REALIS BY AUSTIN WALKER

ASHCAN EDITION

ADDITIONAL ADDITIONAL
DESIGN WRITING

Jack de Quidt Janine Hawkins

COVER INTERIOR BOOK

ART ART DESIGN

Oddesque Sam Beck Tyler Crumrine

Copyright © 2025 Austin Walker.

All rights reserved.
Published by Possible Worlds Games
www.possibleworldsgames.com
Realis (Ashcan Edition) was made with the help of the Classic Explorer
Template by Explorers Design which is under CC BY 4.0.
TABLE OF CONTENTS

AN INTRODUCTION TO REALIS 6
What is Realis? 6
What is a Sentence? 8

PLAYING REALIS 11
Session Zero 11
Character Creation 12
Band Creation 15
Before Starting 17

CONVERSATION & CONFLICT 19

Means in Brief 21
Action & Counteraction  24
Ending Scenes & Recovering Sentences 27
The Spirit of the Law 28

MEANS IN DETAIL 31
Sentences31
Realization33
Honing35
Bonds37
Dreams39
Tokens42
Ephemera49
Conflict in Brief 52
End of Session 54

BEYOND THE BASICS 57

PC-vs-PC Conflict 57
Changing Scope & Focus 62
 GM & Moon Sentences 64
Illuminating Failure 70
Tips for Realization 72
Retirement & Death 75
Ending Your Story 78

CLASSES 81
The Nine Spheres 81
The Sphere of Steel 83
The Sphere of Sorcery 86
The Sphere of Spirit 88
The Sphere of Shadow 91
The Sphere of Sojourn 93
The Sphere of Science 95
The Sphere of Stagecraft 97
The Sphere of Society 99
The Sphere of Stories 101

RUNNING REALIS 103

The Only Unchanging Thing 103
The Thousand Moons: An Introduction 105
The Thousand Moons: Factions & NPCs 107
The Thousand Moons: A Limited Atlas 117
Customizing Realis 123

AFTERWORD124

ON THIS TRANSLATION125
PLAYTESTING BANDS127
THIS UNIVERSE:

Prizes passivity,
except after wisdom gained.

Recognizes friendship’s strength,

but rewards solitary achievement.

Shifts in scope and scale

according to the needs of the story
or the whims of its tellers.

Demands honesty in consequences,

but care at the table.

Is an inverted twilight mirage;

psychedelic space and sword and sorcery;
mumbling mystics at the castle observatory;
meteors cleaved clean with broadswords;
a thousand moons in fatal orbit
with an unreachable world called…

REALIS.
4
THE MIRROR ORBED

PLAY EXAMPLE #1
Gia (GM, she/her): Your Orphan Vessel has come into orbit around
Yazerin, the fabled Seventh Moon. On the viewscreen, you watch as
your scoptics scan the planetoid’s surface, finally coming to rest on
vast, labyrinthine ruins. That must be the Dead City. What do you
do?

Ewan (Hasen, he/him): I’m still fixing up Panta Rhei, my Orphan

Vessel. Its hull-flesh is still dented from our last session.

Kasey (Adarak, she/they): Well, while the flyboy works on his

spaceship, I’m going to start scouting ahead. Can I go down to the
surface?

Gia (GM): Of all the thousand moons of Realis, it is said that Yazerin
is the hardest to reach. Not only because its coordinates are ever-
uncertain, but because it is orbited by a countless sea of diamond
sharp caltrops.

Kasey (Adarak): That’s not a problem for me. My descent suit gives
me the +1 Sentence “When moving through the darkness, I always
evade traps that bar my way.” I’d say space counts as “darkness.” I rest
my hand on the Vessel’s side to say farewell, then launch myself from
the rear deck.

Gia (GM): Okay. You fly from the ship towards the surface dodging
the spikes in orbit. Just as you reach the atmosphere, you take a
moment to look out on the horizon. Beyond the vast sphere of Realis,
around which the thousand moons orbit, you see the dark red Corpse
Sun flicker alight. It is an omen. Today will be a good day.

5
 AN INTRODUCTION
TO REALIS
WHAT IS REALIS?

Realis is both a place—a cursed orbital sphere of 1,000 mystical

Just as details of this moons—and a game—one of collaborative storytelling in a world of
game’s backdrop— mystery, magic, and impossible technology.
characters, locations,
factions, and so on— As a place, Realis is a setting for moon-hopping adventure, arcane
were penned by our discovery, fatal conflict, and meditations on the ever-changing nature
grand order, so too of the self, society, and history. It is an uncanny solar system where
have the game rules a thousand satellites orbit a massive, incandescent planet, the titular
which you are about Realis, from which only the saint-like Radiant have ever returned.
to read. However, Above it all, the Corpse Sun roils and emits its final dregs of light,
while information while the Great Void churns below, eager to swallow anything that
on the moons and errs too near.
their inhabitants is
meant to capture our Some of the Thousand Moons are claimed by dozens of ever-
particular historic squabbling, petty baronies of the Leo Suzerainty. Others have been
moment, our game’s conquered by the locustal fleets of the Imperial Empest or have
design instead aims been forcibly converted by the hypocritical and violent theocrats of
to miniaturize the the Venerant See. More obscure factions, like the secretive scholars
absolute Narrasoulic of the Zvezd Lyceum or the esoterics of the ReGnostica keep to the
truths to which shadows—a danger, since the shadows are home to ill worms, ghastly
Realis’ history itself sovereigns, and the Drift, a realm of raw emotion and unhinged
is leashed. Ours is an desire.
orbital sphere driven
by the structure, And everywhere, Moonfolk find a way forward, claiming small joys
convention, and and working towards some sort of tomorrow.
momentum of the
story. Indeed, the only You can read more about the moons of Realis on page 78, but know
true heretics of Realis this: Everything contained within these pages is a limited perspective,
are those who espouse written by we Wordwrights of our particular time (Eola 233) and
that process is more place (aboard the Master’s Printery, along the outer orbital reach).
important than form. While we are eager to tell you about the people and places of Realis,
our words are at all times only suggestions for how and where you
might tell your story. Find your own names, use your own words, and
discard ours when they scrape or fray.

