as well as other diplomatic
political inventions. Lately they have been preparing, as the Lakanate
of Virbanwa readies their armies and recruits from their villages. The
Akai Sultanate will not bow.
The Sultana sits within her Grand Lunar Palace: the largest
structure in The Sword Isles: a massive 100-roofed palace that meets
the moon when it is at its fullest, expanded into a sacred square, with
hundreds of annexes connected by stone halls made of moonstone. It
is all at once a holy offering to Baginda Sumongsuklay, and a housing
for one of the most powerful people in the Sword Isles
The Tawo of Akai are much similar to their neighbors to the
south. They have a tripartite society, and go on raids and are born
into a society of war. From a young age, they are usually taught of
the Moon Faith, the Iman, and that to follow the teachings of
Baginda Sumongsuklay and die for them is the highest reward they
could have. Tawo from the Sultanate are exposed to vast trade with
Naksuwarga and Baik Hu. They have access to inscriptions and
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culture from other parts of the world through this trade. This has
caused many of the Sultanate tawo to be exceedingly diverse
culturally
Nobles in the Sultanate serve and give a tribute to the Sultana.
The Sultana is akin to an empress, ruling over kings, that are the datu
and rajahs. Nobles can become pandita, or wise-men, if they become
well-versed in the Iman. They are knowledgeable in the Moon Law
and custom. Princes that are of royal blood are referred to as Katchil,
and the crown prince was termed Rajah Muda. Rajah Laut were
third-ranking dignitaries. A high-ranking council of elders known as
the Bichara Atas counsels the Sultana. Those rich enough with the
right and means to trade are treated as nobles and are called
Orangkaya.
Among the Nobles, they share much in common with the Akai as
well. Especially rich folk that do not have noble blood, the
orangkaya, are known to have their own little society within Akai,
and in some cases in uence the decisions of the Datu. Many epics
and songs and poetry has been born due to the constant adventuring
of nobles.
Sultanate Kadungganan are called satariya. They ght not only
for their Datu, but also for the Sultanate. When the Final Wars
come, or when the Sultana seeks for them, they will ride with their
Datu to the Sultana’s side, and they will reach heaven through
violence. The most faithful of warriors gird themselves for battle:
they wrap themselves when performing Holy War with the trappings
of those to be buried: anointed with oil, shaved, and invested with
white garments. This is called the sabil: the faith rage, and they will
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die. They will bring as many as they can with them, and in their
death, they will reach heaven
The tawo of Akai embody and internalize the most important
pillar of their Iman: the Divine Striving. There are four Divine
Strivings:
- The Striving to Holiness, which is their striving to overcome the
lower self, perfect their bodies, and reach communion with the
Moon by following the tenets of Iman
- The Striving to the Sword, which is their striving to perfect their
martial prowess to protect what is theirs and other blasphemers
- The Striving to Puri cation, which is their striving to cleanse the
land of evil and darkness, injustice, oppression and the works of the
Malaikat demons
- The Striving to Truth, which is their striving to achieve
truthfulness and to spread the knowledge of the Baginda
Sultanate Kadungganan are much more socially free to move

about across Sultanate settlements due to this, as they hold the
highest debt and servitude to the Sultana, and not only to their own
Datu. They are, at times, much freer than even Nobles, as they do
not need to worry about the strict social taboos and other such
pleasantries
Most orangkaya, those materially wealthy, constituting a
secondary class of nobles who are not noble by blood, but by wealth,
live their lives as freemen, going from town to town either selling
their wares, setting up food booths where they sell their food, or offer
other services, such as hunting, cleaning, warring, and smithing.
Captives are more common here. More importantly, sina debtors are
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common here as well, as the Sultanate is a prime trading route for

going down to Baik Hu, and thus many raids are conducted to pirate
and pillage travelling boats lled with sina foreigners
NOTEWORTHY PERSON
Sultana Yarashgara XII. Yarashgara, descended of Jaris Akai,
the twelfth of her name, the Omniscient Queen, unto whom songs of
crocodile-slaying and island-rending are sung about. She is known as
the Thunderous Conqueror, the Ever-Swallowing Current. Born to
the royal family, she proved her worth as the heir to the throne, and
sought to capitalize on her father’s mistakes by expanding Akai ever
forward. Yarashgara is a well-versed in the teachings of Iman,
counseled by twelve pandita--both local and foreign--and served a
tour of duty as a knight-warlord for her late father before taking the
throne. Thus, the Omniscient Queen is intimate with her subjects,
and the Sultana knows that they are primed for expansion. Their goal
is to conquer all of The Sword Isles rst, and then Sonyoh, and then
the rest of Naksuwarga. She aims to become a force strong enough to
rival even Baik Hu. She keeps her wits about her, however, for they
know treachery and betrayal whirls at every current
Upon her throne in the Lunar Palace, she sits upon a stone dais
that is made of the bones of a great moon-eating serpent, the
Bakunawa Throne. She sits upon it with legs folded, wearing a great
pudong that does not fall, but rather, is attracted to the sky, so it falls
upwards always, creating a spiralling crown unrivalled. It and the
rest of her garments--a lambung so long that it can cover her in three-
layers and still be long enough to cover the entirety of the Bakunawa
Throne, a shawl that can double as elongated arms and can wield
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weapons, and a silken pillow that lets her y anywhere--is made of

moonsilver-silk. Moonsilver-silk can be found nowhere else in the
world but upon the Sultana, who commissioned it from a thousand of
the Sultanate’s best weavers.
The Sultana’s sword is a crescent scimitar, the Bulan Sansibar,
that when used at its full power can cut entire mountains. She has no
need for a shield
To this day, the Sultana has 78 Heirs: the 87 Lunar Princes, called
Prince despite their true gender. They are warring for the Sultana’s
affection and acknowledgment so that they can become the true Heir
to the throne, the next maharajah, the next Sultan
Pangiran Seri Rida. The elder brother of Yarashgara XII. He is
incensed. Although working as a Mahalaksamana, or Grand Admiral,
of the Akai Fleet, he connives and plans. He believes that he is the
true heir to the Throne, despite not being the eldest son. Despite this,
he chooses not to recognize Yarashgara, who was born Ilasun, as the
current Sultana. Even now, he amasses forces, not just from Akai
Kedatuan, but from Dagindara and Sritaluk as well, even going so
far as asking help from far cousins that live in Gatusan. A full scale
war is ready to tip, with Pangiran Seri Rida at its prow. All he needs
is for Yarashgara to slip up
Pandita Mana. A wise and widely respected pandita. He is a
heavily bearded man, wearing a turban-like pudong, and a heavy
kampilan that is more for ritual use than combat. He uses sorceries
learned from the Sacred Land to the Southeast, which lets him
manipulate light and shadow itself with a single mentala. He travels
the land as a scholar and spreader of the word of Baginda
Sumongsuklay, making sure that all beings can accept her ever-
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gleaming brightness. He seeks to turn all of The Sword Isles to the

truth of Iman, to push them to a new age of enlightenment. To that
end, he travels, paying boat-owners and merchants alike to ride upon
their vessels, to travel as far as his eye can see. He grants those that
he preaches to help, in the form of healing or herbal remedies.
NOTEWORTHY POLITIE
The Holy Kedatuan of Harigii. Called solely because of the
ancient holy temple built upon a high mountain by the rst few
preachers and apostles of the Moon Goddess, and was where the
First Teacher, Indra Guro, died and was buried. The Holy Temple
has since withered away to the elements, as it was built on bamboo,
save for the four pillars that it was built upon, which never wilt away.
When a person cut the pillar to examine it, the part that was cut
immediately withered and aged. Many people that live in Harigii
grow up to become priests, scholars, and monks for the Moon faith.
Harigii has since become the pilgrimage site for all Bulanists. The
current Datu of Harigii is a once-pandita preacher named Datu
Dahit Sabad
Jambangan. The Land of Flowers. The holy city-state in the
middle of the Sultanate’s jurisdiction. It is large enough to cover all of
the island of Siga, where it is situated. In the middle of the
archipelago is a holy pyramid to the Moon Goddess Baginda
Sumongsuklay, which they call the Holy Lunar Temple. Beside it is
the Grand Lunar Palace of the Sultana, the high royalty of the Akai
Sultanate, where the current Omniscient Queen Sultana: Yarashgara
XII, lives. Those that are her children and families from her
concubines live in the quarter closest to the palace, while the other
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workers, debtors, and warriors live in swathes of neighborhoods.

Siga thus faces war from all sides, but it is ercely defended by loyal
datu and satariya, as well as strong stone forti cations
Pasara. The capital of the island of Ulahina, the crown jewel of
the Sultanate, ruled by the Datu Gaddung Kira-Kira, who is a
peerless blacksmith and a loyal vassal to Yarashgara. Pasara is an
entry city that leads into verdant forests, jade statues overgrown now
by trees, and clear streams that ow out of the mountain. The
mountain upon which Pasara lies at the base of Mount Sithi, is said
to be the home of the Diwata Sithi, Goddess of Tears and Love, and
it is said that the two rivers that stream down on both sides of the
mountain are her tears. Most people that live here are known to be
excellent entertainers and performers, creating an extravagant
economy for tourists and travelers from all across The Sword Isles
and the greater world
Yikapu. A polity ruled by the current Mahapanglima, or Grand
General, Jamrud Wanni. Yikapu is situated on a small island south of
Jambangan, and it is protected by moonstone fortresses and star-
bamboo towers. Here the superior military force of Akai is both
trained, stationed, and launched. The satariya trained here are taught
how to use lantaka, cannons used for war, powered by strange
busalian sorceries, as well as how to use their soul to ght back
against the beguiling enchantments of both god and witch.

To Virbanwa: What we will do to your kingdom is the reason
why the Moon looks away
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To Gatusan: Wild, pure, and forever free! We would happily
include them into the ranks of our vassals, but their blades are sharp
and their tongues even sharper. To live by the blade is to die by the
blade, of course, and they shall nd hell from ours
To Apumbukid: They have not the strength to repel us. Had we
the effort and will, the Holy Mountain would have become our
ladder to the Holy City on the Moon, and they will have become our
brothers in our Divine Striving
To Ba-e: Aloft upon their elder dais, yet they have persisted
through cycles of violence. Does it grieve them to see the depths of
their own weakness laid bare
AKAI DISCIPLINES
The following are the Disciplines born from Akai
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AYAM HUNTER [AYH
Hunting is a popular trade and profession in the isles. Its how
one gets pig and meat, after all. And pig caught in the forest is a ritual
sacri ce, lled with metaspiritual meaning and power. Hunting in the
isles are done either by one’s self, with traps, or with a dog or two,
who can pin down game
When war broke out, and constant violence loomed, the Ayam
Hunters arose, pointing their traps and their dogs at their enemies.
They took it upon themselves. Now they train their children not only
in the arts of hunting, but also in war. After all, how different can
hunting a human be? While all the mandalas hunted, it was Akai that
rst saw their applicability in war, and began granting nobility and
vassalship to hunters who would join the Sultana’s following and
army. An even smaller contingent of elite hunters serve as her royal
hunters, out tted with silks and golds and jades
Ayam Hunters use a large variety of constructed traps to control
the battle eld. They might bait their enemies, use strange pits to
make them fall, or soften the soil to make them slip quicker. Ayam
Hunters are unmatched when it comes to manipulating the battle eld
with their ingenuity and closest allies. They thrive in the mid-range,
putting down traps to shut down enemy movement and skill
Ayam hunting dogs are erce and they never back down, and
they even prefer to ght against things larger than them, the devil
bastards. They rejoice in the glory of savaging a giant boar or
crocodile or stag and bringing them writhing to the oor
Ayam hunters are usually geniuses in trap making as well as the
ways of nature, sought after for their expertise. They come from all
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walks of life, and with their ayam, they can take on whatever
challenge that will come their way, with a combination of their wit,
their innovative skill, and the erceness of their ayam
If you choose to be that consummate hunter, ask why you used
your hunting and trade for battle. What made you hunt the ultimate
predator? Why do you sic your hunting dogs at your fellow man
The Martial Art of the Ayam Hunter is known as Moon and
Stars Style
MOON AND STARS STYLE FUNDAMENTALS: BEST FRIEND
Ayam are ercely loyal hunting dogs that can climb trees and shed their
claws to better grip their target. They will never abandon you.
You have an ayam that acts as a summon. They have a Speed of 4.

They are Weak to Fire. They have a Mettle equal to your Battered
value, and they may Dive and Counter as Reactions
You can spend a Flourish to command them
- Sic’ Em! Your ayam strides to adjacency of one foe and makes a
physical melee attack. On hit, they deal 1d4 earth damage and in ict
Fray 1
- Guard Me! Your ayam moves toward you. If they end up
adjacent to you, both of you suffer halved damage from all attacks
- Keep Them Off Me! The ayam barks frighteningly, like
thunder, pushing all foes adjacent to you by 1 space
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If you do not Command them, at the end of your turn, they will
Stride and then Keep Guard until the start of your next turn. While
they are Keeping Guard, any foe that enters or exits a space adjacent
to the ayam becomes Slowed
If your ayam is brought to 0 Mettle, they will be Crashed as well.
While Crashed, they will stay that way until you go up to them and
Revive them
However, they still suffer 1 Wound, and they will be incapacitated
when they suffer 3 Wounds. During a Rest, they also heal 1 Wound
MOON AND STARS STYLE INFLICT VIOLENCE: COORDINATION
Goug
You gouge at an opponent
1 Unit | Mele
Effect: Make a melee attack, dealing 1d4 force damage and
in icting Ripped. Your ayam gains +2 Speed until the end of your next
turn
Combo: If the next attack on the target is a shot nisher, the
target suffers Fray 2.
Stin
You aim a perfectly timed strike
Action * Maneuver, Opene
1 Unit | Range 2~3
Effect: Make a ranged attack, dealing 1d4 earth damage. Your
ayam’s next attack against the target is Strengthened
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MOON AND STARS STYLE SECOND WIND: DRINK THE HURRICANE
A special brew from the menders of Akai. Edible to both you and your dog.
When you consume it, the edges of your vision are frayed by lightning, and
everything seems to move slower
Sel
Effect: Heal Breath and give your ayam a command as a Re ex,
even if you’ve already used it that round.
the following
MOON AND STARS STYLE MASTERY: CHASE AFTER THE SUN
You now have access to the following Commands that you can do.
- Stay hidden! Give your ayam Hidden until the end of their next
turn.
- That’s my boy. Give your ayam Barrier equal to your Breath.
- Lock ‘em down! Your ayam strides and then makes a melee
attack against an adjacent foe, dealing 1d4 + 1 earth damage and
in icting Immobilized
MOON AND STARS STYLE FORBIDDEN TECHNICK: HUNTING PACK
“All right, when you’re overwhelmed? When your traps have all be spent?
Rely on this guy. This best friend of yours. In these lands of violence, we have
none other. These guys can climb trees, rip wounds, and sharpen their own
claws! All right, bud? Remember, even when I die, you’ll never be alone. These
dogs are me and your ancestors. We’ll never let you down.” Hunter Sakdal, to
his son Titi Mangita, before going to join the ranks of the Sultanate.
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Flourish * Ritual, Maneuver, Round 3
Sel
Effect: You become The Dog Pack, one with a rushing tide of
ayam, spilling blood in their wake, until the end of the scene. You and
your ayam take your turn at the same time now, and you are both
immune to forced movement.
While you are the Pack, you are Size 2, gain Hastened and all your
attacks have +2 extra damage. Whenever you or your ayam deals
damage, the other one gains Strengthened on their next attack
As an Action, you may make an attack against an adjacent target,
Rooting them immediately
MOON AND STARS STYLE TECHNICKS
EARTH COFFIN
“May the earth swallow you!” - A common curse in The Sword Isles
Flourish * Trap, Charge
1 Unoccupied Space | Range 3
Effect: You can choose when to trigger the earth cof n. When
you do, all adjacent units may make a save. On a fail, they become
Rooted and Weakened. On a pass, they simply become Rooted.
BAMBOO SHRIKE PIT
Perfect for heavier creatures. This is a shallow pit that has multiple
bamboo spikes with re-hardened tips at the bottom
Flourish * Trap, Charge
All Spaces | Close Blast 2
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Effect: You put down a shrike pit in the target area. You can
choose when to trigger the Pit. When you do, all creatures on the
Bamboo Shrike Pit’s space falls into a space that is Height -2, they
suffer 1d4 piercing earth damage, and they become Prone. The pit
stays
BALATIK TRAP
Balatik are the most well known contraption and trap of hunters in The
Sword Isles: they are small bamboo ballistas that, when triggered, skewers the
unsuspecting prey with a long bamboo spike. It turns out that this is just as
effective for humans as it is for wild boar and deer
Action * Trap, Charge
All Spaces | Close Line 5
Effect: Lay down the trap in the target area.When a foe steps
onto the target area, you may spend a balatik trap to deal 1d4
piercing Force damage to all foes in the target area and push them 5
spaces away from the line. If they collide with terrain because of the
push, the balatik arrow impales them, making them Immobilized until
they spend a Flourish to remove the arrow.
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SILKWEAVE
You place silkweave upon your clothes or your skin, and pull upon it
whenever you need to move quickly
Action * Maneuver, Charge
Self
Effect: You are pulled 2 spaces in any direction by a sudden
silkweave string attached to a tree or the ground. This ignores
Immobilized and Slowed and does not provoke reactions. If you
move into the space of another unit, you do not suffer damage, but
they do
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RITUAL BERSERKER [RBS

Ritual Berserkers reach heaven through violence
They kill and die in the name of their conviction. While Faith in
the Moon Goddess isn’t a prerequisite to mag-sabil, conviction is. A
conviction to die in the face of imminent, and sometimes quite
certain, death.
All warriors can perform the sabil, that faithful war-ritual.
However, Ritual Berserkers dedicate their entire lives to the sabil.
Every venture they go out on is a venture they are prepared to die for
their faith in. This has caused Ritual Berserkers to be particularly
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feared, due to their total lack of self-preservation. They vest

themselves in the trappings of burial: wear white, anointed in oil by
the pandita. And then they go to battle to die, bringing as many as
they can with them, so that they can arrive in heaven and stand
alongside Baginda Sumongsuklay
The rst Ritual Berserker was said to be Baginda Sumongsuklay
herself. She arrived upon the islands in times now long gone, and
traveled into the sky palace of Indira Suga and Jamiyun Kulisa, and
immediately went into a frenzy. She succeeded in breaking the sky
gates, and in her total lack of self-preservation, leapt onto the
Thunderbolt and wounded him. Brother Lightning and Mother Sun
have since left that sky palace, and now Baginda Sumongsuklay
commands the faith and trust of the warriors of Akai
Those that become Mag-sabil berserkers dedicate their entire
lives to the emulation of that art, with the knowledge that they shall
ascend to the bladed moon heaven of Baginda Sumongsuklay should
they die in the act of pag-sabil
The death violent art of mag-sabil has been known since the dawn
of time, once practiced in supreme deference and respect for the datu,
they will dress themselves in the vestures and raiment of death and
go on berserk fury, or as it is known in the Archipelago: pag-sabil.
You sharpen this glorious fury into your weapon. You have forged
yourself into the ultimate killing machine: your heart is a sword, the
pain you suffer is re to the furnace
During the end of the Seventh Moon Era, pag-sabil has been
easier to initiate and invoke with the help of sugapa and other drugs
to elevate the fury to one transcendental, communing with the spirits
of war
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The most well known mag-sabil do give themselves to the mad

fury of the moon, of the Moon Goddess Baginda Sumongsuklay, to
whom adoration and respect is required, and dying in their name is
the ultimate way to reach her Palace in the Sky.
Mag-sabil berserkers can also be found all across the archipelago,
especially those that have the same amount of zeal and loyalty to their
leaders and the spirits of their settlements. They are, however, few
and far in between in number, a small number of warrior braves who
are always ready to die for their leader and faith.
Before going out on a venture, you dress yourself in the raiment
of death and then anoint yourself with oils, as if you were being
carried off to be buried, and then dress yourself in your best jewelry,
to make sure that you bring with you your earthly wealth to the next
life and be accepted into heaven with open arms
If you chose the violent life of the Ritual Berserker, ask yourself
who you profess your faith to. Why? Do you wish heaven? Or is this
a convenient excuse for you to in ict indiscriminate violence
The Martial Art of the Ritual Berserker is known as Moon
Scything Through The Earth Style
Gain the following when you rst take upon this Discipline…
MOON SCYTHING THROUGH THE EARTH STYLE FUNDAMENTALS:
FAITH AND RAGE
Whenever you suffer damage, gain Rage. Whenever you deal

damage, gain Faith. You can only have up to 3 of either
You can spend Rage and Faith on the following effects
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- Rage Slash. Spend X Rage when you make a melee attack to