6
The editors of this
volume demand
we limit our
words regarding
the so-called
Mechanicalogica As a game, Realis is a set of rules that
and their heinous shapes conversation into an engine for
philosophy—more collaborative storytelling. You will tell the
dreadful, it is, than story of a Band of protagonists (called Player
any Empest Queen- Characters) who use powerful Sentences
Commander, any as they explore, love, fight, worship, and
Unspoken of the Drift, unfold their stories across the Thousand
or any politician, Moons. Realis is designed to explore how
whether Leo or Killiad these characters, which begin iconic and
in persuasion. Our archetypal, become increasingly specific over
advice: Let your the length of a story, and it is interested in
curiosity be sated the power and vulnerability present in such
by what slim details a transformation.
have been included
in this text, and While most players will take control
know that danger of a single member of the Band, one
treads whenever any player will be dedicated to playing as Thus, while the details
openly wear the cloak the Game Master—a combination of of our moons may
of amorality and facilitator, narrative guide, and a reliable differ from those you
indifference. wall for bouncing ideas off of, promising know in your era, in
to return them to you with exciting spins. all eras things flow
But everyone who plays Realis is a from the clashing
storyteller, and though there are different of ideal forms, like
roles in play, everyone’s first duty is to enter blocks of pure stone
into good faith collaboration with everyone cracking and chiseling
else at the table. each other until
figures emerge. We
To play Realis you’ll need paper, writing are confident that
implements, and one small object per this text is among
player­—a coin, a paperclip, a pewter the rarest and most
figure—anything you have that could transcendent works.
serve as a Token will work, but choose
something with meaning (or, if you choose
something meaningless, do so such that your
indifference is itself intentional).

7
WHAT IS A SENTENCE?
The central unit of Realis is the Sentence. • All Sentences have a level of Reality
We could use many pretty words to describe called a rank. Reality determines how
Sentences, but we should first explain in effective a Sentence is in conflict with
clear language what they are, and what they another Sentence. Generally speaking,
represent. low rank Sentences are broader, but
weaker than high rank Sentences.
In Realis, people, places, organizations, and
other keen objects are defined by sets of • In order to easily and quickly reference
descriptive Sentences. Nearly anything that the rank of Reality that a Sentence is at,
is important to the story could have a set of we mark them with + and a number, as in
Sentences available to it. Each Sentence is a +0 Sentence or a +1 Sentence. The highest
declarative statement of its owner’s unique rank a Sentence can be Realized to is +3.
capabilities. The majority of Sentences are
written with the adverb “always,” as in the Here is an example of one Sentence at
Duelist’s “I always impress those who see me varying stages of Reality:
in combat.”
+0: I always wear the right outfit.
Sentences vary in breadth and detail,
often come into conflict, and change over +1: I always wear the right outfit
time, becoming both more limited and yet during important events.
more powerful. More details on types of
Sentences, how they interact, and what +2: I always wear the right outfit
causes them to change can be found further during important events which I
on in this chapter. For now, here is a brief was invited to.
overview of terms and ideas that you’ll
encounter—do not worry about having a +3: I always wear the right outfit
complete understanding of these yet. We during important events which a
aim only to cultivate familiarity and excise friend invited me to.
bewilderment:
• Whenever anyone or anything wants to
• Sentences are the most common type of use a Sentence to overcome an obstacle or
Means, mechanisms to resolve conflict or resolve the uncertain, they are called an
uncertainty. Actor. Anyone or anything trying to stop
that attempt—whether they are the direct
• Every Class begins with a set of four target of that action or are only trying
unique Sentences, which serve as what to disrupt it—is called a Counteractor,
might be called skills, abilities, or moves which we will often abbreviate to
in other storytelling games. Counter.

8
• When two Sentences are in Conflict, the • These other types of Sentences (and their
one which is more Real prevails. distinct rules) will be detailed in the next
chapter. For now, here are some examples
• When two equally Real Sentences come of what they might look like:
into Conflict, the Counter’s Sentence wins.
Moon Sentence:
• When the Counteractor wins a conflict, +0: Yazerin corpses always return
the Actor’s sentence is temporarily twice.
Countered and cannot be used again for
the length of the scene. Band Sentence:
+1: The Band of the Caribou always
• After a Class Sentence has been wins against a smaller opponent.
Countered three times, its owner may
modify it by adding a new, limiting Ephemera:
condition to its text and increasing +2: The Book of Lies always reveals
its Reality by 1. This process is called the weakness of those who abuse
Realization. their power.

• In addition to Class Sentences, players After a +3 Sentence is Countered

begin with a Dream, Bonds, a Band three times, it is Retired. Once all of a
Sentence, and a Token. character’s four Class Sentences retire, so
do they.
• Sentences are not limited to Player
Characters. The Factions and NPCs A final note: To begin with, all of the
controlled by the Game Master have Sentences in this game have been written
their own Sentences. Faction and NPC by us, the Wordwrights, drawing on our
Sentences do not all begin at +0, so be own experience inside of and studying
wary in your travels. Realis. But as you play—in fact, even now
as you read this—you make them yours.
• There are also Moon Sentences, which
reflect the unique capacities of the various
unaffiliated peoples and locations of THIS IS
Realis. GMs can use Moon Sentences
whenever appropriate and a Player can AN ACT OF
Discharge their Token to use one as a
Means. MAGIC.

9
 REALIS

10
CERASUS

PLAYING
REALIS
SESSION ZERO

Before you begin exploring the Thousand Moons and weaving your
own stories, it is important to set time aside to set tonal and content
expectations, determine your game or campaign’s focus, create
characters, and form your Band. We colloquially call this Session 0.

This process has a number of important steps to move through, but it

is also an opportunity for discussion, worldbuilding, and collaborative
creation. Chat about the overarching premise of your story, discuss
what aspects of Realis you’re excited about, float ideas for different
types of bands. In short, Session Zero isn’t just a chore you have to do
before you play, it is play.

When your group

FOUNDATION SENTENCES collaborates in
the creation of
As we stated above, Realis contains multitudes. It can support stories Foundation Sentences
of bright and heartfelt heroism, but it can also be a stage for the during session zero,
melancholy, the uncertain, the brutal, or the desperate to play out. it’s with the trust that
The Thousand Moons are home to daring space captains, corrupt everyone at the table,
clerics, warm-hearted torturers, and the utterly inhuman. Ensure including the GM, will
that everyone at the table has an open and honest conversation about abide by and pursue
what sort of stories, characters, and content they want to explore at them as appropriate.
the table before play. While maintaining
a safe environment
While the rules governing play may gesture at strictness, they are is crucial, this isn’t
at all times subservient to the comfort and pleasure of those at the only a rule about
table. At the beginning of play, we suggest using the tools you are avoidance: You should
comfortable with to discuss what sort of stories you are excited to tell always be actively
and which ones you’d like to avoid. trying to find ways
to put a spotlight
One such tool, which reflects the same logic that Realis operates on, is on concepts that the
Foundation Sentences. As a group, discuss and complete the following table has flagged as
prompts, writing as many Foundation Sentences as you feel you need interesting.
to:

11
 These Foundation Sentences should serve as both directive and
“Our story always …” guardrail. By and large, they work passively as a reminder not only of
your group’s agreed-upon fictional limits, but also of your particular
“Our story never …” (even peculiar) interests. Foundation Sentences are more powerful
than even Dreams—they are the loom on which the skein is pulled.
“Our story will, but They may always be referenced to halt play, open a conversation,
only with distance and and redirect action.
care, include …”
It is important to understand, however, that while tools like this
one are useful, they are not sufficient for play. At all times, the
personhood of those at the table must be respected and upheld. This
does not mean that you should not explore dark or difficult subject
matter, only that you ensure that this table with this group is the right
time and place to do so. After all, while you may be telling tales of the
pernicious and iniquitous, it is you who deploys a Sentence, plays
a Token, or invokes a Dream. And however fuligin your antihero’s
cloak, it is they and not you who must wear it.

Of special note: Realis explores the way the self changes over time,
often due to perceived failure, outside influence, or the simple effect
of time. These can be difficult topics and should be handled with
care, especially when it comes to the re-defining of a character’s
Sentences. At the same time, being able to change who you are, how
you are perceived, and what drives you can be liberatory. We believe
that telling stories in both modes can be rewarding, and compassion
should be taken when playing in either.

CHARACTER CREATION

Before or during Session 0, players should flip through the Classes

chapter of this book (beginning on page 81), discuss which Classes most
interest them, and choose which they’ll play for this story.

Classes in Realis begin as broad, clear archetypes. Each consists of a series

of Sentences which are used to overcome uncertain situations. Over the
course of play, as Sentences change, these archetypal Classes will become
increasingly personalized and unique to your specific world, game, and
character.

12
EVERY PLAYER
CHARACTER
BEGINS WITH:
4 Class Sentences: Class Sentences are the starting Sentences that
define a character’s unique attributes and are used to determine the
outcome of uncertain situations. Read more about Sentences on page 31.

2 Bond Sentences: Bonds describe the state of a relationship

between player characters, and may be used like regular Sentences in
play. Read more about Bonds on page 37.

1 Dream Sentence: A Dream is a special, single-use, extremely

powerful Sentence that all player characters begin with, representing
some deeply held goal or ideal. Read more about Dreams on page 39.

1 Token: Every player has one Token, which can either be Charged
or Discharged. All Tokens begin Charged. A Charged Token can be
spent for one of three effects:

• For the length of the current Conflict, add +1 Reality to your

chosen Means.
• Use an established Moon Sentence as a Means.
• If a slot is available on the current Moon Sheet, add a new +0
Moon Sentence, representing some capacity or characteristic
of the Moon in question. If you are currently in a Conflict, you
may use this new Moon Sentence as a Means.

1 Impulse: All Classes belong to one of nine Spheres, categories

organized around a shared Impulse, like the Sphere of Sorcery’s
“Respond to a mundane problem with magical Means.” Certain places,
like many of Realis’ Moons, may offer their own Impulses, like
Yazerin’s “Unmake something important to you.” Characters who use a
Sentence in pursuit of an Impulse Recharge their Token immediately,
but pursuing an Impulse is also valuable in-and-of-itself, because
they’re a reliable method of creating drama and keeping the story
moving! Read more about Tokens on page 42.