deal +X extra damage
- Rapturous Strike from Lunar Heaven. Spend 3 Rage when
you make a melee attack to roll a d10. On a 6-, you deal Glancing
Damage on all the damage rolls. On a 7+, you deal maximum damage
on all the rolls, no need to roll
- Invigorating Heaven Blessing. Spend X Faith to heal X Mettle
as a Flourish
You may ingest sugapa to work you into a rage trance. You have
1 Sugapa that you can replenish during a Rest. As a Flourish, you
may consume a Sugapa to immediately gain 3 Rage
MOON SCYTHING THROUGH THE EARTH STYLE INFLICT VIOLENCE:
OVERWHELMING VIOLENCE
Shoulde
Your charge forward, breaking boulders
Action * Maneuve
1 Unit | Mele
Effect: Make a melee attack, dealing 1d6 earth damage. Then,
push the target 1 space. If they collide with terrain, they are knocked
prone. If they collide with another unit, they both are knocked prone.
You cannot be Immobilized, Rooted, pushed, pulled, or shifted until the
end of your next turn
Berser
You cleave the earth itself
1 Unit | Mele
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Effect: Make a melee attack, dealing 1d6+1 force damage against

the unit. Then, all units adjacent to the target suffer half damage that
you dealt
MOON SCYTHING THROUGH THE EARTH STYLE SECOND WIND: SELF
VIOLATION
You dig deep and hold onto your conviction, even if grasping it bleeds you.
You become your conviction incarnate
Flourish * Scene, Hea
Effect: Suffer damage equal to your Breath. You then Re ect all
elemental damage until the end of your next turn
the following…
MOON SCYTHING THROUGH THE EARTH STYLE FORBIDDEN
TECHNICK: TRANSCENDENCE
You can now spend Faith and Rage on the following effects
- Reposition. When you make an attack, you may spend X Rage
to move X spaces, without provoking reactions, to a maximum of
spending 3
- Kill Angels. You leap up and strike at angels. Spend 3 Faith when
you Stride to ignore Height and deal Strengthened damage against all
ying and hovering foes until the end of your next turn
- Bury Devils. You bury devils into the earth. Spend 5 Faith when
you Burst to knock down all foes adjacent to you and deal 2d4
piercing force damage to them
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MOON SCYTHING THROUGH THE EARTH STYLE FORBIDDEN
TECHNICK: BRING THE MOON DOWN TO EARTH
The ultimate zeal-rage comes from the most tranquil of souls. You have
mastered your rage, and it comes out as a silent breath. That silent rage that
none can muster, that none can overcome. Like the ever-coming tide of the ocean,
ready to overwhelm and swallow the mountains
Who are they to say that your faith-rage is unjusti ed? This world is
sundered and torn: break it even further, and in so doing bring light to bear.
This is the Principle of Fury: kill all things indiscriminately to attain true
Harmony
Action * Perilous, Round 3
All Units | Close Line X, with X being the number of spaces it
takes to reach the end of the battle eld
Effect: You perform the Final Pagsabil: deal 6d6 piercing force
damage to the target. This damage cannot be avoided, ignores
Reactions, ignores Elusive, and can be Strengthened, turned Precise,
and bene t from extra damage. It cannot be halved or turned into
glancing
MOON SCYTHING THROUGH THE EARTH STYLE TECHNICKS
HARROWING
Fury. You lash out in sabil: you move so fast that a thousand afterimages
of you—like a miniature army—erupts from your soul, and they all attack
Action * Maneuver, Taxing
All Units | Close Burst 2
Effect: Make an area attack, dealing 1d6 Force damage.
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Suffer damage equal to the number of foes you target. This

damage cannot be reduced in any way
Special: You can only use this while you are Flanked.
CHARGE
The Berserker rejoices in the glory of combat. You ready your weapon, and
engage in violence. Your wounds only make you stronger. IN VIOLENCE
YOU ARE BORN AND IN VIOLENCE YOU WILL PERISH. YOUR
FURY IS A FIRE THAT CANNOT BE EXTINGUISHED, IT SHINES
IN THE VOID AFTER THE END OF THE CREATION. REMEMBER
THIS, BERSERKER: WHEN PEACE IS ACHIEVED, YOU WILL
CEASE TO EXIST.
Flourish * Maneuver, Ritual, Concentration, Scen
Effect: You ready your weapon. You become Charging
Concentration: Deal 1d6 damage to the targets in the target area.
Deal extra damage equal to the number of attacks directed at you
during the round
KURITA PIERCES HEAVEN
You swing and ourish up, bringing the victim of your scorn to the heavens.
“Verily, I say unto you: should you shed blood for your Goddess, thus shall you
nd eternal life. But should you rip open Heaven in the name of the Moon, then
shall you achieve nirvana.” - Teachings of Pandita Ashakarwa.
1 Unit | Melee
Effect: Make a melee attack, dealing 1d4+2 force damage and
making the target Ripped until the end of their next turn. If they are
already Ripped, they suffer +1 extra damage instead
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GOD HURLS THE WORLD
You summon unto you all the spirits of wrath. You contaminate your Soul
with Kawalan, and you use that power to ing your opponent. HURL YOUR
HEART TO HEAVEN. IF IT DOES NOT CRACK ITS GATES, THEN
YOUR ANGER IS INCOMPLETE AND INUTILE
Flourish * Maneuver, Ritual
1 Unit Grappled by You
Effect: Fling the foe 3 spaces in any direction. They must end in a
space at least 2 spaces away from you. If they collide with terrain,
they suffer 1d6+2 damage and become Dazed.
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SWORDFISH WARRIOR [SWW
Sword sh Warriors are skilled riders of the balu, giant
sword sh with noses sharper than spears and wings as large as an
eagle’s. While they require water to breathe, they can stay up in the
air for quite some time. Sword sh Warriors are trained by the best of
the best in their villages, as taming a balu is an entire endeavor all to
itself. One must train a balu since their infancy to form a proper
connection with them. Since balu are one of the quickest animals in
The Sword Isles, they have been used to corrale and subdue enemy
advances in war. Balu are out tted with chain linked mails and
hardwood armors as well
Sword sh Warriors are said to have a distant rivalry with the
other riding Disciplines, particularly the buwaya riders. This is
because they have both been invented by enemy villages. Riding a
balu is a sacred act of oneness with nature, and requires a balyan
ritual to of ciate. Sword sh Warriors are known to use bamboo or
hardwood recurve bows for their choice of weapon, or any other
long-ranged implement, to attack and skewer from mid-range
Sword sh Warriors know the lay of the land and they know the
movement of the sea. If you were a Sword sh Warrior you must’ve
begun your childhood close to water, whether it be a pond or the
ocean. You are intimate with the ways of shing, wielding harpoon
and net to catch your prey. If anyone needs a helping hand when it
comes to shing and hunting, Sword sh Warriors are usually well-
trained in this regard.
Sword sh Warriors tend to be the rst into a battle, with their
superior speed being able to move them across the battle eld with
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relative ease. Due to their mounts, they will be usually tasked with
jobs or duties that would need quick movement or ability to oat a
few feet over land and water. While balu can submerge, the riders
usually cannot hold their breath for long.
Sword sh Warriors constitute the elite cavalry of the Sultana.
Elite Sword sh Warriors are exalted and trained from birth, and are
reared up in the closest way of the Iman. Sword shes are ancient and
holy animals that were ridden by Baginda Sumongsuklay Themself,
and were the holy steeds of Ayah Menat, the First Prophet, when
they had to travel the Two Thousand and One Oceans to reach the
Crescent Archipelago Region
The most elite Sword sh Warriors are the Cavalry of Datu
Margosatubig, in a distant island north of Kalanawan. This island,
called Salagunting, is said to actually be the top of an underwater
coral kingdom named Sugnanti. The balu here are larger, and have
sharper swordnoses, and are said to rush through both air and water
like arrows loosed by the sea king.
If you become a Sword sh Warrior, ask yourself: why do you ride
upon the wings of legends to in ict violence? The folly of men
dapples your arrowhead, why must you enslave nature to scatter
your enemies’ entrails upon the ground
The Martial Art of the Sword sh Warrior is known as Coral
Knight Style
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CORAL KNIGHT STYLE FUNDAMENTALS: BALU MOUNT
You ride upon a ying sword sh known as a balu. These holy sword sh
mounts are rare in the isles, born from pearls hidden deep within coral
kingdoms. They are the favored pet of the Overlord of the Sea, Rajah
Margosatubig, whose kingdom rests right beside the navel of the world, wherein
they keep watch over Tambanokano, the great world crab
You ride upon a balu mount. While on the balu mount, you are
Size 2, and your speed is 5. You are considered hovering, and you do
not halve your Speed when you swim
On the balu mount, you can move through foes. If you do, you
may deal 2 piercing at damage to them, although you can only
damage a foe once per turn using this ability.
When you Stride, 1/scene, you can leave behind seawind brine on
every space that you move into. This brine is slippery terrain, which
means that whenever a foe moves into it, all their movement ends,
they move 1 space in the direction they were going, and then fall
prone
CORAL KNIGHT STYLE INFLICT VIOLENCE: CORAL JAVELIN
Deadeye
You ready your spear or bow, and re projectiles that shoot like jets of water
Action * Maneuver, Stead
1 Unit | Range
Effect: Make a ranged attack, dealing 1d6 piercing force damage.
If the target is at least 3 spaces away, this attack gains Reliable 2
Cascad
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You send a hail of arrows or spears in every side, as your balu rushes to
protect you
Action * Maneuve
All Units | Close Burst
Effect: Make an area attack against all targets, dealing 1d4 water
damage. And then, gain cover against ranged attacks until the end of
your next turn
CORAL KNIGHT STYLE SECOND WIND TECHNICK: MARGOSATUBIG’S
VEIL
Your balu summons a school of similar, smaller balu to protect the both of
you
Flourish * Ritual, Maneuver, Scene, Hea
Sel
Effect: Heal Breath. Gain Cover and Hidden until the end of your
next turn. The next attack that deals damage to you deals glancing
damage.
following bene ts
CORAL KNIGHT STYLE FUNDAMENTALS: CORAL KNIGHT
You can now spend a Flourish while riding your Balu mount to
give yourself Hastened, but you become Unbalanced.
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Whenever you quickstep, you can now also in ict violence at the
end of the movement. Your quickstep now lets you move 3 spaces
instead
You can now break up your Stride, meaning if you have a Speed
of 5, you may move 2 spaces, perform an Action, and then move 3
spaces again
Whenever you make an area attack, you deal +1 extra damage
You cannot be knocked of your mount
CORAL KNIGHT STYLE FORBIDDEN TECHNICK: CORAL SARRIPADA
You envelop yourself in rushing waves and salt sea brine, which takes on the
form of the King of the Sea, high and mighty, with a crown of coral reefs and a
mount of six thousand balu. You and your Balu share each other’s eyes. Spirit
torrents guide your arrow shots. Your weapon turns into a shrike of pure jet
water, which you hurl against your enemy. Your balu becomes as the royal balu
of Tuwan Margosatubig
Flourish * Ritual, Maneuver
Effect: You become the Coral Sarripada until the end of the
scene. While you are the Coral Sarripada: you may Quickstep 3
spaces before or after every attack you make, all your ranged attacks
are piercing, and whenever you deal damage, your arrows splash,
dealing 3 piercing water damage to all foes in close burst 2 of the
target
As an Action, you may consume the Coral Sarripada and spend a
Conviction Token to summon help of all the balu from the legendary
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kingdom of Margosatubig. Balu arise from the closest source of

water, even if it is condensation or rain, and skewers all enemies.
Deal 3d6 to all foes in the battle eld. For the rest of the scene, all
spaces are enveloped by sea brine, which is dif cult terrain for all
foes
CORAL KNIGHT STYLE TECHNICKS
CORAL WIND
Fighting in the melee has helped you realize that you can take advantage of
helpless Foes. Sword sh Warriors never give up an opportunity. As a Sword sh
Warrior you are trained to keep yourself upon your steed at all times. You
become quick, moving through the battle eld as if you were the wind itself. This
is a staple of balu archers in the Sultanate, as they need to be moving as much
as possible alongside the impeccably swift karakoas of the Sultanate
Response Reaction: When 1 Unit within range is Unbalanced *
Maneuver, Taxing
Triggering Unit | Range 3
Effect: Make a ranged attack, dealing 1d6 wind damage, and
knocking the target Juggled. That unit becomes Weak to wind damage
until the end of the next turn
BLACK TIDE KAHANAS
The Black Tide carries away all that end up within their currents, bringing
them to certain death and whirlpools. This Black Tide can only be ridden by the
royal balu of Datu Margosatubig. If not, they are brought to the boats of
Magwayen, the Divine Boat Ferry, to Sulad, or hell
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Action * Ritual, Maneuver, Scene, Blast Finishe
Effect: Make an area attack against all units, dealing 1d4 earth
damage. Then, shift the targets 2 spaces. If they don’t collide with
anything, they fall prone
STORM BRINE
A skill invented by the old Balu Warlord Panglima Sumarak, who used sea
water to wet the battle eld itself, carrying with him a sack or gourd of sea water
or the sea water of their balu itself
Flourish * Mentala, Maneuver, Taxing, Fiel
All Spaces | Range 4 Blast 2
Effect: Place a brine eld in the target area until the end of your
next turn. All units in the eld deal water damage, and all allies in the
eld when you rst put it down gains Elusive until the end of their
next turn
Field: When a blast or burst nisher is performed within the eld,
the eld electri es into blue lightning, before dissipating. All units
within the eld suffer 1d4 piercing wind damage
BAGAKAY STORM
“Strike as much as you can, before the water that nourishes you becomes
your blood,” – Agi Sindarak, a Sword sh Warrior warlord from the polity of
Ikadan in Kalanawan. Bagakay is a kind of bamboo that is commonly used to
make javelins and spears with re hardened tips
All Units | Close Burst 1
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Effect: Move 3 spaces before the attack, and you can make the
Attack at any point in the move. The attack is the burst nisher, not
the movement. If you are on a mount, you may dismount to move 6
spaces, ignoring Terrain. Then make an area attack, dealing 1d4 force
damage to all targets
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SARIMANOK KNIGHT [SAK
Sarimanok Knights are faithful and skillful warriors that ght
both on land and in the air, as needed. They ride upon their faithful
sarimanok, proud and powerful, and they make sure that their
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enemies are brought down to heel. They are trained as an elite
cavalry, and usually only the richest of Datu can out t and train an
entire ten man unit of Sarimanok Knights, much less address the cost
of maintaining Sarimanok
Sarimanok have been there since the beginning of time, some say.
They have been there ever since there has been the Rainbow, the sign
of victory, born from the tears of the Sky to the Sea, Their love
forbidden forever. The sarimanok are large, usually seven to eight
foot tall roosters with rainbow feathers that glisten in the sun and
sheen in the rain. Their large wingspans allow for limited ight, and
their natural hard skin is enough to deter any assailant
Sarimanok are holy winged mounts and representatives of
Baginda Sumongsuklay. It is said that Jaris Akai met Sikhandag, the
Moon Prophet, thanks to a sarimanok that Sihkandag rode upon,
which glinted with the rainbow halo of the full moon. Sarimanok
exemplify the Divine Striving to protect and engage in war to
preserve
Sarimanok Knights must learn to grow and feed their own
Sarimanok. They must establish a unique and special bond with
them, binding them to their very souls. As long as they are alive, their
sarimanok cannot die, cannot perish. Once a sarimanok and their
knight are bonded, they are fated by some cruel watcher to die at the
same time
Sarimanok Knights learn to use longer weapons, larger swords or
sibat. They generally wear heavier armor to protect themselves since
they don’t need overly quick movement. However, they are more or
less stuck to their sarimanok in combat. Sarimanok, while not bred
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for combat, are willing to brave the heat of the skirmish to bring their
knight to victory
While Sarimanok Knights were born in Akai, trained from the
local warriors here who already rode upon Sarimanok when they
unleashed their raids, Virbanwa has also taken to breeding these
rainbow raptors to create a sarimanok cavalry of their own.
However, theirs is smaller than the colorful plumage and gigantic
wings of the sarimanok of the Kalanawan region
If you choose to become a Sarimanok Knight, ask yourself when
you started training, and for what reason? To protect your datu? To
save yourself? Your family? Why would you bring a majestic
creature into the heat of a skirmish, of a tactical engagement, where
both of you are poised to die
The Martial Art of the Sarimanok is known as Rainbow Breaks
The Sky Style

bene ts
RAINBOW BREAKS THE SKY STYLE FUNDAMENTALS: SARIMANOK
MOUNT
Sarimanok eggs are found at the end of a rainbow. They are hatched and
trained by a Knight from birth. Sarimanok imprint upon their Knight and will
only be ridden by their knight. Their rainbow feathers never disappear, and
when they die they turn pale grey
You have a Sarimanok Mount, which you can mount and
dismount at any time as a Flourish. While upon the Sarimanok
Mount, you are Floating, and you have a Speed of 4. Additionally, you
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ignore Height when moving. However, all ranged attacks against you
deal Strengthened damage. While on your Sarimanok Mount, you are
Size 2 and cannot be forcibly moved by any unit smaller than you.
You can be treated as cover by allies smaller than you.
You can bring another willing unit onto the Sarimanok Mount
with you as a Flourish.
While upon the Sarimanok, you have Armor +1 and start combat
with Barrier equal to your Breath
RAINBOW BREAKS THE SKY STYLE INFLICT VIOLENCE: RAPTOR
RAZOR FEATHERS
Coordinated Heaven Slas

You and Sarimanok strike at once
Action * Maneuver, Combo
1 Unit | Mele
Effect: Make a melee attack, dealing 1d6 force damage.
Combo: If the next attack against the target is a lunge nisher,
knock the target prone.
Spiteful Shrik
You and Sarimanok stab and impale, drawing blood, incurring hatred
Action * Maneuve
1 Unit | Mele
Effect: Make a melee attack, dealing 1d4+1 earth damage. The
target gains Enmity to you until the end of their next turn
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RAINBOW BREAKS THE SKY STYLE SECOND WIND: SARIMANOK CRY
Your Sarimanok let’s out a rooster cry, rallying all about you, and calling
all to your attention
Flourish * Maneuver, Scen
Sel
Effect: Heal Breath, 2x Breath if Battered. All foes in close burst
2 of you gain Enmity to you until the end of their next turn
following
RAINBOW BREAKS THE SKY STYLE MASTERY: MANAUL CREATES LIFE
Your Sarimanok’s Speed becomes 5.
When you attack a foe, you may imprint a Mark upon them. As
long as they are Marked, all their attacks that don’t have you as a
target deal halved damage. When your Mark is in ranged 2 and deals
damage to an ally, you may consume the Marked to immediately
move to a space adjacent to them and in ict violence
You can only have 1 Mark at a time, and it only lasts until the end
of your next turn. Any new Mark supercedes the old one
RAINBOW BREAKS THE SKY STYLE FORBIDDEN TECHNICK: DAKILANG
TIK-TI-LA-OK
The almighty crow of the sarimanok, which rips the sky in half and calls
down the gods to combat. It is used frequently by Sarimanok Knight captains
to signal the arrival of the cavalry. This Technick is taught only to the most
promising of sarimanok knights, for calling upon this great cry can cause great
pain with a sarimanok that does not want to do it
Action * Maneuver, Round 3
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All Foes that can hear you | The Battle eld