13
One additional resource that characters
may encounter in play is Ephemera, which Some other Sentences may mention
represents special equipment, powerful equipment, but feature a more generic claim,
relics, material allegiances, and other useful like “I always have the necessary tool on
(yet temporary) aspects of a character’s hand.” These sorts of statements are intended
repertoire. Though some characters begin to be vague and flexible at the start of a
with equipment, represented by Class campaign, representing the character’s “bag
Sentences, none begin with Ephemera. Read of tricks” or other similar repository of items
more about Ephemera on page 49. or information, though the breadth of these
Sentences may be restricted through play,
Collectively, Sentences, Bonds, Dreams,
and Ephemera are referred to as Once you choose a Class, give your character
“Means.” Tokens affect or allow you a name, pronouns, and a light touch of
to use certain Means, but they are not backstory. Talk about connections your
themselves Means. Read more characters might have with each other and
about Means on page 21. suggest some other important connections
they might have, but don’t feel the need to
While there are suggested Bonds and Dreams over-explain everything about them.
for every Class, players should feel free
to write their own Bonds or Dream more A final note: Do not feel like you need
in line with their character’s backstory or to pick the “right” Class. Find the words
relationship to other player characters. which speak to you, and follow that magnetic
Even if a player writes their own Bonds and joy. Realis is full of stories. If you’re not
Dream, though, they must only have two enjoying or engaged with the character you’re
Bonds and one Dream. playing, you are always able to change them.
If, during play, you decide you would rather
Many Classes have a Sentence featuring play as a different character, simply frame a
words bracketed by fleurons (❧like this☙). scene showing why your current character is
The words bracketed are Hallmarks, out of the frame of action for a while, choose
describing some specific item, ability, a Class, and introduce your new character.
associate, or other feature that is key to Likewise, if you have a few sessions under
the identity of the Class. Whether this is a your belt and find that the Class you chose
unique weapon, a distinct vehicle, a traveling doesn’t fit the character concept you have,
companion, or something more abstract, consider switching to a new Class altogether.
take some time during character creation to The priority is always the safety and
describe how the Hallmark looks and works, enjoyment of play.
and if necessary, give it a name. Beyond
this added detail, the Sentence functions
normally.

14
 BAND CREATION
While players are deciding which Class to
play as, the group should also discuss the
core premise of the story they’re about to
tell together. The result of this discussion is
the creation of a Band, a group of characters
working together towards some common
goal, large or small. It’s best to start with a You may wait to write this Sentence until
small, focused idea. We’ve provided a set the very end of Session 0, when you have a
of example Bands to choose from at the better idea of how Sentences work in general,
end of this section, but feel free to create but try to get something down as early as you
your own. You can flip through the Faction can in a campaign—a Band’s Sentence is a
list (on page 107) or a brief introduction to powerful tool, and like everything else, it can
the world of Realis (on page 105) to get some change over time.
ideas.
At any time—at the start or end of a session,
Once the identity of the Band is determined, in the middle of play, or in between sessions—
you’ll need to come up with a single Band players can choose to re-write their Band’s
Sentence, a special statement of your Sentence to reflect changes in the group or
group’s unique identity and special capacity, ongoing story. Its rank must remain the same
especially when unified in action and and re-writing it does not give the Band an
purpose. Every Band Sentence begins at +1 additional use of the Sentence mid-Session.
and must begin “When we work together, we Changing a Band Sentence in this way
always…” requires unanimous agreement among all
Band members. Once in motion, a Band has
A Band Sentence can be used once per a momentum all its own, and reining it in
session, and only when every member of the requires every hand available.
Band agrees that it should be used. All other
rules about Sentences, including Realization, When it comes to creating your Band, allow
apply as normal. A Band Sentence can yourself to dream big, and follow your
feature a Hallmark—if you choose to include most exciting impulses. While Realis is a
one, be sure to mark it appropriately. world driven by conflict and change, those
are not concepts uniquely held by any one
perspective or genre of story.

To help illustrate this, consider the

following ideas for Bands and their
Sentences:

15
 A team of researchers digging into the strange mysteries of Realis.
• When we work together, we always uncover what time has hidden.
A group of rebels seeking to overthrow a tyrant.
• When we work together, we always find justice on the end of a blade.
A traveling circus trying to get enough money to escape a backwater world
• When we work together, we always impress and delight.
A group of smugglers, bringing people through wartorn space
• When we work together, we always pilot our ❧Orphan Vessel☙ to safety.
A band of mercenaries with a specialty in hunting down the supernatural
• When we work together, we always find our prey’s den.
A small convoy of pilgrims in search of a holy relic.
• When we work together, we always find courage in our faith.

A PAUSE
BEFORE PLAY
The particulars of
With Characters made, the Band created, Realis will change
and a general premise agreed upon, everyone from story to story.
should take a break. A Band and GM Some games will be
familiar with the Thousand Moons may focused on the political
only need a small break to organize some machinations of the
thoughts and materials, but we encourage Leo Suzerainty or the
the entire group to take as much time as they Killiad Consortium,
need before beginning play in earnest. While while in others the
Realis can be a low-prep game, a group vast swarm of Empest
who has the time to sit with the Characters, will have long since
their Bonds, and the Band Sentences obliterated those
before crafting the adventure’s kickoff will nations. Many stories
find themselves better prepared as both will care little for more
storytellers and improvisers. than one or two major
factions, and instead
be interested in the
small-scale stories
of its ever-changing
protagonists.

16
BEFORE STARTING:
• Revisit your Foundation Sentences: Sometimes the act
of creating a Band reminds players of something they’d like
There is a place for to avoid or something they’d really like to encounter. The
preparation in Realis. As conversation around what sort of content players are interested
a GM, you should be in is always able to be re-opened by anyone playing.
ready to answer questions
about the game’s rules, fill • Gather basic play materials: You will need writing tools
in some basic gaps about and paper if you’re playing together in person, a shared digital
the world (and guide document if you’re playing remotely, and something to stand
other players in doing in for tokens in either environment (ideally something with
the same), and attend two clear binary states, like a coin). Character Sheets will be
to the larger structure made available in the future, but for now, a placeholder should
of a campaign. But this include space for Name, Look, Pronouns, Band Name, Band
game only works if you let Sentence, four Class Sentences, two Bonds, a Dream, a few
the play guide the story. Ephemera, and any space for notes or doodles you may need.
Create enticing places
to explore, intriguing • Study the Band: The first step of preparing for the adventure
characters to converse with, ahead is to review the character sheets of the members of the
and momentous situations Band. Speak their Sentences aloud. Consider their Bonds and
that spring the band into Dreams. Let their capacities guide you in preparing the Moons
action. Do not prepare a and your own cast of characters. Prepare to drive the action
ready-made, ill-adjustable towards opportunities for their Means to be tested.
story. It simply won’t be as
good as what you create • Prepare the Moons: The GM should then take some time
together. to organize material for the Band’s first adventure. Ideally,
they should collect a small set of Moon Sentences, Faction
Sentences, and NPC Sentences together for the area of the
Thousand Moons where the Band’s story will begin. If you’re
unsure where that might be, consider one of the example
Moons on page 117, or having further discussion with the
Band to agree upon a setting.

For more on preparing to GM see page 103.

17
18
THE CASTLE ROUN

CONVERSATION &
CONFLICT:
REALIS IN PLAY
In general, players
will have lots of
questions about the Regardless of how your story starts, what follows should be
world of Realis when a understood as a loosely structured conversation focusing on
campaign begins. Feel exploration, drama, and conflict.
free to answer those
questions, but make Play is driven by the natural flow of descriptions, questions, answers,
sure to ask some of and clarifications. It’s normal for the conversation to bounce between
your own in return, the GM and Players, moving around the table to ensure that everyone
and then incorporate can participate. Everyone at the table should be attentive in play,
those answers into not only by ensuring that everyone at the table gets a chance to
the world and story. participate, but by being exuberant in collaboration.
Eventually, players
will develop their own Though Realis is driven by a set of rules to help resolve interesting
agendas. Once that conflicts, much of play will happen through conversation
happens, let them alone. The GM will describe a situation and ask what the characters
guide you towards the do in response, and then the group will determine what happens
excitement! together. Because player characters in Realis are generally capable,
when a character is attempting something that is either unopposed
or uninteresting, they succeed. There is still plenty of space for
interesting embellishment, worldbuilding, and characterization in
these moments, so use it!

PLAY EXAMPLE #2
Kasey (Adarak, the Blackguard): Can I climb the
nearest hill and get a higher look at the ruins? Do I need a
Sentence for that?

Gia (GM): Nah, you’re a professional, scouting is

something you do all the time. You climb the hill, and get a
good solid look at this place. Deep in the sandblasted ruins,
you see two figures moving…

19
 Eventually, loose conversation will reach a moment where there isn’t
obvious agreement on what should happen next. Whenever an Actor
is opposed or if the stakes are interesting and outcome is uncertain, the
story has reached a point of Conflict, requiring the Actor to choose a
Means (usually a Class Sentence) in order to achieve their Intent.

If there is ever doubt about whether a situation is uncertain, the table

should decide as a group, and make a ruling in accordance with the
tone goals and Foundation Sentences set during session 0.

The rules governing Conflict interact will be laid out in detail

throughout this chapter, but they are simple at heart:

I. Whenever something is uncertain or opposed, an Actor

When a Means is declares a bold and exciting Intent and explains how one of their
invoked, Realis Means will help them achieve it.
changes. The only way
this game works is to II. If there is a Counteractor (also called a “Counter”), they
respect (and, in fact, declare their own Means, describing how they want to interfere
to encourage) that with the Actor.
change. This is another
way of saying that III. The ranks of these Means are revealed and compared.
play should always
move forward. A. If the Actor’s Means is higher ranked, their Intent
comes to pass. Describe what happens.

B. If the Counter’s Means is equal or higher ranked, the

Counter wins, the Actor does not get their intent, and the
Actor’s Chosen Means cannot be used for the remainder of
the scene.

To explain this system in detail, we first need to

explain Means and Intents.

20
MEANS IN BRIEF
The Means of conflict resolution available to player characters are:

Class Sentences: Class Sentences reflect a character’s core aptitudes,

equipment, and knowledge. Find further rules on Sentences on page 31.

Bonds: Bonds represent the relationships between your character and

another Band member. In a moment of uncertainty, these characters
are able to turn to one another for support. Find further rules on
Bonds on page 37.

Dreams: Each of Realis’ protagonists is driven by their own, singular

dream. Once in their life, a player character may call on their Dream
to succeed at something interesting and uncertain, explaining how
that reserve of will helped aid them in this moment. When they do
this, cross the dream off of your sheet. Find further rules on Dreams on
page 39.

Tokens: While Tokens themselves are not Means, their close relation
to Means makes them best suited for this section. A player may
Discharge a Charged Token in order to temporarily boost the rank
of any other Means by +1. Alternatively, a Charged Token may be
Discharged to either use an already-established Moon Sentence or to
add a new +0 Sentence to the currently active Moon Sheet and then
use that as a Means. A Discharged Token can be Recharged by using a
Sentence in pursuit of an Impulse or by invoking a Sentence in a way
that draws you deeper into trouble. Find further rules on Tokens on
page 42.