Effect: Deal 2d6 piercing soul damage and all targets gain Enmity
to you until the end of your next turn.
After dealing the effect, your next start of turn, you and the
Sarimanok entwine in spiritual harmony. The next instant, you are
clad in Sarimanok Regalia Plate, you have fused with your
Sarimanok. For the rest of the scene...
...You have +3 Speed, ignore Height, are Flying, and are treated as
if you are on your Sarimanok.
...All your attacks Mark and you can have more than 1 Mark at a
time.
...Your size becomes Size 1 but your Melee reach becomes 3
RAINBOW BREAKS THE SKY STYLE TECHNICKS
RAPTOR RAKE
You rake the earth before you, making it impassable for foes. Used by
legendary sarimanok knight Rajah Indarapatara before it was taught as a
technique, he used it to halt the advance of Maharaja Lawana and his army of
demons
Action * Maneuver, Blast Finisher
All foes | Close Blast 2
Effect: Make a melee attack against all foes, dealing 1d4 earth
damage. The target area becomes dif cult terrain until the start of your
next turn.
RAINBOW BIRD DIVE
You grip onto the reins of your sarimanok. When hostility befalls your
comrade, rush interrupt: sarimanok diving, wings of volatility, scratching at
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the assailant. This skill, used by Sri Binantug of Gatusan when he rst rode a
sarimanok, became a popular technique taught by masters of the craft, seeing it
as particularly useful
Action * Maneuver, Lunge Finisher, Taxin
All Spaces | Range 3 Burst
Effect: Move into the origin space of this technick. Then, make a
melee attack against all foes that are in the burst, dealing 1d4+1 wind
damage and making them Slowed until the end of their next turn
MANAUL RIPS EARTH
You rip into the earth and chuck entire rocks against a target. Manaul is
an ancient god king who told the sky that the sea was insulting him. The sky
threw rocks in their anger, and thus made the earth. Manaul did this because he
needed a place to rest.
Action * Maneuver, Shot Finisher, Taxin
1 or 2 foes | Range 2~3
Effect: Make a ranged attack against the targets, dealing 1d4+2
earth damage. Then push the target 1 space away and put down Size
1 Blocking Terrain in their space.
RAJALAWIN RIPS THE SKY
The sarimanok is a creature still at home in the sky. Nothing will change
this. It will take you, it’s beloved, into its langit abode if it can. The rainbow
beckons. By internalizing this knowledge, even you can be suffused with the
diwa of the sarimanok
Action * Maneuver, Charge 3, Comb
All Foes | Range 2~3 Line 3
Effect: Make an area attack against all the targets, dealing 1d4
wind damage, and then move them 1 space away from the Line. The
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Line becomes a Height 3 blocking terrain wall until the end of your
next turn
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STRIFESINGER [STS
The only two times tawo do not sing is when they are asleep or
when they are dead
Strifesingers use their voices, instruments, and ritual dances to
heal and support their allies. Without them, Kadungganan surely
would’ve languished and died. With their healing song stories and
their invigorating cacophonies, they pave the melody for a new
world. Their art is one crafted by local Siganon, and then perfected
by Iman pandita, aligning their empowering notes with the soft
philosophies of the moon to create a singer that can heal the world
Most settlements that have Strifesingers learn the martial art of
the Gubat Awit from other Strifesinger, although they mostly only
accept students that already know how to play a few instruments, or
have beautiful voices. Their voices and music do not only heal and
support: some of their techniques employ the use of violent sound
waves to blast enemies off of their feet, or to make weapons dance
quicker.
Grandmasters of the Gubat Awit teach the secret to amplifying
instruments into thundering sonic waves that blast enemies off of
their feet. Gubat Awit Style deals in letting their healing kalag bolster
their allies’ own. Their songs from the myriad of instruments they
learn summon spirits, as most of them are entreaties and pleas to the
Daghan to help them in their war. Thus is the secret of a Strifesinger
Strifesingers are few and far between. They are usually well
respected by other instrumentalists and musicians, who usually do
not take up the responsibility of war, or if they do, keep their music
out of it. The Strifesingers uses music to bolster war and combat
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It is well known that Strifesingers tend to be bleeding hearts,

especially in such a stage as war, wherein they would readily
compose dirges for foes they have just killed, or about lost allies, or
about the nature of the wheel that is unbroken due to war.
Strifesingers quicken their allies to war, enhance their attacks, and all
the while strike from the distance, letting the rains fall like notes
upon a song.
In recent times, Strifesingers are known in Akai as Katib. They
sing not only the sorrows of this world, but also the orations and
prayers in the religious services of the Iman faith. Strifesingers
memorize the words upon the books of faith of Iman, and they use
these truths to heal the wounds of the battle eld
When you become a Strifesinger, ask yourself why you sing the
warsong: you are complicit to the cycle, your conscience is bloodied.
Why does your healing song only bring more sorrow? Why does
your invigorating tale bring violence
The Martial Art of Strifesingers is called the Songs Upon Sorrow
Style
SONGS UPON SORROW STYLE FUNDAMENTALS: SORROWSONG
You sing a song of sorrow. Of children deaf to the cries of their children. Of
fathers and thrones empty. Of forests scourged bare, of seas burnt to salt, all in
an effort to prove one another against the burgeoning tide of violence
Spend a Flourish to enter into Sorrowsong Stance. While singing, all
allies within close burst 2 of you have Armor +1
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As an Action, you may consume the Sorrowsong Stance to

perform one of the following Choruses:
- Healing Chorus. All allies in close burst 2 heal their Breath
- Bolstering Chorus. All allies in close burst 2 gain Bolstered for
their next roll.
You are knocked out of Sorrowsong Stance when you are forcibly
moved or suffer soul damage
SONGS UPON SORROW STYLE INFLICT VIOLENCE: BATTLEFIELD
DIRGE
Poetic Not
You strum your instrument, bringing out notes of remedy
Action * Son
1 Unit | Range 3
Effect: Make a ranged attack against the target, dealing 1d4 force
damage. And then, a single remedial note coalesces in a space
adjacent to the target. Whenever you or an ally moves into the space
of the remedial note, you or the ally gains +2 extra damage on their
next attack
Electric Not
You strum your instrument again, and a blitzing note manifests
Action * Son
1 Space | Range
Effect: Put an Electric Note in the target space. This note moves
1 space every time a unit ends their turn, as directed by you
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When an Electric Note collides with a unit, it deals 1d4 wind

damage and they become Electri ed. When a unit makes an attack
against an Electri ed foe, they may consume the electri ed to make
their attack Strengthened.
SONGS UPON SORROW STYLE SECOND WIND: ECHO
You sound your instrument, and healing notes arise from your soul
Flourish * Song, Burst Finisher, Heal, Scen
Effect: Heal Breath and generate 2 Healing Notes adjacent to you.
These healing notes move 1 space every time a unit ends their turn
When a healing note collides with an ally, it grants them Barrier
equal to their Breath. If it collides with a foe, it simply dissipates
following…
SONGS UPON SORROW STYLE FUNDAMENTALS: SORROWSONG
While in Sorrowsong Stance, gain the following effects that you

can do as a Flourish
- Bolstering Rhyme. 1 ally within close burst 2 gains +2 extra
damage on their next attack
- Farsight. 1 ally within close burst 2 gains Clari ed on their next
ranged or area attack
- Stir The Power. 1 ally within close burst 2 can use a Taxing
Technick that they have used this round on the next round.
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SONGS UPON SORROW STYLE FORBIDDEN TECHNICK: I LOOK TO YOU,
LIKE A RED ROSE
This song was sung by the rst singer, a demigoddess whose name has been
lost to time. She sang it to calm the two mountains that warred in a distant
land. She died in the process, but became the clouds and the sky. The mountains
continued on and killed each other, however, as they were bolstered by grief.
Action * Song, Round 3
All Allies | The Battle el
Effect: The targets becomes Hastened and gains 1 extra Action for
the rest of the scene
SONGS UPON SORROW STYLE TECHNICKS
BOLSTERING SONG
“Bear rapture and sorrow.” A song taught by the great warlord-paraawit

apo-apo Singpuksa and since adapted by Awitan all across the archipelago. A
song that quickens the hearts and souls of the beings that hear it, inexplicably,
sometimes bringing heroes to jovial tears.
Flourish * Song, Field, Scen
All spaces | Close Blast 2
Effect: The target space becomes a Field of Bolstering Music
until the end of the scene. You and all allies within the eld deal +2
extra damage.
Field: If a burst nisher is performed within the eld, you and all
allies within the eld gain Barrier equal to their Breath. This removes
the eld, diffusing it.
Special: This eld lasts until the end of the scene or until you are
Crashed, and you cannot have more than one at a single time
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HEAVEN ENDING KULINTANG
Sing full and true, Awitan. Your song, your steps... It shall culminate in
this moment. Your song shall be the song of a thousand weary ghosts, that
sorrowsong: let them hear the cries of your heart, the blood of your soul
Flourish * Song, Field, Scen
All Spaces | A space that is exactly 4 spaces from you, burst 2
Effect: The target becomes a eld of sonorous remedy until the
end of the scene. You and all allies within the eld cannot have Buffs
stripped away from you, and they cannot gain Enmity
Field: When a lunge or shot nisher is performed within, the eld
dissipates and strengthens the nisher’s attack. It deals Strengthened
and piercing damage
Special: This eld lasts until the end of the scene or until you are
Crashed, and you cannot have more than one at a single time
STRIFE TOLALI
In the most primordial of times, there was a song sung by the Daghan,
thought to hold back the tide of chaos, but in truth as a dirge to the Heavenly
War that caused so much death among them. The song came to the Paraawit in
dreams, and could only be sung accompanied with a low haunting tune, which
necessitated the creation of the Tolali: a bamboo nose ute, whose sounds echoed
the wails of man
Action * Son
1 Unit | Range 4
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Effect: Make an attack against the target, dealing 1d4 earth
damage. Then, choose 1 ally in range 2 of the target: they gain Elusive
until the end of their next turn
SONG OF THE MOON AND SEA
“Bearing sins of the past, for our future is taken.” An ancient and violent
song sung by Sihkandag when she went to ght against a force of Issohappans
who ventured to subsume Siga. Sihkandag succeeded, and the Pale Kings were
dealt a horrible blow, but Sihkandag herself, beloved of Akai, long-lived elder,
disappeared. She is remembered in this song, a supplication to the Moon, a
remembrance of her faith, her submission, her devotion to the Highest. This
song is a song of supplication to the Moon, and in so doing the singer takes
upon the gravitational aspect of the Moon, becoming linked to one of their allies
and sharing each other’s destinies as the moon and sea dance with each other
Flourish * Song, Scen
1 Unit | Range 2
Effect: You and the target become Moondancing for the rest of the
scene. However, you can only bene t from the Moondancing if you
are within range 2 of each other
Whenever damage is dealt to one of you, you halve the damage
between each other. Whenever one of your Mettles are healed, you
also halve the healing between each other
As an Action, you may End The Dance: If you do, both you and
the target suffer damage equal to your Battered value. If the target is
an ally, you both instead Heal equal to your Breath
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THE NATION OF BA-E
The last Baikhan junk left the harbor. Trading season with
Baik Hu had ended. Danum worked the bellows of her
master’s forge, even as the master nished her last batch of
iron blades
“That’s enough. You go on ahead and take a break. There’s a
feast tonight, to mark the end of trade.
Her master was Kadanay, signi ed by his glinting emerald
eyes. Danum nodded, as her master wiped his brow with a
nearby cloth and made his way back into his home
Danum cleaned up what was left of the gusali, and then
walked over to a hill overlooking the harbor. From here,
Danum could see most of Ba-e, even as it glowed as the
torches were lit, as the sun dipped into the horizon
She sat with her hammer, tossing it and catching it re exively,
as she walked around the area. Before long, a “psst”
resounded from the trees behind her
Danum turned and smiled. A young woman, wrapped in
crimson silk although wearing no jewelry, hid within the
tangle.
“Your Majesty, do you not think it is uncouth of you to play
around in the tangle like that?
“Hold your tongue, Danum. I wish only that none of my
kawal know that I’m gone from my bukot.
Danum smiled, then. “Come then, Kinaiya. The waterfall
awaits.
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Giggling, Danum took Kinaiya’s hand and Kinaiya felt her
heart leap. She felt warm, even as they rushed down the hill
and followed up a stream. After a few more moments of
walking, Kinaiya heard the rushing of water
They broke through a brush, and there found a lake
whereupon a waterfall cascaded. The most interesting thing
about it is the giant bronze statue, depicting a diwata they
knew by the name of Magayong Masukiling, the hibiscus
goddess of love and compassion
“Don’t tell me you’re going to swim in that?” asked Danum,
who had already removed her lambong and was halfway into
the water. “Have you never swam in your life?
“I... Haven’t.
“Well there’s nothing to be ashamed of. Come on then.
Kinaiya still hesitated for a bit, but when she saw Danum
smiling at her, she felt at ease. She shed her silks and walked
bare into the water. Cold at rst, but cold was good in the heat
of Ba-e
There they danced and played, laughing and smiling, their
glances too close, their lips almost touching..
“Danum,” said Kinaiya, as they oated about near the
waterfall. The bronze statue of the Hibiscus Goddess watched
over them. “When are you leaving?
“In the next moon. Don’t worry.
“Are you going to be okay?” Kinaiya bit her lip
Danum turned to her and placed a hand on her cheek. “I will.
Don’t worry. War Smiths don’t usually head into the front
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lines. And if we do, I’m pretty good with a hammer. You don’t
have to worry about me, all right?
“I can’t help but.
“Then let me leave you with a promise.” Danum leaned in and
kissed Kinaiya. Kinaiya breathed in sharply, but kissed her
back. When Danum pulled away, Kinaiya’s emerald eyes
glinted. “With that, I seal you a promise. I will return. And we
will work on helping you hone your Stonewaking sorceries.
All right?
“All right.
“Gotta remember, according to your own mother: trade
connections cannot be established without a bit of raiding,”
said Danum, smiling. “It’s a necessary evil to realize the
Sangpamegat’s dream of a united merchant nation.
Ancient guardians, sacred priests, and keepers of vast lore. Ba-e is

currently ruled by Sangpamegat Kalangitan. They, poetically called
The First Kingdom in The Sword Isles, will not bow to the rising tide
of steel and sorcery of the Lakanate
Ba-e was established sometime during the Seventh Sun Era. They
were among the Ancient Kingdoms, those disparate polities that
existed across the archipelago region for centuries. Ba-e thus is an
ancient kingdom, and owing to this fact, they have ancient traditions,
songs, and epics. Ba-e today is not Ba-e of fabled yesteryear: golden
statues of The Tranquil Sage pock the forests and grasslands,
whereupon roots and branches swarm to retake it. Smaller statues
hang from necklaces and waistcords, a signi er of Annuvara’s
in uence
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Ba-e is ruled by a Sangpamegat, Dayang Kalangitan. The Dayang

commands the fealty and loyalty of polities across the Ba-e stretch of
land, north of the Bay of Ba-e. Here, several land-based polities,
alongside the other bayside polities, all answer Dayang Kalangitan’s
call to ght back against conquerors, invaders, as well as the call to
raid or war. They are united under their love and loyalty to the
Dayang, as well as the extensive familial network that the Dayang
has made. By marrying many men, she has made them Datu by
blood, and thus continued to make more polities indebted to her
Their extensive trade with Baik Hu has led them to become self
sustaining and wealthy. Their settlements are thousand households
on both sides of a river bank. Their trading place is a cordoned off
section of the town, wherein white parasols and other exotic trading
goods must be paid as docking fee for trading vessels to begin trade
Ba-e records all of cial documents in copperplate, whether it be
paying off debts, creating alliances between polities, and the like.
This is a practice inherited and copied by Virbanwa and Akai, but
not Gatusan and Apumbukid, who nd that spoken word is more
powerful than written script
Ba-e religions is in uenced by foreign Ashinin-Annuvaran
religion, from phallic symbols known as linga being used for rituals,
to the statues of the Tranquil Sage from the Annuvaran Religion still
standing and prayed to. Ba-e dead are buried twice: once full, and
then again cremated, to purify their sins from the world, and so that
their charred remains can become ancestor spirits that can be
worshipped. These are all in uences of Ashinin-Annnuvaran faiths
Due to these in uences, it is Ba-e that has consntructed a giant
hardwood and stone house with 16 roofs. It is not a house for living,
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but rather for study. Within shelves are scrolls and scrolls of palm
leaf manuscripts as well as copperplate slates, as well as paper scrolls
imported from other regions acrossthe known world. This is known
as the Bahay Karunongan, or the House of Wisdom, the only place
in all of the Sword Isles where knowledge and writing has been
written down. This is something that Virbanwa has been trying to
gain access to, to no avail. Only the smartest and most prestigious of
parawali can be admitted within, remembered by guardian spirits of
the House of Wisdom itself. There is said to be approximately
875,000 pieces of writing within the cascading square-patterned
shelves of the 16 roofed House. Recently, the Balay has begun to
admit students, those with promising spiritual or martial prowess.
This is a poorly veiled attempt by the Sangpamegat to cultivate
thunderous Kadungganan loyal to Ba-e. These Kadungganan are
taught in poetry, writing, politics, and warfare. They are known as
the Mandirigma ng Ilang-Ilang, shortened to Digilang (dig[ma] +
ilang-ilang, war ilang-ilang). The Ilang-Ilang is a ower extracted for
oil and is used to ward off evil spirits.
Ba-e, similarly to Pumirang, has a most strategic position, south of
Sonyoh, and is usually the last stop of most Baikhan ships before
returning to Baik Hu, barring the Lakanate of Virbanwa.
The royals of Ba-e are therefore swathed in silks and parasols,
ower crowns and gold jewelry. Cauldrons and weapons from Baik
Hu itself. Their lords are called Datu, but also Huang, King, due to
Baik Hu recognizing them as an of cial kingdom
Ba-e royals are known to be the most pompous of nobles among
the Sword Isles. Having taken after the Baikhans that they’ve traded
with for so long, they have grand wooden longhouses decorated with
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gold and built like pagodas. They wear long silk gowns and bring
parasols, are always carried upon palanquins by their servants. When
they speak, they speak in lilting tones, and they always adhere to the
Golden Web Tapestry. Their makeup and hygiene is extraordinary
even for tawo among the Sword Isles, using white foundation and
pitch black inks to create wingtips and eyeshadows, in uenced by
their long history. Ba-e royalty and nobles are horribly prone to
realpolitik, vying for power over seaports, connections with powerful
warriors, trading settlements, and positions among the court of the
Sangpamegat
Ba-e is a trading center: merchants and traders of Ba-e bring the
items brought by Baik Hu to the rest of the islands north, especially
to trade with those of the Gatusan and the myriad islands to its east,
before returning to pay back those Baikhan eight to nine moons later.
Ba-e values material wealth. Many of them wear silk and cloth
shirts, whether man or woman, and they coat themselves in tassels
and jewelry, usually of gold. The nobility aunt their exotic, foreign
items and wealth: black and white silks, ivory parasols, porcelain jars
and accoutrements. Weapons from Iyamat or Baik Hu. Armor from
Sonyoh.
Ba-e is using its ancient knowledge and af nity to ancient
sorceries to begin a campaign to unite all beings under the
Sangpamegat, not through war but through trade networks and
linking. In this way, they seek to become the center of the world, the
nexus of the universal silk road
Sangpamegat Kalangitan’s stone and jade jewelry shimmer and
glow with glowing green patterns, betraying their ability to use the
sacred ancient Kadanay artifacts
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Ba-e holds the number 8 to high regard among them. Their

houses are always of 4 sides, and royalty have access to 8-roofed and
16-roofed houses. There are 8 holy weapon types: the sword, the
dagger, the spear, the shield, the bow, the blowgun, the javelin, and
the gun
The most important area of Ba-e is the Lake of Pulilan, the
largest freshwater body in the Sword Isles. This lake is home to
freshwater sardines, crocodiles, and other important freshwater
marine food that has become an integral part to Ba-e life. Pulilan
Silangan drains directly into the Bay of Ananara, and through the
Silangan Strait do most junks travel into
Their adherence and proximity to ancient Kadanay technology
has provided them with unique aesthetics, clothing, and architecture.
They prefer to cover themselves more fully, as with the Virbanwans.
Their jewelry is not gold but jade and stone, glowing green. Even
debtors wear this. The houses of the rich are built on top of hills, with
vast gardens at the bottom of the hills.
More importantly, artifactsmiths, panday-sa-artepakto, are a
renowned kind of smiths that craft ancient spiritual artifacts, a holy
mixture of blacksmithing, pottery, carpentry, and sorcery. These
panday are known to learn the Stonewaking Arts from Kadanay
smiths
Becoming an artifactsmith in Ba-e is a very dif cult endeavor,
requiring practical knowledge of basic blacksmithing in addition to
passing a test conducted by the sages of Ba-e and past artifactsmith.
Most artifactsmiths end up learning that they have Kadanay blood
within them, although this is not the norm
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Ba-e warriors--especially the bravest among them, the generals
and commanders--enjoy enhanced warring technology that has
allowed them to keep pace with the growing weapon prowess of
Virbanwa. Bows that have bowstrings made of light, swords that
have blades made of sun-rays, and daggers that have edges of
crystallized moongleam: all practices and smithing techniques passed
down by the Kadanay
The most important technology among the Ba-e tawo are two
things: the sky-sampans and the artifact slates. Sky-sampans, which
are circular boats that ride upon the wind, worked upon by diwata
that are contractually bound by ancient Kadanay oath to carry the
sampan, have become a major source for personal travel. Sages and
nobility would ride upon these if they can commission them
Even rarer are the artifact slates: slates of rock that have one side
burning bright with a light, which can then be drawn upon by the
nger, letting the person write or draw upon it. This has been used as
a letter-writing item as well as a teaching item
Due to their rich past, it is not unheard of for Ba-e folk to gloat or
be haughty to other states, even if they are but a shadow of their once
glorious past
Ba-e has constant trading connections with the distant lands of
Naksuwarga, Madaki, Malirawat, and Baik Hu, but they almost
never trade Kadanay artifact, only exports from their own land.
Those that might want to make a fortune might do it, but foreigners
apparently don’t seem too interested in the artifacts of the Kadanay,
as they seem to be too “primitive” compared to their own
technologies and sorceries
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The grasslands, wetlands, and forests of Ba-e are pocked with