Ephemera: Ephemera represent special items, training, factional

allegiances, or other elements of your character’s repertoire that
develop during play. These can be used just like regular Sentences,
but do not become more Real over time. Instead they are consumed
slowly with use, eventually losing their power. Find further rules on
Ephemera on page 49.

As a rule, Players can only use one Means at a time.

21
 DRAMATIC
INTENTS

In general, players and GMs who are Acting UNOPPOSED,

should always declare dramatic Intent. By BUT UNCERTAIN
dramatic, we mean that Actors should
describe large, situation-changing outcomes. If an action is neither uncertain nor opposed,
Try to describe your character’s goal in it always succeeds. But if an Actor is trying
narrative (and not simply physical) ways. “I to do something that the table believes to be
want to humiliate my rival in front of his fundamentally difficult or risky, the Actor
peers” is a stronger, more dramatic intention must declare Intent and Means, describing
than “I want to punch my rival.” The act of how they draw on their skills, connections, or
punching will still be made clear through equipment in order to succeed.
the Means chosen and description given,
but by setting a stronger narrative intention, In some cases, you might find that you’ve
everyone at the table will get more invested encountered an unopposed, but uncertain
in the outcome of the Conflict. situation which your character does not have
the Means to directly overcome. It may seem
Declaring dramatic Intents has several like this is a dead end, but remember to
additional benefits in playing Realis, break big problems down into smaller ones
including greater flexibility in storytelling. and to always think laterally.
For instance: When trying to rescue your
comrades from the corrupt duke’s dungeon, You may not have a Sentence that helps
the Intent “I want to free the prisoners” you directly impact the problem in front
offers many interesting ways to interpret of you, but you may be able to use one in
both success and failure. In contrast, smaller, another context that helps make the current
more task-oriented Intents (like “I want challenge less uncertain! You could also
to pick the cell’s lock”) limit the potential just attempt a different, less dangerous way
number of outcomes and it risks making forward—remember, Realis is a conversation.
your capable characters seem incompetent!
For Realis to shine, players should
Playing dramatically also helps to maintain declare big, situation-changing Intents.
the broad scale of play that Realis stories Encourage them to talk in terms of
work best with. It is more exciting to, for narrative events instead of individual
example, sneak past the Reliquary’s entire actions. Realis cares about whether
Holy Patrol in one fell swoop than it is to you drive the demon from the castle
tiptoe past one guard at a time. Realis also court, not whether any particular
simply works better when you play in broad, sword blow hits—unless, of course, the
dramatic terms instead of creating a new single most dramatic thing is for one
Conflict check for each small moment of final swing to strike true.
uncertainty.

22
PLAY EXAMPLE #3
Gia (GM): Adarak, you’re looking down at the Dead City from the
top of a nearby mountain. The terrain on the way down looks pretty
treacherous, getting down it quickly seems dangerous

Kasey (Adarak): Okay, well, as a Blackguard my specialties are

being sneaky and stabby, not mountain climbing. I don’t think I really
have appropriate Means for this.

Gia (GM): Maybe not directly, but let’s talk it through.

Kasey (Adarak): Okay, so, my four Class Sentences are “I always get
the drop on my target,” “I always coat my blade with a useful poison,” “I
always disappear into the dark,” and “I always find a well paying job.” I
don’t suppose there’s like a really long shadow I could disappear into
is there?

Gia (GM): Ohhh, that’s cool as hell. I don’t think there’s one right
now, but as you explore this little clifftop you’re on, you come across
a cairn of rocks. You could take those and pile them up towards the
edge in order to cast a shadow you could hop into.

Kasey (Adarak): Bam, just like that?

Gia (GM): Well, let’s say it takes you a little while, so your targets are
gonna get deeper into those ruins. And you know, you’ll be destroying
this grave marker, and that’s always dangerous.

Kasey (Adarak): Why are you smiling like that? I hate it when you
smile like that.

23
ACTION &
COUNTERACTION
In many cases, someone or something will (If the fiction demands it, the actor's Means
oppose an Actor as they attempt to use their may be temporarily re-written in a more
Means. Sometimes this happens immediately limited way. For instance, The Minotaur’s
and obviously, but other times an Actor may “I always burst through the walls” could
need to describe their specific Intent before become “I cannot burst through the temple's
it becomes clear that their action will be walls” because those are the specific walls
opposed. the Band’s Tetsudine has reinforced with “I
always protect others with shield and shell.”
Regardless of how it happens, once an In this case, make sure to note down exactly
Actor’s Intent and Means are made clear, how the Sentence has been temporarily re-
anyone or anything in the scene may attempt written so as to avoid any confusion when it
to Counter it by calling upon their own is time to revert the Counter.)
Means. Once both Means are declared, the
rank of each is revealed and compared. The It is important for the Counteractor to
more Real one wins. If both Sentences are always state which Means they respond
equally Real, the Counteractor wins. with even if they know they will lose
the Conflict. First, because as Sentences fail,
If the Actor succeeds, they should describe they grow more powerful. Second, because
how they overcome their opposition and knowing how something was opposed can
achieve their Intent. From there, the color how the winning Intent is interpreted
conversation continues as normal. in play.