mysterious statues of the Tranquil Sage, cast in stone, bronze, and
gold. When you ask someone where they come from, they will
answer that they do not know. The sages will speak of brahmin
The honori cs Ginoo for males and Binibini for females is used
when deference must be taken. Ba-e Kadungganan are known as
maharlika
Ba-e Nobles are referred to similarly as in Virbanwa. And so they
are treated. Many Ba-e nobles are expected to know about the
artifacts of Kadanay, however, and many nobles living now are
known to have Kadanay blood and ancestry, as noted by their
glowing magenta eyes
NOTEWORTHY PERSON
Sangpamegat Dayang Kalangitan, the Eternal Monarch. Once
just a Dayang, she took over after her husband, Pamegat Diwajaya,
was killed in battle against a Virbanwan Warlord. Using her
Kadanay blood, she perfected the sorceries of Stonewaking, instilling
stone and clay sculptures made by local potters and smiths with
additional utility, the ability to oat, and to keep food frozen. This
technological marvels gave her the title of Hexer-Queen.
She has frozen herself into a diwa-silk cocoon, letting her kalag
wander freely and roam, unshackled by physicality, but her body
itself is entombed upon her throne, whereupon a giant gold statue of
her has been built: a goddess with eight hands, each wielding a
weapon, and a crown that is like a balete tree
She rules Ba-e directly, and eternally
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Maharlika Langkus. A maharlika who has only recently awoken

from a hundred year slumber, being submerged and contained in the
Temple of Resurrection, a natural temple within a large cave upon
the mountain of Tinaga. Known for his strange cloud-white hair, he
travels around the Ba-e region helping out those in need. He is mute
as well, although he can communicate well enough with gestures and
writings. Thus he brings with him a great number of palm leaf scrolls.
He is a master swordmaster, walking around with a salawal, sarong,
paruka, azure baro, and grand crimson pudong, with tails that ow in
the wind. He loves chicken as well. He wishes to nd an ancient
binukot that he was tasked with protecting, the reason for his travels
Senapati Sibasib. A burgeoning warlord-merchant datu who
seeks to prove himself powerful, leading his haop of Katingan to
battle. He is loyal to Ba-e, and always jumps at the chance to conduct
raids against the various Virbanwa or Gatusan settlements, even all
the way to Sinuku or Ibalong. He is one of the rst ones to adopt the
Akai introduction of horses, known as kuda, in their tongue, which
the people of Sinuku also know of. While the horses are not as useful
in most of the tangle of the region of Ba-e, it has proven useful to the
south of Ba-e, where the land quickly turns into plains. Sibasib leads
his Kuda Kawal cavalry when performing land raids. He is deeply in
love with one of the Sangpamegat’s binukot, a girl named Kinalubang
Bulaklak, who actually sneaks out from her bukot and ghts
alongside him with a mask on
NOTEWORTHY POLITIE
Miatang. A coast settlement at the northern tip of the Kumintang
region. Miatang is the land nexus for trade with Pannai and Gatusan.
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It is ruled by a powerful laksamana, Datu Hagutak. Known for stone

forti cations and bamboo watchtowers, they regularly fend of raids
from the northern polities. Many maharlika are brought here as a
nal part of their training, where they are forced to live in Miatang
for a single harvest to provide both on the boots training for the
maharlika, as well as well needed warriors to protect Miatang
Pailah. Directly to the north of Ba-e, Pailah, which is ruled by
Datu Ganasakti, a son of the Sangpamegat, is one of the most
important centers of trade and commerce in Ba-e, other than the city
of Ba-e itself. Holding at least a thousand households, they craft
pottery, weave textiles, smith gold, and craft weapons. Here Baik Hu
also stations their trading junks, along with Naksuwarga and Madaki
adyongs who trade with them horses, weapons, and debtors. It is
currently suffering from ashen star missionaries from Virbanwa.
Traders and travelers frequent Pailah due to its close proximity with
Mainit, the polity of medicinal hot springs
Namayan. A banwa ruled by three Datu: Datu Karas, Datu
Dayawan, and Datu Mabantad. It serves as a trading polity for
Sinuku and Vuyu to the south, as well as access to the plains where
rice can be grown. However, it is constantly suffering invasions from
Virbanwa, causing it to earn a brunt of Ba-e’s maharlika to shore up
defenses. The banwa itself is built with a collection of kota, or stone
fortresses, that lets people retreate into whenever a raiding party
arrives. When needed, however, Namayan is beside a thick jungle
with many earthen outcroppings, and the folk of Namayan can
retreat there. Namayan is still also a prime trading port, whereupon
they trade with gold kernels and gold barter rings as currency.
Namayan is also the main shipbuilding polity of Ba-e
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Talim. Upon an island in the middle of the bay of Pulilan, a few

ways north from Namayan, there is the island of Talim. Used as a
respite port for most traders, it has begun to create housing districts
where traders can pay the Datu, a Kadanay named Kiyalilidan, to
rest before traveling back home. Thus Talim has become a prime
place for trading cultures and stories, most of which are inscribed
upon copperplate. Talim is known for having the largest population
of Kadanay left, whereupon they spend their days writing upon
copperplate histories and secrets and sorceries, as well as try to nd
ways to replicate the Stonewaking sorceries of their ancestors

To Virbanwa: Wayward stars streak across the sky. Thrones shall
fall before we do
To Akai: Warrior Braves and courtly regals. They are royalty,
grandeur, and raiders all. They deserve respect, but we have stood far
longer than they have existed
To Gatusan: They shall raid the world, and if we play our cards
right, they will be shackled by gold and heirloom to us. They shall be
the sword sh to our barge
To Apumbukid: Our goals do not con ict, but their isolation will
be their downfall. The roots speak, the earth breathes. To achieve
Hiyang, one must be willing to break it
BA-E DISCIPLINES
The following are the Disciplines born from Ba-e
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FLOWER NECROMANCER [FLN
Flower Necromancers are born and bred from a line of balyan
that specialized in speaking with the recently killed. More and
more necromancers have been born during the beginning of the
Second Star Era due to the rapid rise in violence, and subsequently,
death. The wandering kalag of those recently departed all cry the
same thing: Where is the justice? When will it end
Flower Necromancers are usually, but not strictly, those alabay
when they were younger, or shaman apprentices. Through this they
learn the foremost important necromancy ritual: the ritual of pag-uli.
Through this, they may be able to resurrect a person if their kalag is
close enough. If not, then they would perform the rituals to send off
the kalag to their nal resting place. Flower Necromancers are a step
forward. They took this advantage during the rise of killing through
violence, which has caused many kalag to not be sent properly to the
afterlife.
Flower Necromancers use the iconic sampaguita ower--the
ower one would smell if a beloved one’s ghost who has passed away
is near you--to promise a better end: they will grant them peace, but
only if they do one nal request for them. Once the kalag or soul has
agreed, they will be bound to a sampaguita. Once that kalag has been
used, the sampaguita must be planted to the ground, wherein it
withers and then dies, nishing the elaborate pag-uli ritual
Flower Necromancers use the kalag bound to their sampaguita to
perform things usually thought of as blasphemous or desecratory:
they animate bones and esh (not of tawo, however), they grant life
to their allies, and they sap away at enemies’ vitality
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Balyan see them in a negative light. Thus, Flower Necromancers

are much rarer than the usual balyan. In a very real sense, Flower
Necromancers are simply warrior-priestesses who have absorbed the
teachings of death and used it to gain an edge. This kind of thinking
is something Ba-e obviously loves, and they patronized and hired
Flower Necromancers alongside balyan in their polities. Only the
most traditionalist of balyan sneer at them. Unfortuantely, that is still
the majority. Dealing in matters of death is anathema to them, is too
close to the sorceries of the aswang. Despite this, Flower
Necromancers follow the tenets of Dalankalag to the bitter end, the
spiritual Path of the Soul
If you become a sampaguita necromancer, you bring with you at
all times your cord of sampaguita. Why do you carry it? Is it
atonement? You lay to rest those that are dead, but can you ever give
your own soul respite
The Martial Art of the Flower Necromancers are known as the
Corpse Flower Style

bene ts
CORPSE FLOWER STYLE FUNDAMENTALS: FLOWERS OF THE SEASON
BLOOM AND WITHER
You carry a laurel of owers, each with a different resonance, a different

symbology of death and life. You pick one, and it unfurls in your hands
As a Flourish, you can Plant Flowers in an unoccupied space
adjacent to you. Planting Flowers is a Ritual
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When you plant a ower, choose which ower you put down
below. However, you cannot have two of the same ower on the
Field at the same time
- Corpse Flower. All spaces in Close Burst 1 of the Corpse
Flower is counted as dif cult terrain for foes. Any foe within the
Corpse Flower’s burst suffers Disease
- Passion Flower. All foes in Close Burst 1 of the Passion Flower
are Ripped.
- Sampaguita. Any foe within Close Burst 1 of the Sampaguita
can only target units within the Sampaguita’s Burst
CORPSE FLOWER STYLE INFLICT VIOLENCE: DEATH BLOSSOM
Bloo
You let a ower petal y out, and it cuts deep, embedding itself into a foe’s
skin
Action * Ritua
1 Unit | Range
Effect: Make a ranged attack, dealing 1d4 earth damage and
in icting Fray 2
In orescenc
You send a wave of owers to welcome a warrior to death
Action * Ritual, Fiel
All foes | Range 3 Blast
Effect: Make an area attack, dealing 1d4 earth damage. Then,
leave a ower garden eld in the target area until the end of your
next turn
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Field: When a blast nisher is performed within the eld, it
dissipates into a ower whirlwind, in icting Debilitated on all foes in
the target area
CORPSE FLOWER STYLE SECOND WIND: CULTIVATION
You let owers fall about you in a blossoming eld

Flourish * Ritual, Fiel
Effect: Heal Breath. This lays down a Blossoming Field in close
burst 2 of you until the end of the scene. All foes in the Blossoming
Field gain Quiet Maneuver, Mentala, or Ritual (choose 1 when you rst
put down the eld)
Field: If a Burst Finisher is performed within the eld, the eld
dissipates into a whirlwind of owers. All foes in the burst suffer
Weakened until the end of their next turn
following
CORPSE FLOWER STYLE MASTERY: FLOWER GARDEN WHIRLWIND
As a Flourish, you can move a ower you’ve planted 2 spaces into

another unoccupied space
Whenever you use a Ritual, a ower sprouts from your heart. You
can only have up to 3 Heart Flowers at a time. Whenever a foe in
range 3 makes a save, as an Interrupt Reaction, you can consume a
Heart Flower to make them roll their save twice and pick the worse
result
- Mantiw Ghost Flower. Plant a Flower that becomes a Summon
that is a walking ghost ower goblin. A mantiw is a phantasm in
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Sword Isle folklore. As a Summon, they have no Speed and have no
turn in the turn order. However, all foes that enter into or leave a
space adjacent to them must pass a save or be knocked prone,
wasting the rest of their movement. You can only put down 2 Mantiw
Ghost Flowers per combat
CORPSE FLOWER STYLE FORBIDDEN TECHNICK: SAMPAGUITA MISERY
You touch the ground and it becomes drenched in the spirit of the dead. Your
heart is rent; sampaguitas blossom from your ngers, from your brow. You
become inert, a living bloom, as the ghosts of thze vengeful rise above the earth
in reckoning
Flourish * Ritual, Perilous, Field
Self
Effect: You become Rooted, and sampaguita sprout from your
body. Choose 1, 2, or 3 spaces that you can see. Burst 2 elds erupt
from the spaces you have chosen, becoming Fields of Vengeance for
the rest of the scene. Whenever an enemy enters, exits, or starts their
turn within the zone, they suffer 1d4 piercing at damage. All foes
within the eld suffer Debilitated, and every turn they start within a
Field of Vengeance gives them an automatic Fray 1
You may spend an Action to remove the Rooted condition from
yourself. If you do, all the elds disappear
Field: When a blast nisher is performed within a Field of
Vengeance, it dissipates into a monsoon of petals. All foes within the
space become Petri ed.
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CORPSE FLOWER STYLE TECHNICKS
GINBALIK
The signature sorcery crafted by the rst of the necromancers, following the
basic principles of the sampaguita necromancers: a wasted life redeemed in
battle. You raise a sampaguita from your cord and it wilts
Action * Ritual, Charge 3, Reliable
1 Unit | Range 3
Effect: Make a ranged attack, dealing 1d4 soul damage. Then, a
Vampire Orchid wraps itself about the target (save ends). Every time
an ally deals damage to a unit with a Vampire Orchid, the attacking
ally heals 1d4 Mettle
OCCLUSION ROSEMALLOW
When the balyan alchemists learned about the necromantic order, some of
them defected, thinking they were more practical than current balyan. As a way
to aid in combat, they created special divine ower alchemy to distill the
sampaguita’s kalag oaths into liquid vials though owers. Others tried to blind
them.
Flourish * Ritual
1 Unit | Range 3
Effect: The foe becomes Obscured and becomes Weak to Force
until the end of their next turn. When the target rst fails the save to
remove Obscured, they become Dazed as well.
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BURNING THICKETS
Gather motes of releaves, crush them, and pray to let the vengeful dead
burn the thickets. A mentala that summons a thicket of thick and hard to move
through foliage. It is wrapped in phantom ame
Flourish * Ritual, Field, Charge
All Spaces | Range 2 Burst 1
Effect: The target space becomes a thicket of burning owers
until the end of the scene, which is dangerous terrain to foes. The
thicket lasts until the end of your next turn
Field: When a shot nisher is performed within the thicket area,
the attack with the shot nisher tag also in icts Fray 1d4+1.
RAISE MALANHIG
Cast bones upon the ground and utter coaxing whispers to the dead.
Malanhig are undead that cling to this world of man due to grudges and
un nished business. Why do you do this? Why do you command them,
depriving them of rest
Flourish * Mentala, Summo
1 Incapacitated Unit | Range 5
Effect: The target rises as malanhig summon until the end of the
scene. It has a Speed of 3, and you can move it during the start of
your turn. The malanhig has no Actions, but it can take a single
Reaction
Twilight Claw
The malanhig claws at those that dare pass too close
Interrupt Reaction: A foe moves into or leaves a space
adjacent to the malanhig * Maneuve
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Triggering Foe | Adjacen
Effect: Make a melee attack, dealing 1d4 earth damage.
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MENDER [MND
Known as Tambalan [tam-BA-lan] in the isles, Menders are
balyan who focus on their studies of Dalankalag, the path of the
soul, Dalanlikas, the path of nature, and Dalandiwa, the path of
essence. They pay less heed to Dalananito, the path of worship, and
truly this has led them to come at heads with other balyan. Menders
travel the isles as healers and doctors, and in recent times they have
become even more in demand due to the rising tensions of war and
violence
They specialize in healing physical and spiritual harm. Spiritual
including any intellectual and emotional damage. Most balyan
coteries in a settlement now usually include Menders among their
ranks, always at the ready to heal. They have entire longhouses
dedicated to their patients, healing those wounded and cleansing of
disease
Menders in particular are trained to be desensitized to the
atrocities of war and are meant to ght in the frontlines. There they
are trained to bring herbal remedies and other such potions to
quickly heal warriors and to bring them to top ghting form before
anything else can happen
Not just that, but their knowledge of nature has them memorizing
names of ora and fauna and their functions when mixed with each
other, something that balyan don’t exactly need to do (but most of
them do anyway). While in a venture, having a Mender is necessary
to avoid eating poisonous herbs or omen owers, as well as nding a
way to purify water and make it potable. They do this with their clay
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pots and through burning of various herbs. They learn various drugs
to enhance the capabilities of their allies
The rst Mender was said to be none other than the panganitohan
Sri Dewa Sarripada Agas. The Mender, embodying the best of both
masculine and feminine energies, learned to combine the disparate
parts of nature to create harmonifying tinctures. These healing
remedies became known as tambal. Thus the tambalan arose: those
that used or worked with tambal. They have knowledge of advanced
healing techniques as well, although not as broad in their expertise as
balyan. They know the basics of hilot, and usually know the correct
oils to apply to the proper muscles
Sri Dewa Sarripada Agas, known to many Menders as The Blue
Man, as they manifested before them when a Mender would rst
begin their journey. Each Mender is given a snake-twin--something
usually only given as a guardian spirit to speci c chosen children--
crafted by Sri Dewa Sarripada Agas themself. Then they will explain
that all tawo came from snake within bamboo, and that the snake’s
ability to shed is indicative of inherent regenerative abilities within
man. Thus, man was taught healing through natural means, instead
of forced regeneration.
Sri Dewa Sarripada Agas also taught the truth of the soul to the
Mender: there are four souls: The Vigor, The Power, The Thought,
and nally The Immortal. The Vigor is the life principle, known
usually as Diwa. It is what makes us alive. The Power is that which
can leave us during our sleep, or can be lled with puhon, and is the
soul that activates whenever sorcery is used. Without The Power, we
are like husks. Then there is the The Thought, which can leave us if
we do not cultivate proper spiritual and mental life. Staying alone for
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long periods of time can cause this. Finally, The Immortal is the soul
that collects all of our thoughts and actions and personality. When we
die, The Immortal travels to our chosen afterlife, and can be called
upon as ancestors
Finally, Sri Dewa Sarripada Agas teaches that most ailments
happen due to destruction and imbalances within the soul caused by
an element. Most ailments begin spiritual, and only those powerful
boil over into the physical, affecting us physically. The most grievous
of ailments, such as cutting and slashes and crushing blows, for
example, is a perfect example of the element of Space separating or
pushing together the Vigor. Thus, Menders are taught to heal the
soul rst, so that the physical may heal properly afterwards
The Martial Art of Menders is known as Smoke Wafting From
Bamboo Style
SMOKE WAFTING FROM BAMBOO FUNDAMENTALS: TACTICAL TAMBAL
Whenever you perform a Ritual, you go into Prepare Tambal

stance. As an Action or a Flourish, you may consume the Prepare
Tambal stance to perform 1 of the following against 1 ally in range 3
- Healing Tambal. Heal Breath for the target
- Protective Tambal. Give the target Guarded until the end of their
next turn
- Fortifying Tambal. Give the target Strong to Force, Water, or Fire
(choose 1) until the end of their next turn
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SMOKE WAFTING FROM BAMBOO INFLICT VIOLENCE: CLEANSING
RESOLVE
Willed Weapo
Your weapon burns with empowered oils, fulminating with spiritual energy
1 unit | Range
Effect: Make a ranged attack against the target, dealing 1d4 soul
damage. An ally adjacent to the target gains +1 Extra Damage on
their next attack
Rumsua Pal
With your other hand, you open your palm, and the Rumsua, an eye inthe
middle of your palm, a symbol for health and soul strength, bursts through
1 unit | Mele
Effect: Shift the target 2 spaces. If the target is an Ally, also give
them Elusive until the end of their next turn
SMOKE WAFTING FROM BAMBOO SECOND WIND: SHARED HEALING
You apply poultices upon yourself, and your spirit over ows
Flourish * Ritual, Heal, Scen
Sel
Effect: Heal Breath. All allies in close burst 2 remove all debuffs
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Gain the following once you have learned all the Technicks of
this Discipline
SMOKE WAFTING FROM BAMBOO MASTERY: BLUE GOD’S BLESSING
You can now increase the range of your Tambal to Range 3,

Burst 1, targeting all allies within
Finally you can now choose up to 2 Effects instead of just 1 when
you consume the Prepare Tambal stance
You can also now choose the following effects for Tambal, to 1
ally in range 3
- Sturdy Tambal. Give the target +1 Armor until they suffer
damage
- Awakening Unos Tambal. Give the target Hastened until the
end of their next turn
- Quickening Tambal. Give the target Avoid until the start of their
next turn.
SMOKE WAFTING FROM BAMBOO FORBIDDEN TECHNICK: SRI DEWA
SARRIPADA AGAS’ FINAL TEACHING
0 - Discord is an excuse for harmony. In the beginning all things were

harmonious. Assemble souls that have become sundered from each other. Rejoin
with that supreme soul, that supernal consciousness, and nd enlightenment.
Action * Ritual, Heal, Scene
1, 2, or 3 Crashed or Incapacitated Ally | The Battle el
Effect: The target Heals 4x Breath and remove all Wounds from
them
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You lose something important to you. You must spend a