But if the Counter succeeds, the Actor’s There can sometimes be ambiguity about
Chosen Means is temporarily Countered. who the Actor and who the Counteractor is.
Put parentheses around the Means on its In general, the Actor is whoever is trying
sheet, and treat it as if it has been rewritten to directly change a scene from the status
in the negative and unable to be used for the quo as it existed at the start of a scene or
remainder of the Scene. For instance, after as it was established via conversation and
the Duelist’s “I always win a one-on-one fight” previous Conflicts. So, if the Band arrives at
is Countered, it effectively becomes “I cannot a village under siege by the Imperial Empest,
win a one-on-one fight” for the remainder it’s likely that they would be Acting when
of the scene. The successful Counteractor, interfering. On the other hand, if the Band
whether the GM or a player, also must was already in the village when the armada
describe the consequences of that outcome arrived, they would be in the perfect position
(making sure to reconnect the result to the to Counter.
fiction), kicking off the conversation again.

24
 Additionally, remember that conflicts are Needing to anticipate an opposing Sentence’s
between Actors and Counteractors, not rank and decide whether to use your Token
“attackers” and “targets.” While the target to enhance your own Means in response is
of an Actor’s intent is often the Counteractor, a key source of tension and drama in Realis.
there are times when a third party will be Players should always feel free to ask for the
the one getting involved. When the Empest Sentence to be stated again, and discussion
Shieldbugs attempt to use “I always travel in between players about how Real it may be
formation” to break through a dilapidated is always allowed. After any Means (or its
city gate, they may find themselves rank) is revealed, players are allowed to note
contending with the nearby Fantasist’s “I it down for future reference.
always misdirect or confuse my foes” even
though she was not the target. It can be exciting to know that a character
in your portfolio has the perfect Sentence
The rules governing Conflict apply to to counter a player character’s repertoire.
both the PC and GM. That means that But the Band is filled with competent
whenever someone or something acts in travelers, and they rarely walk into a
a way that the PCs might oppose, the GM situation totally unaware of what might
must announce it, declaring Intent and happen. You should not tell players
Means and allowing PCs to Counter. If, for exactly what Sentences you have ready
instance, an NPC was attempting to infiltrate to spring on them (or how Real those
the camp of the PCs’ Band of mercenaries sentences are), but you should always hint
by using a disguise, the GM should say at the danger they’re approaching.
something like “You get the sense that
something is off in camp today. Can any of Once you use a Sentence against them—
you counter the Sentence ‘I always wear the whether as an Actor or Counteractor,
right outfit’ ?” whether it succeeds or fails—give it to them
word for word, along with its current Rank.
The GM does not need to declare the rank (You do not need to tell them if you have
of their Means unless someone attempts to advanced it after a conflict, though you
Counter it, but they are always required should remind them regularly that it’s
to verbalize the Sentence in question and to possible for your own Sentences to change
play openly and honestly. Once an NPC’s the same way theirs can).
Means is compared during Conflict, its rank
is revealed as normal.

25
 PLAY EXAMPLE #4
Gia (GM): While Kasey’s figuring out what twirling in beautiful patterns. How do you
she wants to do next, Hasen, what are you use that Sentence to try to counter it? I’ll let
up to? you know if it works...

Ewen (Hasen, the Xenagogue): I think I’m Ewen (Hasen): Is this the Sentence that
just about wrapped up with my repairs. Kasey came up against earlier?

Gia (GM): Well, it’s around then that the Gia (GM): Hah, yeah, totally. I forgot to
Vessel’s proximity alarms trigger. Do you mention it by name earlier since she cleared
have anything that could counter “Yazerin’s it so quickly—you should write it down now
orbital defenses always obliterate intruders”? just so you have it noted.

Ewen (Hasen): Uh, like right this second? Ewen (Hasen): Well, If Adarak was able to
beat it earlier as an Actor with a +1 Sentence,
Gia (GM): We can work in montage, I don’t that means that it’s +0 right? So I should be
expect Hasen to save the ship from the repair able to Counter it now just fine.
bay.
Gia (GM): Damn, you’ve read me like a
Ewen (Hasen): Okay then, yeah. I have book. You’re right, but tell me what it looks
the Sentence “I always pilot my ❧Orphan like.
Vessel, the Panta Rhei,☙ with great skill”. Can
I Counter with that? Ewen (Hasen): The Panta Rhei howls and
spins its way forward, like what if a ship was
Gia (GM): You can certainly try. Those a dolphin and space was the ocean. The light
sharpened caltrops I mentioned earlier have of Realis gleams off of its armor plating as I
come to life and begin to close in on the ship, drive it down towards the moon...

26
 ENDING SCENES &
RECOVERING
COUNTERED SENTENCES
Because a Countered Sentence cannot be used
until a new scene, it is important to pay attention
to the flow of play. While there is some inherent
ambiguity as to whether a scene has changed or not,
here are some good signposts that tend to indicate
the scene has changed:

• The location of the story shifts or a new

space has been “established.”
• The characters begin working towards
meaningfully new ends.
• The story has begun to focus on different
characters altogether.
• The narrative dilemma has changed.
• A meaningful amount of time has passed.
• In the case of a Countered Sentence being
the result of something breaking or being
damage, an extended sequence of the issue
being addressed or repaired.

Determining whether a scene has ended is up to

the group. Remember to think like storytellers, and
embrace the tone and Foundation Sentences you
set up in Session 0. In a tense and dreary campaign
about the toil of war, it may make sense for
Sentences to remain Countered longer than those in
a story about high-adventure swashbucklers.