Conviction Token to speak with the gods and ancestors to use this
again, on top of the usual requirements to use a Forbidden Technick
again
SMOKE WAFTING FROM BAMBOO STYLE TECHNICKS
SUGAPA CHEW
Too much sugapa induces the unstoppable berserker fury of the Mag-sabil.
But just enough, and you will be able to bring out the violence in their edges
Flourish * Ritua
1 Ally | Range
Effect: The target’s next attack deals +2 extra damage
SALVE
Proper salves heal The Vigor rst and foremost, before diving into the
intricacies of an ailment. It is the Vigor that keeps us from death, that keeps
The Immortal imprisoned within our bodies
Flourish * Ritua
1 Ally | Range 2
Effect: Remove 1 debuff from the target
KASUBHA TEA
This tea is nothing more than properly chosen saf ower mixed with ginger
and steeped in boiled freshwater. However, it’s regenerative effects grant a burst
of vigor to the Souls
Flourish * Ritual, Charge
1 ally | Range 2
Effect: The target gains 4 + Tier Barrier
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EXHAUSTIVE OINTMENT APPLICATION
This ointment forcibly causes The Power to be pushed out from the body for
a setsuna instant, causing them to lose all autonomy and strength for a few
crucial moments. You ready it upon a kris leaf upon your palm, and then strike
your opponent with it
Action * Ritual, Maneuver, Charge
1 unit | Range 2
damage. The target must make a save. On a fail, they lose all
Af nities except for Weak until the end of your next turn
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WARSMITH [WRS
“The islands were forged in war, and in war it will be
destroyed.”
This is an adage that holds true in most of modern The Sword
Isles society, and not dare to refute it. The Warsmith, which means
Smith of War or colloquially known as Warsmiths, are blacksmiths
that have taken up their hammers and drenched them in blood. A
particularly large settlement of Warsmith, in the region of
Kumintang, allied with Ba-e, are made entirely of smiths, lead by a
single Kadanay datu. The Kadanay are an ancient people with
burning magenta eyes, said to be one of the oldest people on the
island. They are the heirs of an ancient kingdom of gold and jade that
they have now forgotten. Another notable settlement is the island of
Tugas, an island full of sorcerers, witches, and crafters all ruled over
by four Kadanay datu, near the island of Pannai. They are allied with
both Pannai, Ba-e, and Gatusan
Guro of Warsmith are often warriors or Datu themselves. They
teach a particular brand of combat, one that focuses on turning the
battle eld itself into their anvil, their forge, their work sheds. These
Guro teach a much coveted skill that lets Warsmith quick-craft,
creating concoctions and contraptions much quicker than other
panday. The trade off is that quick-crafting creates inherently weaker
craft, making it so that they don’t last past the length of a battle, and
that they need investiture of the Kadungganan’s Gahum
Warsmith are brought up and taught in the ways of the usual
Panday. However, along the way, something caused them to change.
They brought their discipline to the battle eld, and there they wreak
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havoc. They are well attuned to the ways of combat, and through this
fact, they manipulate the battle eld with shields, quick-crafted walls,
and enhancements to weapons.
Their anvils are their enemies’ skulls, and they quench their
sizzling hot steel in their blood. Their gusali, or sheds, are the
battle eld, and upon it they will craft the most powerful of weapons:
themselves and their allies
If you take up the Discipline of the Warsmith, ask yourself why
you have made such a creative Discipline into one of the most
destructive ones. Why do you blaspheme your craft? The weapons
used to spill so much blood becomes forged encapsulations of your
sins. When you see your steel, do you not feel guilt
The Martial Art of the Warsmith is known as Hammer Strikes
Anvil Style.

bene ts
HAMMER STRIKES ANVIL STYLE FUNDAMENTALS: WAR CRAFT
You bring with you a miniature gusali: a burning furnace in one hand and
an anvil tied to your back. You use this to quick-craft small oddities in the
middle of the chaos of combat, and innovation now suddenly required in the
intensifying violence in the Sword Isles
Whenever you use a Craft, you gain a Panday Token, up to a
maximum of 4. You can spend a Flourish and 1 Panday Token to put
down a War Craft:
- Elemental Surat. Choose 1 adjacent ally. You imprint an
elemental surat on their weapon. Their next attack that deals force
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damage instead deals Fire, Water, Earth, or Wind damage (choose 1,

your choice)
- Obstacle. You put down an obstacle in a space adjacent to you.
This is considered hindering terrain and can be used as cover
- Binding Coil. You put down a pillar of binding coil in a space
adjacent to you. When a unit moves through it or starts their turn
on it, they become Bound. Whenever they move, they are always
pulled back to the space of the binding coil at the end of their turn.
You can only have 1 Binding Coil at a time in the eld
HAMMER STRIKES ANVIL STYLE INFLICT VIOLENCE: MIGHTY PALO
Sla
You strike down with an attack that quakes the ground
Action * Craft, Maneuve
1 Unit | Range
Effect: Make a melee attack, dealing 1d4 force damage and
making the target Slowed
Binding Strik
Your weapon springs open a binding trap, cuf ng the target’s hands
Action * Craft, Maneuve
1 Unit | Mele
Effect: Make a melee attack, dealing 1d4 earth damage and
in icting Quiet Maneuver until the end of their next turn
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HAMMER STRIKES ANVIL STYLE SECOND WIND: PANGOLIN PLATINGS
Pangolin plating is rare, but many warsmiths have metaphysically folded

them into shimmering iridescent scales that they have folded into their chest.
When the situation is dire, they tap on it, and the pangolin rips through in
every angle
Flourish * Craft, Tactic, Scene, Hea
Sel
Effect: Heal Breath. All foes adjacent to you gain Ripped and they
become Weak to Force damage until the end of their next turn. You
gain Armor +1 until you suffer damage.
When you learn all the Technicks of this style, gain the
following bene ts
HAMMER STRIKES ANVIL STYLE MASTERY: ENLIGHTENED CRAFT
All spaces adjacent to your War Craft become dif cult terrain
You can now put down the following War Craft
- Elemental Dampening Devil Idol. Put the devil idol in a space
adjacent to you. No re, water, earth, or wind damage can be dealt
within close burst 1 of the idol, replacing all that with space
- Spike. Put a spike in a space adjacent to you. All units that start
their turn on the spike or move into the spike’s space suffer 1d4
piercing at damage
- Wall. Put down a wall in Close Wall 4. This is Height 3
Blocking Terrain
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HAMMER STRIKES ANVIL STYLE FORBIDDEN TECHNICK: HEAVEN
FORGED GOD BODY
You submerge yourself into the blood of the battle and you are quenched.
The battle eld becomes your anvil. Your arms become your hammers. And the
VIOLENCE YOU BRING WILL BE THE SWORD YOU FORGE
Action * Craft, Round 3
Self
Effect: You wield the God-Body for the rest of the scene, a giant
walking suit of armor, ligreed and reminiscent of demon kings. This
God-Body is a Size 2 suit of armor. All spaces adjacent to it are
Dif cult Terrain. When you rst summon the God-Body, gain
Barrier 10 + your Breath
While in the God Body, all your attacks are Strengthened.
Whenever a foe moves to a space adjacent to you, they must make a
save or be knocked prone
HAMMER STRIKES ANVIL STYLE TECHNICKS
LANDASANG MALAKAT
Strapped onto your back is a blacksteel landasan, or anvil. Whenever you

need it, you can slam it onto the battle eld, and it becomes your gusali
Flourish * Craft, Maneuver
1 Unoccupied Space | Adjacent
Effect: You place an Anvil in target area. You only have 1 Anvil.
Whenever the anvil is damaged by a unit within close burst 2 of it,
that combatant may push 1 other unit within close burst 2 of the
landasan by 3 spaces. You can spend a Flourish to pick the anvil up
Any ally can move into the anvil’s space to move it 2 spaces
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CRAFT KANDU SHIELDS
A shield from kandu sang across the isles. With the help of the forge diwata
and shield diwata, you craft such a shield that oats as if sailing upon the
wind
Flourish * Craft, Charge
1 Unoccupied Space | Adjacent
Effect: You put down a ying shield in the target area. This can
be used as cover against all attacks. You or an ally, as a Flourish, may
ride it, Flying to an unoccupied space 3 spaces away, ignoring
Height. When you land on a space, perform a burst nisher. This
destroys the shield.
When an ally adjacent to the shield is attacked, they may use the
shield to gain blocking terrain against that attack. This destroys the
shield
ANTI-EARTH MODIFICATION
You apply a strange ritual surat upon your target’s weapon, letting it oat,
never to fall
Flourish * Craft, Charge
1 Unit | Adjacen
Effect: The target gains Windstriding. When they Stride, they may
consume the Windstriding to ride upon their weapon. They gain +1
Speed and ignore terrain and Height
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CRAFT HARIGI
With ingenuity, you craft up a pillar that holds up houses.

Flourish * Craft, Charge 3, Comb
1 Unoccupied Space | Adjacen
Effect: Lay down a height 3 pillar of blocking terrain in the target
area
Combo: If the pillar is in the target area or is the target of a blast,
burst, or lunge nisher, the pillar collapses, falling to a space in Close
Line 3. All units caught in the Line suffer 3 piercing at damage and
become Dazed until the end of their next turn
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HEAVENSPEAR [HVS
No gods, no rulers. This is the rst teaching of the Piercers of
Heaven. Their teachings then go on to teach of the great unbreaking,
that unlashing from the earth, that great wind-calling. With a ex of
your kalag, a honing of your Kinaadman, you can y upon silk wings
to sail the clouds
The rst Heavenspear was Sarripada Pak-an. To fend off an
incoming Akai raid, they rode upon catapults, and when the war
barges sounded, they launched themselves into the air, sailing across
the sky, and rending sails from masts and in icting chaos upon the
raiders
The Sarripada would continue to do this until one day, he
launched himself so high that he spoke with Lawu, the great eagle
that will eat the sun. The eagle took him into his clutches and showed
him the seven heavens, at the top of which there was no throne but
simply in nite bliss. When asked why there was no great god that
ruled over them all, the Eagle responded: “Rulership is a mistake and
a lie built by your ancestors and descendants. Rejoice in the glory of
combat.
Sarripada Pak-an descended back into the earth upon a silken
kite that he had fashioned himself with the help of biraddali--
rainbow-winged angels--from one of the seven heavens. With this, he
fought like a hawk, swooping and killing and destroying boats
After fending off that particular raid, he returned to the cliff
where his catapult was, and he broke it. With an intonation of his
Kinaadman, he detached himself from the earth. And upon this
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blasphemy against the natural order he founded a house of sky-
warriors, and called them the Heavenspears
“No thrones, rend heaven and hell.” As a Heavenspear, you are
taught the Heaven-Rending Arts. These are a set of techniques that
let you re exively move about the air as if there were innumerable
platforms about you, using your spirit to bounce off of thin air. This,
combined with a martial art focused on using polearms, makes the
Heavenspear adept at staying at range but also quick. Their
unorthodox angles of attack has been the downfall of many
warbands
If you become a Heavenspear, ask yourself: with your enlightened
knowledge of there being no Over God, why do you ght? Do you
ght for liberation, so that all men can y across the sky? Or do you
ght for more sel sh reasons? You rend the sky but make sure that
your spear thrust is true, from your heart, and not from your doubts
The Martial Art of Heavenspears is known as the Heaven
Rending Style
When you rst take upon this Discipline, gain the following
HEAVEN RENDING STYLE FUNDAMENTALS: UNBIND
Heavenspears are taught, in one way or another, to ignore gravity. This is

the nal lie. However, to achieve that, they must learn the truth of the Waling-
Waling Sutla: that they themselves are not real. That they travel and can
perform feats of grand God-killing because reality as they know it is a structure
of their own souls crafting reality around them. Only then can they truly
unchain themselves from the shackles of the earth
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…
You gain access to the Unbind Flourish: you can move 2 spaces,
ignoring height, moving into an unoccupied space. At the end of the
movement, deal 1d4 wind damage to all foes adjacent to you
If you move into a foe’s space, you deal +1 extra damage and you
must return to your original space
You can only Unbind 1/round
HEAVEN RENDING STYLE INFLICT VIOLENCE: SKY RAVE
Celestia
You spin, and send them ying
Action * Maneuve
1 Unit | Mele
Effect: Make a melee attack against the target, dealing 1d6 wind
damage and in icting Juggled.
Meteo
You spin down, burying enemies into the ground
1 Unit | Mele
Effect: Make a melee against the target, dealing 1d4 piercing
force damage, and then knock the target prone
HEAVEN RENDING STYLE SECOND WIND TECHNICK: SHED
ATTACHMENTS
You dig deep and nd a second wind in you. Bolstering enlightenment

billows: it is your time to strike
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Flourish * Maneuver, Heal, Scen

Sel
Effect: Heal Breath. Gain Hastened and you are considered
Floating until the end of your next turn
When you learn all the Technicks of this Discipline gain the
following
HEAVEN RENDING STYLE MASTERY: ENLIGHTENMENT
Unbind is no longer limited to 1/round. You can now move 4

spaces as well. When you drop down, instead of dealing damage, you
can choose to in ict violence or use a Technick instead, meaning you
can use a Technick or In ict Violence that is an Action as a Flourish
If you incapacitate a unit with Unbind, gain an Enlightenment
Token. You can only have 1 Enlightenment Token. Whenever you
deal damage, you can choose to spend the Token to double that
damage after the roll
HEAVEN RENDING STYLE FORBIDDEN TECHNICK: BREAK THE SKY
That ultimate teaching of Lawu, The Sun Eating Eagle: impale the sun
and make the sky bloody with rebellion. With this, you become gathering storm
clouds, waiting for the perfect opportunity to strike. Then, like that lightning
dog, you descend upon the world. “There is no god, in fact there is no self, there
is only thought,” you state, as your weapon pierces the heart of creation.
Action * Maneuver
Self
Effect: Leap into the sky. You become untargetable until the start
of your next Turn.
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At the start of your next Turn, choose 1 Unit that you can see:
deal 4d6 piercing wind damage. The target is knocked prone. If the
target is on a Height, you destroy the Height and deal extra damage
equal to the Height they were on.
HEAVEN RENDING STYLE TECHNICKS
SEA PIERCING SANAYAN
Leap down and let the waters whirl around you. The Heavenspear
Namwara used this to kill a giant sea serpent which had breached into the air.
He sped through the length of the serpent and came out from its tail
Self
Effect: Move 4 spaces in a straight line, no diagonals. You can
move through foes. Deal 2 piercing water damage to all units that
you move through. If there is a unit at the end of your movement,
push them 3 spaces away and move into their space
CLOUD LIKE A RED LIGHT BEAM
You leap into the air and are blasted in multiple different directions by an
invisible crimson force. Like an ancient Epic hero, you whistle and call upon a
red light beam. This red light beam, called by others as the Ray of Lawu, or the
Eyes of Sumongsuklay, is said to be judgment from the missing over-god. But
what is judgment without a judge
Interrupt Reaction: You are the target of an attack in range *
Maneuver, Charge
Triggering Unit | Range
Effect: Move 3 spaces away, without provoking reactions. If this
brings you out of range of the attack, you avoid the attack
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FLYING PINAMASKAN
A technique taught to early Heavenspears. In this godless world, one must

learn to use their weapon effectively. With their soul like a spear, they must
skewer those that are the victim of their scorn.
Action * Taxing, Maneuver
1 Unit | Range
Effect: Make a ranged attack, dealing 2d4 wind damage. Push
the target 3 spaces and knock them prone
Special: Your weapon ends in a space adjacent to the target, and
becomes a Size 1 space. You can pick up your weapon when you
move into a space adjacent to it or when you start your turn adjacent
to it, as a Re ex. You cannot make attacks until you retrieve it
ACROSS THE HEAVENS
Jamiyun Kulisa is the Brother Thunderbolt, husband to Indira Suga, the

Mother Sun. In the ancient of days, the Sky Brother stepped upon the seven
heavens and reached the highest point of the sky. There he saw the stars in the
void, and realized that nothingness is part of the supreme soul. With this
enlightenment, he descended into the earth, and thus thunder resounded for the
rst time
Flourish * Stance, Maneuve
Self
Effect: Gain the Plummeting Thunder stance, which lasts until the
Stance: While you’re in Plummeting Thunder, you’re considered
as being 2 Height higher than your current Height. Whenever you’re
damaged by a melee attack while in Plummeting Thunder, you may
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consume the stance to make a melee attack against the triggering

unit, dealing 1d6 force damage and pushing the target 3 spaces.
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STAR SHOOTER [STS

Combat as a sport, war as combat. Therefore, war is a sport,
and you are the Ace.
The sport of sipa is a competitive sport played between two
teams, and is popular among children and teenagers. Whenever they
are not warring, they spend their time playing Sipa.
It was said that one day, Bulalakaw the Comet, descended upon
the people of The Sword Isles with a ball of stardust. With this, he
began kicking, and he launched it at people. The people caught it
with their feet, and soon the volley began. At the end of the play
session, Bulalakaw the Comet said: “Such is life, like a great volley,
yet just a part of the entire game, and not the entire game itself.
Sunder the world.”
Sipa is thus taught by comet-guro, teachers of shooting stars, and
has spread far and wide across the archipelago, from the smallest of
shore settlements to the greatest of mountain cities, played with
rattan balls instead of shooting stars. Every end of harvest, those
settlements dedicated to playing Sipa would go and have a sipa
tournament in the most prestigious tournament of all: The Shooting
Star Massacre, wherein the main stage is two large war barges lashed
together
In recent times, however, the best of Sipa players realized that the
best of Comet-Guro have passed down a teaching by Bulalakaw kept
from the rest of competitive Sipa. Practitioners of this particular form
of Sipa were known as Starshooters, and they used their superior
kicking ability to bring violence upon the islands. With their superior
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skill, they can use anything--even the smallest mote of dust--as a

shooting star that they can kick at the victims of their scorn.
As a Starshooter, ask yourself why you have turned this gift from
the heavens into a killing art. The beauty of the shooting star now
tarnished, turned into a horrible horrible sight in the battle eld, one
that can decapitate and puncture. Do you enjoy using something
seemingly more innocent than a sword as a killing instrument? Do
you enjoy treating war as a sport
The Martial Art of the Star Shooter is known as Morning Star
Style.
MORNING STAR STYLE FUNDAMENTALS: STAR VOLLEY
You are trained to never let a ball down. In Sipa, this is not allowed. And so
you perform all kinds of twisting maneuvers, all sorts of attacks, to keep the
ball up
Whenever you make a Ranged Attack, you launch a ball. If the
attack hits, you start a Volley
While you’re performing a Volley, you begin at Volley 1, going up
every time you hit with a Ranged Attack, to a maximum of 5. You
lose the Volley when you are not being able to make a ranged attack
or if one of your attacks is Avoided, forcing you to start from Volley 1
again.
While you’re in a volley, all your Ranged Attacks gain +3 range
and have Reliable 2
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When you reach Volley 5, you can Spike as a Flourish.
Immediately deal 1d8+1 piercing at damage to a foe in range 10,
treat it as a burst nisher as well
MORNING STAR STYLE INFLICT VIOLENCE: FLY HIGH
Serv
You kick up a mote of dust, a stone, a durian, a stray dagger, or anything
that you can kick, and you serve it at your opponent
1 Unit | Range
Effect: Make a ranged attack, dealing 1d6 force damage
Combo: If the next attack against the target is a Shot Finisher,
they push the target 2 spaces and knock the target prone
Point
You spike down the ball, sending a meteor to the eld
Action * Maneuver, Shot Finishe
1 Unit | Range 4
Effect: Make a ranged attack, dealing 1d6 re damage and then
deal 1d4 re damage to all other foes adjacent to the target
MORNING STAR STYLE SECOND WIND TECHNICK: TEAM SPIRIT
You’ve practiced all your life for this. Why give up now? Jump up, warrior
shooter! Reach for the stars, and y upon the wings of the hawk
Sel
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Effect: Heal Breath. You are treated as being in Volley 3. Your

next attack gains Reliable 3.
following
MORNING STAR STYLE MASTERY: THE COMETS PLAY
Now, whenever an ally performs a Ranged Attack, they may

continue your Volley. They will never reset your volley
Your allies can now bene t from the additional range whenever
there’s a volley going on in the eld
While you’re in volley, gain +2 to your Speed
When you Spike, deal 2d6 + 1 piercing at damage to the target
and to all foes in close burst 3 of them
MORNING STAR STYLE FORBIDDEN TECHNICK: METEOR GARDEN
This Forbidden Technick, taught only to those fully inducted into the arts of
the Starshooter, emulates the rst Sipa game with the comet god. In this
alternative interpretation, Bulalakaw kills all of the 85 that saw the rst game,
and in the violence, the 85 became the 85 Sidereal Mansions, burning in the sky
and dictating destinies if one should seek them. To this day, the Sidereal
Mansions play this violent star-version of Bulalakaw’s game, and it is said
that they were the ones that taught this violent version of the game to the rst
Starshooters
Action * Maneuver, Perilous
All Foes | Range 10
Effect: Deal 1d4 re damage to the target as you kick a perfect
star. If there is another foe within range 6 of the target, deal 1d4 re
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damage to them as well. If there is another foe in range 6 of the
second target, it bounces to them as well. Keep bouncing until you
have no target left. You cannot hit the same foe twice. Every attack is
considered as a ranged attack for the purposes of Volley
Once you’ve hit all of them, you kick anything the nal volley into
the air and it disappears into the clouds. At the end of the round, the
Morning Star, Dalandaguis, descends into the eld, crowned by
lightning and clouds and 180 Flames of Destiny. As it crashes and
explodes into the eld, all units suffer Xd8, with X being the number
of foes you hit before this attack. All units within close burst 2 do not
suffer damage
MORNING STAR STYLE TECHNICKS
UNBREAKABLE DIAMOND INTERCEPT
“YEAHHHHHHHHHH NEVER GIVE IN! WHEN SOMETHING

FAILS, MAKE IT SUCCEED!” - Sipa Master Hanahayan.
Interrupt Reaction: When an adjacent ally is the target of a
ranged attack * Maneuve
The foe attacking the ally | Adjacent
Effect: Roll a d10. On a 7+, you cancel the attack and redirect the
effects of the attack against the target. This is counted as a ranged
attack
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TAMBANOKANO BREAKER
“THE DRAGONS DON’T GIVE BACK WHAT THEY TAKE!

SUNDER THE WORLD!” - Shoutcaster Basaka Tagaka, during a set point
during the Shooting Star Massacre (scribe’s note: not actually a massacre, but
with the point gap at the match point, it might as well have been)
Response Reaction: A foe within range is damaged * Maneuver,
Taxing, Shot Finisher
Triggering Foe | Range 3
Effect: Deal 2 force damage to the foe immediately
REBOUNDING METEOR RECEIVE
“THE GREAT IWAS-IWAS HAS DODGED THE DIMAKAUSOG’S

FIREBALL STRIKE! HIS COUNTERATTACK IS SET TO FINISH
THIS MATCH!” - Shoutcaster Basaka Tagaka, during the semi nals match
point of the Shooting Star Massacre
Flourish * Maneuver, Taxing Stanc
Self
Effect: You take upon yourself the Rebounding Meteor Stance. This
lasts until the start of your next turn
Stance: When you are the target of a ranged attack, consume the
Meteor Stance as an Interrupt Reaction to cancel the attack and
redirect the attack against another unit in range 3.
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NAGA BREAKER STRAIGHT
HE’S DONE IT! HE HAS PERFORMED A PERFECT SHOOTING

STAR SET UP! KABAKA TAKES THE SETUP AND PERFORMS
THAT IMMORTAL FORBIDDEN TECHNIQUE, THE ONE TO END IT
ALL: NAGA! BREAKER! STRAIGHT!!!” - Shoutcaster Sinuka-ang-bala,
during the grand nals of the Shooting Star Massacre between the Balangiga
Crimson Pudongs and Obertura Straightened Axes.
Flourish * Maneuver, Combo, Charge
1 space | Adjacent
Effect: You put down a spinning Naga Ball in the target area
Combo: You or an ally may move into that space to kick it or
target it with a shot nisher or blast nisher to send it ying. All foes
in Close Line 4, with the origin being the Naga Ball’s space, suffers
1d4+1 piercing re damage. They must pass a save or else be
knocked prone
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COMPLICATIONS
Complications are dif cult and complicated relationships with

two other characters, usually between Player characters.
Complications always make things more complicated than they
already are, and to ramp up the drama in otherwise normal looking
scenes. The Umalagad is expected to use your Complications to
heighten the drama.
During character creation, choose two below, or roll to
randomize. Roll a d6 (tens place) + d10 (ones place). 1-2 on a d6 is 0,
3-4 is 1, and 5-6 is 2. On a d10, if you roll a 10 and the d6 roll was a
0, then that is a 10, if it was a 1, then that roll is a 20, and if it was a 2,
that roll is a 30
At least two of the names you ll in must be with a Player
Character. Each blank also must be a different name. Creating NPCs
during this turn is encouraged. The names don’t have to be singular
characters either, but may also be polities or clans or other groups.
1 - I love _____, but so does 5 - I committed a crime before
________. We know this, but the with _________, which caused us to
one we love does not be exiled from our hometown, and
2 - ________ killed someone causing ________ to hate us
important to me, but __________ 6 - I love __________ but
must protect them. __________ loves me, and I know
3 - I hold ___________ dear to 7 - My mentor, _____________,
my heart, but they have forgotten does not know that I treat
who I am. I saved them from ______ ___________, someone they
before disapprove of, like my best friend
4 - I serve my town __________ 8 - I’m helplessly infatuated with
loyally, but my heart calls me to ___________, but they don’t know
follow __________ this, they only see me as a friend and
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nothing else... And _______ knows ___________ wants me to get away
this from them
9 - I want to get in a relationship 18 - I cannot explain why I am
with ___________, but __________, inexplicably drawn to
my sibling/mentor/parent, expressly ____________, but ___________ is
disavows me from being in any always at their side for reasons they
romantic relationship cannot explain either
10 - I seek to kill ____________, 19 - My sibling, ___________,
but I cannot due to __________ was separated from me at birth, and
11 - My parent has arranged for was brought up in ___________
me to be married to __________, 20 - ___________ does not know
but I wish to be with _________, that they are my parent, and
who I cannot be with ______________ wants to kill them
12 - ____________ doesn’t know 21 - I have been honorbound by
that I was once a servant of ______ to protect _______
_______ 22 - I love ______, and they love
13 - ____________ and I are me back. However, they do not take
siblings, but we don’t know that me seriously, and would rather be
_________is our parent with ________
14 - I am scorned by 23 - I have an important item
__________ for something I did to from _______ that they gave me
them, but _________ thinks that when we were younger. I don’t
they’re stupid for thinking that, and know if they still remember.
is on my side at all costs ________ wants it from me
15 - I have been looking for 24 - _________, a member from
__________ all my life, and the upper class, wishes to wed me,
___________ wants me to kill them but I do not love them. I would
16 - I served under __________, rather be with _______, who is no
but left after _________ told me to good to me
do so 25 - I had romantic relations
17 - I am addicted to something with _______ before, but it never
only _____________ can afford, but went well. They’re with ______
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now, and it’s making things a bit 29 - _______ saved me from

awkward mortal harm before, and so I have
26 - I changed allegiances from given my life to them. However, I
________ so I can be with ______ have done the same for _______,
27 - _________ is my father, and and I have a feeling that they have
I wish to kill them because feelings for me
________ told me to do so 30 - _________ and ________
28 - ________ humiliated me are good friends, however I’ve
before, and I will never forgive kissed one of them and the other
them. They did it in front of hates me for it.
_______, who I hold dear
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CONVICTION
The most harrowing question that every Kadungganan must have

an answer to is this: Why do you ght? The question resounds across
all of the Archipelago. There is not a single Kadungganan that does
not have a reason, for to bleed another with your steel, you must rst
be ready to bleed yourself
Convictions can be a word or a sentence long, de ning why your
Kadungganan ghts and why they have chosen to become
Kadungganan. Some might have even been forced into it. The
narrower the better, but larger-than-life declarations make for good
Convictions as well
Convictions will color and determine many of your
Kadungganan’s actions. These can be played using Conviction Beats.
If you need help thinking up of Convictions, refer to the table below
1. Curiosity. Seek something, always seeking. What is it? Even I
do not know, but the pull of the unknown is enough to put the
winds upon my sails
2. Survival. As the Archipelago drowns in the blood of its
children, I will stay a oat, by iron and re
3. Wealth. Slaves, connections, heirloom wealth, and religion.
Why else live if not to guarantee these things for me and mine
4. Valor. I ght to ful ll the prophecies and songs of eld: of a
hero who must face the darkness, with nothing but a sword of
light and a smile like the sun
5. Loyalty. Whether it be for their blood or for their heart, the
reason I ght is to stay true to the one who owns my soul
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6. Honor. What life is there to live, if it is not a life of virtue?

Why wield a sword if not to uphold one’s principles? Why live, if
there is nothing to live for but base animal instinct
7. Revenge. What goes around comes around. The circle is
unbroken, and it brings with it the spike of judgment
8. Family. My family might be broken, or not one of blood, or
like an arrow lost in the trade winds, but it is mine. And they are
all I have
9. Spite. My soul churns and my spirit boils. I have been cast
down like false idols. I shall rise again, and those that will suffer
my scorn will know my name as I say it while impaling them with
my blade
10. Duty. There is something that I must do, and it is something
that only I can do. Another might get it wrong. Who else could it
be but me
11. Knowledge. There is a future that we all can see. One only
needs a light bright enough to see it. Walk with me, and let us
attain wisdom. Let the path we forge be the right one
12. Love. My heart bleeds, enslaved, and my soul is the lake. My
passion courses like the rivers of Yutadagat for the one that holds
my life in thrall. My tears ow in devotion
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LAST BITS
Record your name. There are names recorded below depending

on what Mandala you begin from
Describe your appearance. This is usually important. Feel free to
use face claims: encouraged are those that look and are Southeast
Asian
Starting Items. Roll three times on the Material Culture table.
The items you end up with also determine your value
Starting Trinket. Decide from which of the Major (or Petty, p.
331) Mandalas you hail from. This does not decide which Mandala
you’re loyal to, just which Mandala you begin in. If you cannot
decide, you may roll a d10 to randomize
1-2 - LAKANATE OF VIRBANWA

You begin with 1 of the following necessities: a perfumed
handkerchief, a sidereal rosary (12 beads), a penitent veil, a small protective
amulet.
Virbanwan Honori cs: Ginoo [gee-nu-O] (Masculine), Binibini
[bee-nee-bee-nee] (Feminine), Poon [Po-ON] (Lord, general
Virbanwan Naming Conventions: Virbanwans have surnames,
mandated by the government. Their names are tainted by Pale King
nomenclature
Virbanwanon Names: Huwan, Lesandra, Eeya, Pavlo, Ymbrosyo,
Karmala, Dyusa, Ylisa, Olrac, Dranbre
Virbanwanon Surnames: De Sutla, Salamanka, Dabila, Oropon,
Dimauri, Magsaysay, Reyes, De Basi
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3-4 - RAJAHNATE OF GATUSAN

You begin with 1 of the following necessities: city clothing (a bahag,
baro, cloak), a decorated betel nut chew box, a porcelain jar of palm wine, a
sword handle depicting Bakunawa
Gatusan Honori cs: Laki [la-KEE] (Masculine), Bayi [ba-YEE]
(Feminine), Sri (General)
Gatusanon Naming Convention: Gatusanon are given names
that describe qualities the family wants for them, a particular natural
phenomenon that happened during the birthing, a beautiful tree or
other natural item or the craving or fascination of the mother while
pregnant. This can be a single word, or two, or sometimes entire
sentences. Gatusanon can choose names for themselves as well
Gatusanon Names: Siga, Liluan, Bagul, Aliluyuk, Mahimayaon,
Haraw, Salug, Hinagiban, Daya, Hamabar, Kagiw, Gaang, Idyap, Alangilan,
Bulsuk, Kutlu, Tanaman, Adilpa, Daganas, Nasirakna, Idd
5-6 - CONFEDERATION OF APUMBUKID

You begin with 1 of the following necessities: palm leaf scrolls,
textile cloak, bamboo staff, upo gourd
Apumbukid Honori cs: Aplake [ap-la-KEH] (Masculine), Akbaye
[ak-BA-yeh] (Feminine)
Apumbukid Naming Conventions: Similar to the Rajahnate’s,
although the individual choosing a name for themselves after their
rst conquest in love or war is common
Apumbukidnon Names: Felindag, Metegdaw, Asi, Atulun, Dengeg,
Dagit, Suga, Apaw, Kilut, Anyag, Abbal, Bansag, Buni-Buni, Darudu,
Kalatsutsi, Tangu, Tobok, Mayasi, Baguybuy, Yomo
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7-8 - SULTANATE OF AKAI

You begin with 1 of the following necessities: a crescent moon comb,
a bronze mirror, a textile shawl, a silk sack of ice cubes
Akai Honori cs: Tuan [too-WAN] (General
Akai Naming Convention: Akai names are often a single or two
words. They share many names with the Rajahnate and with
Naksuwarga
Akainon Names: Asip, Sandayli, Sumandak, Hamba, Buddiman, Akal,
Layu, Saliha, Salimin, Maputra, Patima, Bahira, Sawira, Muhaddi, Hinda
Hanman, Manalum, Gura, Gumantung, Aliya, Angkala, Hakim, Pakrud,
Aisha, Idd
9-10 – NATION OF BA-E

You begin with 1 of the following necessities: a white parasol, a
black and white silk shawl, carnelian-adorned bracelet, a rope of Baikhan
make.
Ba-e Honori cs: Gat for Males, Binibini for females.
Ba-e Naming Conventions: Similar to Rajahnate conventions.
They do not have surnames, and use usually one or two words
Mayinon Names: Pangil, Lontok, Dula, Angkatan, Namwaran,
Tagkan, Palaba, Kalamayin, Panginoan, Bagtas, Sasaban, Salalila,
Avijirkaya, Maitan, Salihan, Talim, Lumban, Pila, Gatid, Dewat
STARTING DEBT
Roll a d20 below to nd out starting Debt that you have. If two
players roll the same debt, that can lead to some interesting
storytelling opportunities as they have the same debt to someone. If
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you are only running a one shot, it is safe to ignore this part and
start playing without obligations
1. You have 1 Debt to someone that helped you get iron for an
important project. Their name is: (Katulo, Siripata, or make one
up). They are a Lakanate noble who is obsessed with foreign
imports.
2. You have 1 Debt to someone that helped you defeat a skilled
opponent. Their name is: (Agnisa, Karis, or make one up), and
they’re a warrior from the Rajahnate who is obsessed with
explosives
3. You have 1 Debt to someone that helped you in dealing with
a spirit, and they know a secret about you. Their name is
(Pabhru, Tuman, or make one up), and they’re a stoic knightly
warrior from the Sultanate who is skilled with bows
4. You have 1 Debt to someone who helped you rise from your
station. Their name is (Kulum, Damiyan, make one up), and
they’re a Confederation warrior monk who loves grilled pork
5. You have 1 Debt to someone who helped you leave an
important obligation or maybe even your bukot. Their name is
(Bulawan, Parum Jamba, make one up), and they are a tricky
Rajahnate knave who hoards bronze items, but silver tongued
when it comes to nobility
6. You have 1 Debt to someone who you fell in love with but
was never loved back. Their name is (Bagwisan, Kigalura, make
one up), and they are a beautiful royal noble from the Rajahnate
7. You have 1 Debt to someone you do not remember, but they
remember you, since they helped you in an important task for the
Datu in the past. Their name is (Karadua, Suli, make one up),
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and they are a merchant lord who has a penchant for making
deals
8. You have 1 Debt to someone who taught you the art of
Kulam. Their name is (Dalumdalum, Subang, make one up), and
they are either your close friend and your sibling, and they might
be consumed with the want for strength
9. You have 1 Debt to someone who has allowed you to preach
in their settlement. Their name is (Mashayika, Kabog, make one
up), and they are a Datu’s bendahara, or prime minister, who has
been doing their best to write all religious faiths and teachings
down on copperplate inscriptions
10. You have 1 Debt to someone who you’ve swindled before and
they found out. They let you off lightly. Their name is (Barinaga,
Kalibu, make one up) and they are a genius and smug poet from
the Rajahnate
11. You have 1 Debt to someone who you were betrothed to
before but they called it off, since you were not attracted to them.
Their name is (Prabha Yakul, Prakash Ibara, make one up), and
they are actually a very kind person, who has a liking for
Baikhan tea
12. You have 1 Debt to your master, who decided to liberate you
after you became a true Kadungganan Their name is (Paduka
Asara, Iskandar Eswara, make one up), and they are a wealthy
Kadungganan themselves, loud and raucuous, who loves a good
ght
13. You have 1 Debt to someone who bailed you out after a bad
job, where you wrongly interpreted prices and caused a small
skirmish between foreign settlements. Their name is (Rahani,
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Duryapatra, make one up), and they are a well-meaning hayohay

who kept you in their farm house for a moon before letting you
go. They’re generally well meaning
14. You have 1 Debt to a prisoner that taught you something
important. What is it? Their name is (Orohon, Agogoling, make
one up) and they are wise youth that regret whatever mistakes
and crimes they have done... But they were innocent
15. You have 1 Debt to someone who patronized you and
granted you a monthly stipend, but you do not know who they
are
16. You have 1 Debt to one of your childhood friends, who grew
up in the farmlands with you. Their name is (Sikundu, Lungon,
make one up), and you have no idea where they are right now,
although fate is ckle..
17. You have 1 Debt to one of your friends that you literally owe
money to. Their name is (Massala, Rantaka, make one up) and
they are a snob and drink too much Baikhan alcohol, but they
have your back no matter what
18. You have 1 Debt to someone that acted on your advice but it
affected them negatively. Their name is (Dingguan, Pasiga, make
one up) and they are one of the nicest people you have ever met
19. You have 1 Debt to someone that you almost killed. Their
name is (Yumi, Marik, make one up) and they are really angry at
you because of it
20. You have 1 Debt to someone that you made a jarlet for for
free. Their name is (Bina, Fugan, make one up) and they are a
rich noble that loves locally made products more than foreign
imports.
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WARBAND PROPERTY
As your rise in Esteem, you can gain items, property, and

companions that follow you around. These properties stay until you
gain your own Following. You can usually only gain these Properties
by doing their of cial ctional trigger. As always, it must make sense
in the ction
Property have their effects applied to everyone in the Warband.
Each Property has three upgrades. The rst upgrade always come
rst. You have to get the rst upgrade to get the second. Finally, the
third upgrade, the Following Upgrade, is only available to you once
you gain a Following at Prestige Tier 3
The Costs for each Property is very ction based. If you have
Kadungganan in your warband, for example, that are both
woodworkers and spirit idols, then it would make sense for the Spirit
Idol property to be easily attainable. Let it be so
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ALCOHO
Cost: A Porcelain Jar and Rice or Coconut
You gain a porcelain jar of alcohol, the one of your favorite.
You can give it to appease affairs and disputes. During the
Preparation Phase, you and 1 other Kadungganan may drink this to
gain [Barrier = Breath]. Alcohol is a very potent convincer in the
isles. Once used, you must re ll your alcohol jar in a place with
access to large quantities of alcohol
While you’re in a safe place that has access to large quantities

of alcohol, you may upgrade this by gaining another alcohol jar
1st Upgrade: Alcohol Jar Collection. You can now use this
twice before having to be re lled
2nd Upgrade: Party Drink. All Kadungganan allies can bene t
from this now when used during Preparation Phase
Following Upgrade: Brewery. Alcohol can be traded as rarities
now, and you can re ll all your Alcohol in your settlement
BALYA
Cost: Must be at Prestige 6 or higher
You’ve befriended a balyan, who has decided to follow you as the
spirits and ancestors become agitated around your potential. Decide
to whom the Balyan is dinaitan, or befriended, to. Then, when you
Rest, your warband can either remove 2 Wounds instead of 1 or gain
the bene t of their dinaitan diwata
Healing Diwata. A diwata of healing. The Warband cannot
suffer debuffs during the rst round of the next combat
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War Diwata. The Warband gains Steady on all melee attacks on

the rst round of the next tactical violence
Sky Diwata. The Warband gains Clari ed on all ranged attacks
during the rst round of the next tactical violence
Earth Diwata. The Warband becomes Immune to forced
movement during the rst round of the next tactical violence
Sea Diwata. The warband becomes Hastened during the rst
round of the next tactical violence
When you arrive in a settlement with other balyan, you may

pay a rarity to ask for balyan to help train your own balyan
1st Upgrade: Adept Balyan. The Balyan is now dinaitan to two
diwata, meaning you can choose 1 from two diwata bene ts
2nd Upgrade: Katuuran. The Balyan is now dinaitan to three
diwata meaning you can choose 1 from three diwata bene ts
Following Upgrade: Balyan Group. You now have a balyan
group performing rituals for you. You can now instead choose which
bene t you gain from the ve
BOA
Cost: Large amounts of wood and infantry loyal to yo
You’ve been given a boat that is the main vessel in these islands.
Any kind of boat can be used to travel the isles. The infantry that is
part of this cost becomes the warriors that row the boat and become
its crew. Become acquainted with at least 3 of them
If you have a boat, half all travel times and you can Rest on the
boat
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Find a boatwright and paying them the wood needed and a

Bahandi to upgrade this
1st Upgrade: Merchant Barge. You can now spend a rarity to
gain an Anting-Anting while you’re Resting on your boat, 1/moon
2nd Upgrade: War Barge. You can switch Disciplines and/or
replace a Technick you have with another Technick from another
Discipline when you Rest on the boat, 1/moon
Following Upgrade: Community Barge. Your boat now counts
as a safe place
COMPANIO
Cost: 1 Rarity to that perso
You have an ally or friend that has decided to travel with you, for
better or for worse. The companion can pitch in to the warband with
a single one of their expertise (choose 1 when they rst arrive).
Companions cannot be upgraded, but you can get more. Be careful
with too many however, as they are still folk, and you can incur debt
to them
1 - Blacksmith. Once per day, they can give you a commodity.
If you give them more time, like seven days, they can give you a
Necessity instead
2 - Jeweler. You can sell the Anting-Anting you have to gain
an Anting-Anting that you don’t have
3 - Potter. Gain a clay pot, 1/session
4 - Goldsmith. 1/Moon, the Goldsmith gives you a golden
accessory that is always considered a rarity
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5 - Servant. A servant that follows your commands, to the best

of their ability. They can go in your stead, performing things for
you, to the best of their ability
6 - Counselor. A person that can give you advice. 1/Rest, you
can ask for their advice on something speci c. They will give it to
the best of their ability
7 – Atubang. Someone speaks for you. Having a spokesperson
is considered a privilege, and people will surely treat you
differently. They
8 – Hunter or Fisher. Someone collects food for you. 1/Rest,
the Warband can gain a delicacy, which can be consumed as an
Interact to heal [Mettle = Breath].
FISHING HARPOO
Cost: Trade in something that is three necessities to a sherman
You bring with you a net and serrated harpoon. During a Rest,
you can go shing. A Warband can only have 1 Fishing Harpoon.
When you do, roll 2d4
2-4: You nd a few pieces of sh that are worth 2 commodities
5: You gain either (choose 1):
Whet sh: Interact to gain 2 physical extra damage on next
attack.
Bolster sh: Interact to gain [Barrier = Breath]
6+: You gain either (choose 2): Whet sh, Bolster sh or
Freshwater sardinella: Interact to gain +1 Speed until end of
next turn
Brave grouper: Interact to gain Armor 1 until the end of your
next turn.
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Fire octopus: Interact to immediately cleanse Fray

Azure pearl oysters: Consume with an Interact to gain 2 Mettle
whenever you perform a Mentala until the end of your next
turn
Upgrade this by paying shermen to work on it, or working on

it yourself as a 6-segment moon
1st Upgrade: Strengthened Net and Harpoon. Pay 5 necessities to
a sherman. When you roll the 2d8, add +1
2nd Upgrade: Superior Net and Harpoon. Pay 2 rarities to a
sherman. You can now choose +1 sh
Following Upgrade: Fishery. Pay bahandi to shermen to work for
you. You always have access to Fish: you can never Miss on the 2d8
roll
HEIRLOOM WEALT
Cost: Can only be gained as payment for ghting alongside a datu
or by raiding coastal settlements
These usually come in the form of foreign materials, whether it be

brass gongs, drums, foreign weapons, foreign silks and cottons, gold
from foreign lands, and porcelain jars from distant empires. These are
indicators of both wealth and strength, and exist to exercise a certain
societal hold over others
When you arrive in a place while bringing heirloom wealth, those
of lower social classes will treat you with respect. You gain +1 Fate
when speaking with most people
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Unlike other Property, heirloom wealth cannot be upgraded, and

is always treated as bahandi. It’s main form function is to be used as
leverage, to loan out to others so that they work for you, and to show
off wealth during feasts to amass an even greater following
HUNTING TRA
Cost: Buy it for 3 necessities from a hunte
A balatik, or trapping arbalest. At the end of a Preparation or
during a Rest, you can choose to go hunting. A Warband can only
have 1 Hunting Trap. Roll 2d4
2-4: You gain meat worth 2 commodities
5: Gain edible meat. When you next Rest, you may consume the
edible meat to gain [Barrier = Breath] at the start of next combat
6+: Gain delicious meat. You may consume it to remove 2 Wound
Upgrade this by bringing 3 delicious meats to a hunter in a

commune
1st Upgrade: Empowering Meat. You can choose to gain
Empowering Meat instead of delicious meat. If you do, you can
consume it during a Rest to give the entire Warband Armor +1
(stacking) during the rst round of the next combat
2nd Upgrade: Demon-Puri ed Meat. You can now hunt yawa and
bless the meat to eat it. This lets you learn the ways of preserving meat as well.
On an 7+, you can choose to gain demon meat instead of delicious
meat. Demon Meat can be eaten as an Interact during combat. If you
do, deal Strengthened damage on your next attack
Following Upgrade: Hunting Grounds. When you Hunt while
in your Settlement, you may now roll a 1d3 instead. You gain that
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many meat until you next return to a safe place, and can be an
assortment of meat, whether it be superior, empowering, or demon
meat
SORCER
Cost: Prestige 6, and a commune that houses a sorcerer
You’re given assistance by a balyan or sorcerer, or maybe you’re a
sorcerer yourself, blessing you with some form of sorcery. Name the
sorcerer that assists you, and you can ask for their sorcery and
magick during a Rest. They can give you one of the following
Fire: The warband’s rst attack in the next combat in icts Fray
X, with X equal to Prestige Tier
Water: When the warband uses a Second Wind during the next
combat, they heal extra Mettle equal to their Prestige Tier
Wind: The Warband gains Hastened during the rst round of the
next combat
Earth: The warband is immune to forced movement until the end
of the rst round of the next combat
Force: The rst time the warband Bursts the next combat, they
teleport instead
Upgrade this by ful lling tasks asked by the sorcerer that

helped you, usually either asking for magickal ingredients or
items imbued with spiritual powe
1st Upgrade: Potent Sorceries. Give them 3 magickal items and
ingredients. You can now choose two bene ts instead of just one
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2nd Upgrade: Lasting Willwork. Give them 5 magickal items and

ingredients. The bene ts of the sorcery last until the next Rest, instead
of just the next combat
Following Upgrade: Coven. Gain 10 total magickal items and
ingredients and hit Prestige 10 and a coven of sorcerers will arise in your shores.
Gain their trust by besting them in a dif cult encounter. You can now
choose three bene ts instead of just one, and the bene ts last until
the next Rest, instead of just the next combat
SPIRIT IDO
Cost: Have a woodworker or stonecrafter to create the idol, and
then have a balyan bless it
You gain a holy idol that is the diwata worshipped by your
warband, whether it be an ancestor god or a diwata. During a Rest,
you can make offerings to it. If you do, the warband gains a Blessing.
At any point, you can spend the Blessing as if you’ve spent a
Conviction Token, meaning you can also use it to Resolve in combat
If you haven’t used the Blessing by your next Rest, the blessing
goes away
Upgrade this by making offerings of gold and meat to the idol

1st Upgrade: Perfumed Idol. 10 pieces of gold jewelry and 10 pieces of
meat: The Warband gains 2 Blessings instead
2nd Upgrade: Perfumed and Painted Idol. 12 pieces of gold jewelry,
12 pieces of meat: The Warband can gain 3 Blessings instead.
Following Upgrade: Magdantang. A magdantang is a communal
worship house. Known as simbahan in Virbanwa. It constitutes a temple, a
worship area, a cathedral, and a monastery in one. The Warband’s blessing
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bleeds through. Instead of gaining Blessing, they can instead gain a

single Holy Impartment, granted to them by the diwata of their
settlement. A Holy Impartment can be spent to cancel a Umalagad’s
Destiny Token expenditure, or they may consume it to immediately
gain 3 Conviction Tokens.
STOV
Cost: Having a blacksmith craft it for yo
You carry with you a portable stove, out of local ingenuity.
During a Rest, you can cook a meal for your warband.
Roll 2d4. If you have meat, sh or crops, you can consume them
to gain +1 to the roll. You can only consume 1 kind of meat, 1 kind of
sh and 1 kind of crop. All effects of the Stove only work for the next
combat. A Warband can only have 1 Stove
2-4: Decent Meal. The warband gains [Barrier = Breath].
5: Delicious Meal. The warband begins combat with [Barrier =
Breath] and then they may choose 1 of the following ingredients
- Meat. The rst attack of each member of the Warband
deals +1 extra damage in a combat.
- Fish. The Warband gains +2 to their Speed for the rst
round of combat
- Taro. The Warband gains Armor +1 for the rst round of
combat.
- Spices. All Technicks that have Scene can be used twice
instead of once next combat
- Tea. The party becomes St against Fire, Water, or Wind
(choose 1) for the rst round of combat
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6+: So Tasty! The warband begins combat with [Barrier =

Battered] instead
Upgrade this by asking a blacksmith to strengthen it

1st Upgrade: Rock Hard Stove. Pay a rarity to a blacksmith. You
can now gain the bene ts of 2 ingredients
2nd Upgrade: Smoke and Bamboo Witchstove. 6-segment moon or
2 rarities to a blacksmith. On a 6+ you can now keep the effects of the
ingredients until the next Rest. This does not mean you have the
bene ts of something for the entire combat, rather you can keep
gaining the bene t per ght ( rst attack or rst round, etc.
Following Upgrade: Feast Hall. You have dedicated chef vassals
that craft you food for feasts and all. If you roll 2-4, make it a 5. Gain
+1 to the 2d8 roll. Additionally, you can now prepare Feasts for other
datu
PORTABLE GUSAL
Cost: Asking a blacksmith to make it in exchange for Debt or 2
rarities, or making it yourself through Bring Forth Creation, with an
8-segment moo
Gusali is the local term for blacksmith shed. You carry yours
around with you, either through ingenious crafts of bamboo or with
the help of an assistant. These include something to spark re, a
forge, the bellows, and the anvil
During a Rest, you may perform 1 of the following tasks
- Repair. Re ll a Technick that has the Charge X tag by 1
- Damascene. You strengthen the warband’s weaponry. They deal
1 extra damage on the next combat
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- Fold and Layer. You strengthen the warband’s armaments and
protection. They gain Armor +1 on the next combat
- Quick Craft. You can create a single small item from iron, such
as dagger, a prick, a pickaxe, an ax, or an adze
- Fortify. The warband becomes immune to Ripped for the rst
round for the next combat
Upgrade by paying a blacksmith to do it for you for 1 rarity

each, or by working on it as a 6-segment moon
1st Upgrade: Improve. You can now choose to Improve as a
Task. If you do, the warband can now use Technicks with the Scene
tag twice instead of once during the next combat.
2nd Upgrade: Workshop Desk. You gain a desk or some other
addition that increases your work ow. You can now choose 2 tasks
instead of 1
Following Upgrade: Lord’s Workshop. You gain a workshop of
the best quality, with re diwata powering the forge and an import of
foreign iron for forging. You can now choose 3 tasks instead of 1.
You can now also choose to spend Repair, Damascene, Fold and
Layer, and Quick Craft more than once, gaining stacking bene ts (ie.
you gain 1 Charge per Repair back, so using Repair three times can
get you up to 3 Charge back.
TAMBAL TOOL
Cost: Gain a tambalan or healer companion, or gain tambal tools
through trad
Tambal tools include some jarlets, utensils, and a restone for
creating potent potions, medicine, remedies, and poultices out of
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gathered remedial herbs, owers, and other ingredients. During a
Rest, you can choose to Gather Ingredients. If you do, roll a 2d8
2-4: You nd a few herbs that won’t help much. Gain 3 remedial
herbs. These can be consumed during combat by the entire warband
to heal [Mettle = 1/2 Breath]
5: You nd a few herbs for creating medicine. Choose 1 of the
mixtures below
- Snake Oil. Consume as an Interact. Suffer 1d4 damage, but
your next attack becomes Steady
- Lunas. A sort of panacea drink. Consume as an Interact.
Heal [Mettle = Breath]. At the end of combat, you become
woozy: your next combat you begin with 1/4 less Mettle
- Numbing Tonic. A greater alcohol and spice infusion.
Consume as an Interact. Gain stacking Armor +2 until the end
of your next turn.
- Remedy. You can remove a single Debuff from you when you
consume this as an Interact
- Fortifying Tonic. You gain St to Force until the end of your
next turn when you consume this as an Interact
6+: You can craft up to 2 mixtures
Upgrade this by asking for tambalan or other healers to help

you, or as a Bring Forth Creation for 6-segments each
1st Upgrade: Greater Ef cacy. Add +1 when making the Gather
Ingredients roll
2nd Upgrade: Tried and True. You can now make the following
mixtures
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- Vaporub. Use when you Rest. For the next combat, every
start of your turn, heal [Mettle = 1/2 Breath
- White ower. Consume as an Interact to immediately remove
all debuffs at the end of your turn. However, you suffer
[Damage = Breath]
Following Upgrade: Tambalan Community. You now have a
community of healers working alongide you. You can now craft 2
mixtures on a 6
INFANTR
Cost: You must be at least Prestige Tier 2, and have showcased
your strength in combat. The Infantry will come eventually when you
attract attention during a Feast. Either that or you can spare warriors
in combat and they become indebted to work for you
Infantry, or horohan in the local tongues, are footsoldiers and low-

ranking warriors, lower ranked than the warrior freemen. These
infantry are loyal to you, and are dependent on you.
When you Rest in your settlement, you can send out your
Infantry on their own travels. Choose 1 expedition below. After a
moon (month) of time, they return, giving you the items they found
- Hinterlands. Find 1d4 items from the mountains and plains,
such as: gold, rice, iron, civet, beeswax, honey
- Coastal Settlements. Find 1d4 items from the sea, such as:
weapons, pearls, gold, foreign items
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- Unsettled Islands. Find 1d4 items from the hinterlands of

islands, such as: coconuts, wood, corals, bamboo, palm leaf
Upgrade this by bringing back more Infantry, usually by

enticing them during Feasts or by sparing them in violence.
1st Upgrade: More Infantry. You can send two Infantry out on
expeditions now
2nd Upgrade: Greater Infantry. You can now send the Infantry
to farther locations
- Foreign Shores. Find 1d4 items from foreign empires, such as:
foreign silks, porcelain jars, foreign weapons, foreign cloth, strange animals.
You can only send expeditions to Foreign Shores 1/Rest
Followign Upgrade: Warrior People. You now have a veritable
cast of warriors that follow you. You can send them on diplomatic
missions to set up Feasts in other areas, and whenever they go on
expeditions, they will now always nd 4 items
FARMING TOOL
Cost: You gain them from Plying the Market or gain them
through Raid
Farming Tools. Scythes, bolos, adzes, axes, and wooden pillars.

The works. Set your back to it, create gardens and courtyards
During a Rest, you can choose do some farming. You must be
able to farm in the current place. If you have a Rest in a boat, for
example, it would be tricky to farm, unless you’ve established in the
ction that you’ve put up some sort of green area
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When you farm, choose 1 thing that you’re cultivating, putting

down up to 3 of that item. You must have it to be able to cultivate it.
These foods can be consumed during a Rest to gain their effect
Additionally, these can also be added to when you cook with the
Stove. If you do, gain a +1 to the roll. You can only add 1 type of
crop to the cooking roll
- Yams: Become Immune to Diseased for the next combat
- Rice: Gain +2 extra damage during the rst round of the rst
combat
- Passion Flowers. Gain a magickal ingredient or magickal item
- Betel Nut Chew. Used to gain good social rapport with folk
- Bananas. Gain immunity to Quiet, Weak, and Ripped for the rst
round of the next combat
- Sago. Gain St to Fire, Water, and Earth during the rst round
of the rst combat
- Armor Root Crop. Gain Armor +1 for the next combat
After a moon (29 days), make a 2d8 roll
2-4: You simply gain back what you planted down.
5: Double what you cultivated
6+: Triple what you cultivated.
You can upgrade your farming tools by buying better ones

from farmers by giving them 1 rarities, or by crafting better ones
with 6-segment moon
1st Upgrade: Better Tools. You can now cultivate two different
crops, and gain +1 to the harvesting roll
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2nd Upgrade: Superior Quickness. You have some sort of

magickal fertilizer. You can immediately get back what 1 crop that
you cultivated
Following Upgrade: Farming Community. You now have your
own farmer dependents that help you. You can cultivate up to 5
different crops now
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FOLLOWING
At Prestige Tier 3, you can choose to Gain a Following. You are

a song worthy person, now. In the isles of The Sword Isles, martial
prowess and far-reaching charisma and notoriety are grounds for you
to become a Datu. You might become a Datu. Gaining a following, a
settlement of your own, is nigh unavoidable. Your own settlement,
own city. Haop, Sakop, Bayan, or Kinadatuhan in the common trading
languages. This is how datu are born. However, if you do not want
this privilege, you can opt out of it, but you still suffer the penalty of
your Debt to others rising by 2 when you fail a Festering Debts roll.
Your fame is unavoidable
When you gain a following, you also gain a title. This is Datu
across all the islands, but you can also call yourself Batara,
Sarripada, Lakan (in Virbanwa), Pamegat (in the Ba-e regions),
Timway, Tuwan, Rajah, or Sri. All these mean the same thing.
However, Rajah Batara is only reserved for the paramount Rajah of
the Rajahnate, while Sultan and Batara Lakan are only reserved to
the respective heads of their monarchies
Rajah, Lakan, Pamegat, Batara and Sarripada are most
common among coastal entrepots, who have the most trade with
foreingers
Many settlements have multiple datu within them, so you and
your fellow player Kadungganan’s settlements are expected to band
together to create an actual large town
Your debts still linger, however. And people seeing you as
another datu now will surely incur more debt. Whenever you nish
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a session, gain 2 Debt to all the people you owe a debt to, instead of
just 1. Those that owe you a Debt only gain 1.
When you gain a Following, you can establish it on any part of
the Island. Resources are always abundant, so you don’t have to
worry about that. However, you should choose whether it is lowland
or highland
If it is Lowland, it is blessed in..., foreign trading routes, sh, forest

items, sea items
If it is Highland, it is blessed in... iron, gold, rice, farmable terrain,
deep forest items, mountain items
You keep all your Property when you gain a Following, but you
now gain access to Following Upgrades to better your settlement
SETTLEMENT NAMES AND AMBITIONS

Sit down together with the rest of the Kadungganan who have
become Bantug and name your Following
Then, write down 3 Ambitions you have with your Following.
These are the things you work towards as you grow your
Settlements. These replace rising in Prestige Tier
If an Ambition is ful lled, you can gain a new Anting-Anting or a
new Technick from any Discipline or a new Point of Interest/Person
of Interest. Whatever it is, it can only be 1, and all Kadungganan get
this bene t
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SETTLEMENT AESTHETIC
Roll 1d10 to nd out what aesthetic your following has, or simply
choose. They can be inspired by any mandala
1-2: Stone houses, cathedral temples as the center of the village,
plazas, the Ashen Star, stone paths and docks, stone walls, cold sea
winds, stone bridges and arches with statues of Saint Intercessors
3-4: Hardwood balay, magdantang communal spirit houses,
natural temple-trees, bamboo palaces, earthenwork forti caitons,
bamboo towers, ower-choked river
5-6: Lighter balay, tall and sturdy, made for mountains and
valleys and sometimes for rivers and even water, natural temples,
stone paths that lead to sacred nature shrines, Datu houses beside
natural waterfalls and streams and rivers and mountain sides,
village oors ooded with leaves and soft petal
7-8: Hardwood balay decorated with intricate lligree, multi-
tiered pagodas and mosques, complex geometrical patterns for
temples and textiles, wooden fences, houses decorated with cloth
and silk, hardwood bridges and tall stone forti cations with
cannons
9-10: Balay ligreed and decorated with owers made of pure
gold, thick hardwood pillars supporting longhouses, golden sage
statues overgrown with foliage, huge multi-layered magdantang
reaching to the heavens, lled with gold, marketplaces always
packed, foreigner
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TROUBLE IN PARADISE
When you leave your settlement for an extended amount of time,
around 2-3 Moons, roll a 1d8 to see if something happens to them.
Gain +1 to the roll if you incurred any wrath, debt, or attention of other
datu before, or if you’ve just gained a new Point of Interest or Person
of Interest into your Following.
Gain -1 if you leave behind guardsmen, or anything else that
might help protect your settlement, in exchange for losing a ve
necessities or a rarity or a bahandi.
Roll once only for the entire group

1~2 – Nothing
3~4 – One of the people you owe debt to awaits you
5~6 – You receive word that a rival datu wishes to raid
you or engage in competitive feasting with you, asking you
if you can make the better feast and invite more people
7 – You are visited by a foreign trader. This attracts the
attention of other surrounding datu
8 – Your settlement was raided while you were gone. Lose 1
Upgrade of a Property. If the Property is not upgraded, lose that
Property
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CHAPTER 5:
EQUIPMENT AND
SUNDRY
Kapag wala ang sandata mo, wala ka na rin. Ipagmuni-muni mo,
Kadungganan: kapag nawala na ang patayan, mawawala ka rin.
Without your weapon, you are nothing. Think upon this,
Kadungganan: if the ghting vanishes, so will you.
It isn’t too wrong to say that a Kadungganan is only as good as
the tools he uses. Outside of combat, Equipment gives a +1 bonus to
the Cast that might be relevant to the item (such as Prayer Beads
helping with Ritual), as long as it makes sense in the ction
Additionally, each piece of equipment will have a Barter rating,
whether they are a commodity, necessity, or bahandi. This is in
regards to the common domestic trade among the isles. Some
settlements might view some bahandi as just a commodity, and vice
versa
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ANTING-ANTING
As a Kadungganan, your armor is dictated by your Discipline,

representing how well you guard yourself and whatever armor you
choose to wear. Armor is purely aesthetic, especially in the islands of
The Sword Isles, where armor is usually more ceremonial in purpose
than combat.
The most important protective measures in the islands of The
Sword Isles are Anting-Anting, which translates to Magical Amulets
and Trinkets. Items lled with Gahum that can grant extraordinary
skills and feats. Anting-Anting can be attached onto weapons or used
as weapons
Mechanically speaking, these are minor passive bonuses that
work similarly to Feats or Talents in other systems. You gain your
rst Anting-Anting at Prestige 2, as one of your items burns with the
power of your legend, or as your legend grows and more anting-
anting become attracted to you
The following are the Anting-Anting that you can choose from.
Each Anting-Anting only gives a single passive bene t.
Each Anting-Anting is unique: you cannot have more than one
of the same Anting-Anting.
All Anting-Anting are rarities
GAINING OTHER ANTING-ANTING

You always gain Anting-Anting when you reach the requisite
Esteem, but you might gain Anting-Anting from Raids or alternative
rewards. In that case, you can only equip the allowed amount of
Anting-Anting equal to your Prestige Tier
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LIST OF ANTING-ANTING
SWORD ANTING-ANTIN
A ceremonial kris, or an amulet made of broken sword parts
Your melee attacks cannot be Drained.
PROTECTION AGIMA
A stone tied around your neck, struck by lightning
1/scene, you can invoke this as a Flourish to gain cover against all
attacks until the end of your next turn
HASTE AGIMA
A bird plume that you keep on you.
During your rst turn of combat, you gain Hastened
TENACIT
A hog tusk that you carry or hang from yourself
When you Stride, ignore dangerous terrain
SPEAR ANTING-ANTIN
A broken spearhead, inlaid with gold ames
Whenever you deal damage with a melee attack, you may also
shift the target 1 space
SHATTERED SWOR
A sword with a broken blade.
Every third attack you make deals +1 extra damage
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BLACKENED DAGGER
A dagger blackened by a lightning bolt from Jamiyun Kulisa
You become Strong against wind damage, but weak to Force
damage. At Prestige Tier 3, you Null Wind instead
AGITATOR PUDON
A crimson pudong or turban with gold tassels
While ghting a Brave or Chief, when they fall to Battered, you
deal +2 extra damage against them
FLAILING BAHAG
A bahag with long aps that trail in the wind, crimson and bedazzled by
gold and pearls
When you roll damage and naturally roll the highest possible
number on that dice (for example, 4 on a 1d4, or 8 on a 2d4), you roll
an additional instance of that die to roll and add it to the damage.
You can only do this once per attack
LIGHTNING ANKLETS
Gold anklets struck through by lightning from diwata
Gain +1 to your Speed
LIGHTNING-BLEACHED SHAW
A shawl that wraps about your entire body, granting you refuge in the
lightning
When you make a Save, add +1 to the save roll
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SCORCHED SARON
A sarong scorched by playful re diwata. It removes you from the sight of
gods
You become immune to debuffs, but you also become immune to
buffs.
WALING-WALING STAF
A branch carved into a staff. It has waling-waling that grows every day and
dies every night
All allies adjacent to you are immune to Disease. When an ally with
Disease moves into adjacency of you, they may save against it
WITCHPOWDER BANGL
Magenta dust that oats from a golden bangle
All your burst, blast, line, and wall attacks deal 1 extra damage
ENCHANTED RATTAN BA
A bag that lets duplicates your items
All Technicks with Charge X gain +1
EYE OF RAJAH LAWI

A heavy carnelian af xed to one of your weapons. Its heavy, and when held
on its own, feels like a storm brews within.
When the target of your ranged attack is at least 3 spaces away,
gain Steady for that attack
508
.
fl
fi
.
fi
G
BANOG’S FEATHER
A giant eagle plume from a giant eagle.
When you dive, move 3 spaces
TORTOISE SHEL
A shell granted to you by a tortoise diwata at the end of their life
You become Strong to Water, but Weak to Fire. At Prestige Tier
3, you Null Water instead
MUTY
A teardrop shaped gem from the heart of bananas
Whenever you forcefully push, pull, or shift a target, move them 1
more space
FORGOTTEN CLOAK
A cloak left behind in a cliff for a thousand years. Lonely diwata gather
about it
You may now Quickstep 2 spaces. If you move all 2 spaces, gain
Hidden.
PUYA-SLAYING BLAD
Puya are the giants that live in the islands, away from the general
populace. Ancient datu used to kill these giants, who are said to be the true
ancestors of the bamboofolk, and are creations of the gods
When you deal damage to a creature that is a Size larger than
you, deal Strengthened damage. When you shove a creature that is the
509
.
same Size as you or smaller, they must pass a save or be knocked

prone
CARABAO HORN BREASTPLAT

Plated layered armor made of cut carabao horn
You are immune to push or pull
KANDU SHIEL
A strangely crafted shield. It looks like a kalsag, but tasseled to it are dead
diwata
You become Strong against Force, but Weak to Water. As a
Flourish, you can destroy the Kandu Shield to Re ect Force until the
end of your next turn
EVER EXTENDING BLAD

A short blade that, when willed, extends longer
All your melee attacks gain +1 range
GROWING BREASTPLAT
A golden breastplate with a tiger head on the chest. It grows whenever it
drinks upon your blood
Whenever you gain a Wound, gain +1 Armor, which stacks. The
armor lasts until the end of the Scene
PINAMASKA
A gorgeous and gigantic spear with ame patterns inlaid in gold. Belongs
only to heroes
510
.
fl
E
fl
1/scene, when you attack with a Melee Attack, you may deal
piercing damage.
BLESSED GADYA PLAT

An elephant hide breastplate with mentala carved onto it. It burns when it
senses battle
At the start of the scene, gain [Barrier = Breath]
RAJAH BAGIDAN’S PAL

A golden smith hammer that sparks ames every time it is struck. Heavy
When a melee attack you make is Avoided, deal 1 piercing at
damage to all foes adjacent to the target
EYE OF BAKUNAW
A crimson eye, with a crescent moon instead of irises. It thirsts for blood
Become Strong against Earth damage, but you become Weak to
Wind damage. At Prestige Tier 3, Null Earth instead
PART OF THE BLACK CHIC

A part of the black chick that creates aswang. It still twitches, sometimes
Ingest this as a Flourish. You become immune to all debuffs until
the end of the scene, and remove any debuffs currently on you. You
vomit this out after 3 instances tactical violence
EMPOWERING TASSELS AND CHIME

Gold chimes and tassels and mini-agung that create a symphony whenever
swung
511
.
fl
E
fl
.
If the damage you deal is reduced to 1 for any reason, you can
deal 1 piercing at damage to all foes adjacent to the target
VIOLENT GOW
A gown drawn together by a gold thread around the neck and a wide sash. It
vibrates, looking for blood. It is made of gold, but it drinks the blood of its
victims, turning red as you use it
At the start of your turn, deal your [Tier] piercing at damage to
all foes adjacent to you
MAW OF ARIMAONG
A bangle that has beads that wrap around the ngers. Burns when it enters
combat
When you hit with a melee attack, the target must pass a save or
suffer Fray 2
STINGRAY TAI
Buntot pagi. Smites a demon mark upon dangerous foes
When you knock a target prone, also make the target Slowed.
Deals Strengthened damage against Yawa, Undead, and Aswang
SHRIK
A razor sharp leaf. It never shrivels up
Every third attack you make ignores Armor and Cover
512
.
fl
L
fi
.
fl
.
CEREMONIAL PLAT
Excessively decorated gold breastplate and sarong uniform. Tasseled with
gold. Embroidered by porcelain and ceramics. Usually worn with an abaca ber
long-sleeved tunic beneath
You Null all Force damage, but you become Weak to Fire, Water,
Earth, and Wind
CERAMIC PLAT
Plated breastplate made from ceramics
You become Strong against re damage, but you become Weak to
Force damage. At Prestige Tier 3, you Null re damage instead
513
.
fi
E
fi
.
fi
MATERIAL CULTURE
Roll 2d8, setting one dice as the tens place and the other as the
ones place if you want to randomize. The barter ratings are
generalizations, it will not be the same across all polities
11- Kupya. Steel peaked helmet. An import from foreign lands,
now forged locally. Rarity
12 - Betel Nut Chew. When given to someone you just met, it
grants you +1 when conversing with them. Commodity at rst, and
then Commodity per chew after
13 - Abaca Rope. Thirty feet long (60 spaces). Has numerous
uses. Commodity
14 - Glazed Water Pot. Useful for carrying water. Commodity
15 - Abaca Sack. A sack used for carrying things. Commodity
16 - Banig. A textile mat great for resting. Commodity
17 - Bamboo Fishing Rod. A shing rod. Commodity
18 –Habay-habay. An abaca ber under armor, worn similar to a
burlap sack. Usually waist length, but can reach ankle length
21 - A clay pot of dyestuffs. Choose which color. This can be used
to dye any cloth. Commodity
22 – Palm Leaf Scrolls and Writing Knife. Can be used to write
messages and notes. Commodity
23 - Clay Pot. A clay pot that can preserve anything put within it
for a three days. Commodity
24 - Tuba. Fermented coconut wine. When drunken, must
succeed on a save or else they are incapacitated for 6 hours. Bahandi
25 - Kasing. A hardwood top much wanted by children and
collectors. Values at Commodity
514
.
fi
fi
.
fi
.
26 - Kudyapi or Korlong. A boat lute, usually with one or two

strings, played with a plectrum. Much wanted for feasts and
celebrations. Kudyapi is used by males and korlong by females.
Values at Commodity
27 - Agung. A bronze or war gong, used for of cial proceedings,
ceremonies, war, and news. Bahandi
28 - Tao-tao. A little human being or idol usually made of wood or
stone, found in almost every household in The Sword Isles. They
represent little gods or diwata, guardian spirits, or ancestral spirits
that the common folk pray to everyday. Some settlements paint them
intricately, others laurel and perfume them. Offerings are given to
them everyday. Usually not sold, and no one in the market would
seek it
31 - Hinalasan Burial Jar. A porcelain jar depicting a river
dragon. Used as a means of secondary burial, where the bones of the
deceased are perfumed and stuffed within in a sitting position--with
their knees up to their chin--along with their jewelry. Bahandi
32 - Baikhan Cauldrons. Usually used for stews and soups, they
are usually traded in from the Southeast Continent (in exchange for
local forest goods) so that they can be broken to supply smith forges,
since it was easier to trade in malleable iron than to extract metal
from ore. Necessity. Rarity to smiths
33 - Palo. Panday tools. The palo is a two-handed stone maul for
working iron. Palo-palo is a smaller stone hammer. A pair value at
Commodity
34 - Garol. Curved bladed spurs for ghting cocks. Valued by
those that frequent sabong ghts and those that train ghting cocks.
Commodity
515
.
fi
.
fi
fi
fi
.
35 - Bisol Tail. The bisol is a kind of ray sh with a tough and

rough tail, used as a smoothener to smooth the hardest of woods.
Commodity
36 - Daya. A at open boat akin to sampans. Can be used to
travel up and down streams and rivers. Necessity
37 - Balanga. A at clay pan used for frying. Commodity, sold by
most potters. Commodity
38 - Gining. A large porcelain jar used for creating pangasi rice
wine. Necessity, usually comes from foreign trade with Baik Hu and
Malirawat.
41 - Kabo. A blue and white jarlet, Baikhan construct. Necessity
42 - Dulang. Wooden pan used to pan gold from streams and
riverbeds. Commodity
43 - Kamagi. Neck Trinket. Gold necklaces that contain hundreds
of links and rods and wires, all made of gold. Necessity
44 - Pakil. The native term for breastplate, can be made of
kalabaw hide, kalabaw horn, elephant hide, gold, bronze, steel,
hardwood, or bamboo. It is a necessity if its hardwood, bamboo, or
gold. It is a rarity if its made of kalabaw hide, elephant hide, bronze,
and steel
45 - Pakang. A kind of mallet used to drive a lukub, an instrument
to make holes in shipbuilding. Commodity
46 - Kagingking. Branches of bamboo whereupon leaves grow,
used for rituals and decoration. Commodity
47 - Karayang. Frying pans of pure iron. Used for cooking.
Traded in from Naksuwarga or Baik Hu. Commodity
48 - Bakud. Poles used like staffs, made to create holes in the
ground for farming. Commodity
516
.
fl
fl
.
fi
.
51 - Subing. A bamboo jaw harp. A twanging reed plucked

between the lips or teeth with the mouth as a variable resonating
chamber. Commodity
52 - Tolali. A bamboo nose ute, made to echo mournful human
sounds. Commodity
53 - Bangati. A vine used as a preventative for epilepsy. Necessity
54 - Kandit. Neck Trinket. Heavy gold sash worn by kedatuan
royalty. Necessity
55 - Golden Flower Ear Ornaments. Ear Trinket. Four petaled
gold ower sculptures, depicting the ancient Flower of Life.
Excessively ornamented and decorated, made by the most skilled of
panday sa bulawan (goldsmiths). Necessity (Bahandi or Rarity to
foreigners)
56 - Patan-aw. Ear Trinket. Dangling gold earrings where
articulation is achieved by fusing zigzagging gold wire into hollow
hoops. From these dangle multiple round, rhomboid, and foliate
spangles and ornaments. Rarity
57 – Paruka. Wooden clogs, sometimes made of intricate gold. A
sign of wealth. Rarity
58 - Gold Barter Rings. Ring. Golden rings engraved with
exquisite wave patterns used as trading currency. Necessity
61 - Tutubi Necklace. Neck Trinket. Or dragon y necklace.
Made of gold, a kind of necklace made of thousands of granulated
gold beads, attened to create a shimmering effect reminiscent of the
tails of tutubi, dragon ies. Expensive, bahandi
62 - Golden Forearm Bands. Wrist Bangles. Gold bands made of
sheets of gold wrapped around the forearms, decorated with rose and
palmetto motifs. Rarity
517
fl
.
fl
.
fl
.
fl
.
fl
.
63 - Gold Armbands and Bracelets. Wrist Bangles. Wide gold

aring bands worn as bracelets. Necessity
64 - Gold Petaloid Ear Ornaments. Earring. Ear ornaments with
petaloid protrusions and oral designs. Rarity
65 - Habul. Abaca cloth, used for a variety of things. Commodity
66 - Salt. Salt derived from saltwater was precious. One ganta (3
liters) is Commodity
67 - Kukot. Wooden counters for calculation of barter. Every
tenth kukot was of a different size, to help in counting. Commodity
68 - Cast-Iron Pans. From trade with others. Wanted by panday
sa puthaw (blacksmiths). Commodity, Necessity to smiths
71 - Bugsok. A bamboo clothes hamper that you can keep your
clothes and other items in. Commodity
72 - Kupit. A knapsack for holding items. Commodity
73 - Bangkat. Bamboo carrying basket. Commodity
74 - Kupang. A skein of cotton. Commodity
75 - Tapul. Tar-based teeth coating that can be applied to give the
teeth polished ivory. It also acts as teeth preservatives. In most of the
cultures of the known isles, white teeth belongs only to the animals.
Commodity
76 - Lakha. Red ant eggs chewed to grant the teeth a deep red
color. Necessity
77 - Pandong. Any natural covering used as a lady’s cloak.
Commodity
78 - Sarok. A headdress with a deep crown, used for travel on
foot or by boat. Commodity
81 - Paraluman. A compass, not really used much as sailors in the
Archipelago memorize the currents, the islands, and know how to
518
fl
.
fl
.
read the stars. Rarity, but usually Commodity as its not really used by
sailors
82 - Bronze Mirror. Used as a mirror. Necessity.
83 - Incense Pots. Valued by those higher in society, important
during death rituals, funerals, and mournings. Necessity
84 - Bulat. A perfumed ointment, compounded of many
ingredients, used for hair fragrance and luxuriant growth.
Commodity
85 - Puno. A ne comb for removing head lice or ringworm
scales. Commodity
86 - Silat. A toothbrush made of vegetable husk for cleaning and
polishing teeth. Commodity
87 - Powdered Duyong Bones. A panacea for all kinds of
treatment. Rarity
88 - Puso Rice Cakes. Rice cakes boiled in a little wrapper of
coconut leaves. Commodity.
519
.
fi
.
D100 RANDOM WEAPONS

If you need help thinking of a weapon one would nd in the
isles, go ahead and roll on the weapon table.
1-10 - Kalis. A wavy-bladed sword. Also known as a kris.
Commodity
11-25 - Bangkaw. Bamboo spear with detachable head. The
quintessential island weapon. Commodit
26-30 - Sundang. Straight-bladed short sword. Commodity
31-35 - Wasay. Tree-cutting axe. Commodity.
36 - Kampilan. Broadsword with a spikelet, usually decorated
with dyed tassels (kulili), chimes, and bells, often used as a
ceremonial sword. Rarity
37-40 - Panabas. Axe-blade. The largest weapon in the isles.
Often used as a ceremonial sword. Necessity
41-50 - Busog. Hardwood or Bamboo Shortbow. Commodity
51 - 55 - Sikarom. Bamboo Longbow. Rarity
56 - 60 - Kamagong Stick. Commodity
61 - 62 - Kamagong Quarterstaff. Quarterstaff made of kamagong
hardwood. Commodity
63 - Luthang. A ri e with a long barrel. Rare. Commodity
64 - 68 - Balaraw. Straight push dagger. Commodity
69 - Songil. A large and prized spear, long and with a blade that is
a foot long and a handspan wide, decorated with pearls, gold tassels,
bells, chimes, and painted all over. Usually earned by true braves.
Rarity
70 - 75 - Barobangkaw. A lighter bangkaw. Commodity
520
.
fl
.
fi
.
76-77 - Sumpit. A blowgun usually used to re poisoned darts.

Commodity
78-80 - Palisay. A parrying buckler shield. Commodity
81 - 85 - Kalasag. A large hardwood shield, meant to enmesh
weapons. Necessity
86 - Katana. A curved blade from the island of Iyamat, the Cold-
Bow Island. Bahandi
87 - Flower Laurel. A laurel that sings af nity with the diwata.
Necessity
88 - Bamboo Stave. A staff whereupon is etched mentala, the
magic spells of the tawo. Necessity
89 - 90 - War Kudyapi. A heavy boat-lute, used for thrumming
war songs. Rarity
90 - 91 - Subing. A jaw harp, used for mournful rhapsodies.
Commodity
92 - 95 - Palo-palo. Smith’s hammer turned weapon. Necessity
96 - 97 - Sugob. Bamboo spears with re-hardened tips.
Commodity
98 - Baed. Wide shortsword. Commodity
99 - 100 - Sling. A wooden sling that can launch small items, such
as poultices and whatnot. Commodity
521
.
fi
fi
fi
.
522

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1

Father, o father tell me wh

We kill to live and live to kil

Father, o father tell me no

Gubat Banwa Beta 1.4

A Filipino Fantasy RPG about warrior-braves proving their

Art Director: Dylan Briones (@illsvillainy)

Copyright: GUBAT BANWA belongs to Joaquin Kyle Saavedra/

THE WANDERING SHEATHE 19

WHAT IS GUBAT BANWA? 34

HOW DO YOU PLAY? 73

CHAPTER 3: TACTICAL VIOLENCE 113

HOSTILE ACTIONS 113

VALID TARGETS 114

Moving into and out of Height 145

CHAPTER 4: THE KADUNGGANAN 159

THE APPROACHING STORM 159

Medium Prentice 178

Other Mandala Impressions 278

Noteworthy Persons 429

CHAPTER 5: EQUIPMENT AND SUNDRY 503

Witchpowder Bangle 508

A servant man, an oripun, sprawled to his knees before her, hands

“Ah, you probably haven’t eaten in a long while. Don’t worry

pot. “It’s something we never thought we’d have to suffer, as we’re

Odyong sighed. “Don’t do anything you’ll regret, Laki.

That night, after an extended detour through the docks and

The legions readied their weapons

Upon a cliff, whereupon the Pak-an Galura village overlooks vast

The next morning, Odyong arrived at the shore of the village to

armor but a colorful and golden-tasselled saob-saob only worn by

“Of course,” said Tandayag, smiling. “It is destiny. And liberating

Lancers ride upon giant crocodiles, wooden spears at the ready.

We stand upon the precipice of destiny, with blades and bullets

WHAT IS GUBAT BANWA?

Gubat Banwa. The Warring Nations. The Lands at War

THE SEVENTH SUN ER

and had great command of foreign tongues. Annuvaran Bhikkhu

THE SEVENTH MOON ER

into Bal’akai Sultanate, with the eventual goal of conquering the

THE SEVENTH STAR ER

THE EIGHTH SUN ER

THE EIGHTH MOON ER

LAY OF THE SWORD ISLES

WHAT ALL FOLK SHOULD KNOW

The basic garment for males is the bahag (think a bulky

(now in modern times known as the malong, a sort of tube skirt

The Folk here are usually of ruddy complexions, reddened or

White would be worn in grieving. No warring could be done in

someone properly. Not offering betel nut is a sign of non-hospitality

Debt Slavery is an unfortunate norm of life, but it doesn’t have

What is seen as beautiful is this: broad faces, at noses, and

Makeup exists, although mostly practiced by upper classes.

Gold is exceedingly abundant! So much so that it almost values

International trade has had a large in uence on the folk of The

Warring is synonymous with Raiding, whether it be land raids

Waters are considered as roads, not barriers. Islands are points

Property here does not include land. Rather, it is heirloom

There was no need to build grand temples: the mountains and

In general, tawo include themselves in the kaleidescope of

The archipelago is vast and unknowable at times, the sea being

Debt Rules All. Debt is the main form of societal movement.

A Multiplicity of Folk. All kinds of people live in the isles. Most

The Datu Must Be Respected. The Datu is a man of charisma,