27
THE SPIRIT OF THE LAW
Perhaps the single most important rule for hurdles, nor should they stretch a result
flavorful and memorable play is to “always beyond what any given Means has promised
say what using your Means looks like.” If them.
you cannot describe how using a Sentence
would resolve the Conflict in your favor, Finally, players and GMs should “always be
then you probably should not be using it as thoughtful about how much flexibility to use
your Means. Paint pictures with your words, when interpreting Sentences.” Strict readings
describe what your character is thinking might increase the sense of conflict and
about as they act, and bring Realis to life struggle in the world, while looser or broader
with your descriptions. interpretations will allow you to keep
momentum from scene to scene. Can the
Realis is a game of swift action and sudden Virtuoso’s “I always know the right medium to
outcomes. This is another reason why clear use” be stretched in order to find a channeller
and dramatic Intents are important, and or clairvoyant, twisting the word “medium”
why it is important that “play always stays into alternate meaning? On the Moons of
grounded in the fiction.” If you play Realis my Realis, such fluctuations in language are
by ignoring narrative stakes and focusing common. But by the time you hold this tome,
instead on repeatedly volleying Sentences perhaps the Moons have changed.
back and forth, the game simply won’t work.
Stick to conversation until Conflict occurs, This is also true for narrative scale and
then ensure that the fiction is foregrounded how tasks are broken up. In some stories,
during resolution. where the focus of the story is grand and
individual actions aren’t the focus, it might
As a corollary to these, it is imperative be appropriate for an experienced, death-
that “Sentences always stand.” Allow the dealing Misericorde to assassinate an enemy
result of any Conflict to stand unless the Commander safe in their camp simply by
circumstances, objectives, or involved using their +2 “I always wield the brittle blade
characters change in a major way. When a of mercy.” But in a campaign focused more
Means is invoked, it changes reality instantly, closely on the beat-by-beat adventures of the
and that change should be respected. There band, you might break down such a large
are many Sentences that will quickly bring a task into smaller ones (being sure not to split
conflict to an end. What has happened might every task into a repetitious gauntlet).
be repaired, but can never be undone.
Regardless of how you balance it, there will
Accordingly, while scope and scale can be always be edge cases and gray zones. Discuss
played with in many ways (see page 62), these cases in good faith and with a single
GMs and players should be careful not to end: to craft the sort of story you could hold
atomize a single challenge into many smaller in your chest like an extra heart.

28
PLAY EXAMPLE #5
Kasey (Adarak): Okay, now that I’m closer Gia (GM): Oh I like that interpretation of
to the Dead City, I’d like to sneak through the that Sentence! Those are both +0 Sentences,
ruins without being seen. so while I mark down that you Countered
this, tell me what it looks like as you move
Gia (GM): Okay, how do you do that, what through the city.
is your Means? The two people you’re tailing
don’t know you’re there yet, but they’re pros Kasey (Adarak): I think I climb up to
too, and they will be on guard. Plus you have the rooftops, jumping between shadows,
to contend with the city itself… counting on my speed to stay unnoticed.

Kasey (Adarak): I mean, I’m a Blackguard, Gia (GM): Great! Okay, you approach the
this is what I do. Is this really uncertain, or is area of the city where your targets are, but a
there a Sentence actually being used against big, creaky gate stands between you and the
me? city proper. This could be trouble to get past
without them hearing it.
Gia (GM): Well, Remember when you
messed with that cairn? Ewan (Hasen): Wait, but “Sentences stand,”
don’t they? Has something changed since
Kasey (Adarak): Oh of course, here we go. Adarak moved quietly through the city a
second ago?
Gia (GM): You’ve turned the moon against
you. Now, the city itself is trying to confuse Kasey (Adarak): Ooh, good catch, this is
you. What do you use to Counter “Yazerin why I’m glad you obsess over the rules.
ruins always twist in perplexing ways”?
Gia (GM): And he’s right, too. Sorry about
Kasey (Adarak): Maybe Yazerin hasn’t that! Nothing major has changed, so your
heard, but “I always get the drop on my previous success stands here. You slide
target.” Doesn’t matter if I’m tracking them easily through the gate without causing any
through the wilderness, a bustling city, or a additional noise. My bad!
dead hellhole like this.

29
30
THE EMPEST FLEET

MEANS IN DETAIL
SENTENCES

Sentences represent the core capacities of their owner, whether PC,

With the basics NPC, Faction, or Moon, with each Sentence offering a distinct way
established, we can dig to tackle uncertainty or conflict. All Sentences have a Reality rank,
deeper into how the beginning with +0 and maxing out at +3. How Real a Sentence is
various Means work determines whether it succeeds in Conflict against another Means.
in detail.
All classes begin with four unique Sentences. In general, the first
three Sentences of every Class comprise their skills, equipment, and
knowledge. The fourth is written to be a bothersome quirk, flaw, or
hindrance which can be easily invoked in an act of Tragic Success
in order to recharge their Token (see page 46 for more on Tragic
Success).

Class Sentences all begin at +0, and may seem incredibly broad at
first blush. This is intentional and it will not last.

When PCs begin their journeys they are archetypal characters,

defined by their iconic abilities and memorable equipment. These are
the tools they need to overcome basic challenges in style. But when
a PC comes across an opponent more weathered and world-weary,
they may be in trouble. This is because Sentences—like people—
change over time, becoming less generic in nature as they take on
specific new limitations, but also increasing in power.

Whenever a Sentence fails (whether by Actor or Counteractor), its

owner places a dot next to it. Players may also place up to two dots on
their Sentences during the End of Session ritual (see page 54).

When a player marks their third dot next to a Class Sentence,

it is Primed to become more Real. This process is known as
Realization...

31
 PLAY EXAMPLE #6
Gia (GM): From a ruined balcony, you Gia (GM): Well, okay. Your blade flies
finally spot your quarry. They’ve come to a towards her, but it swerves away at the
stop at a moss covered, waist-high structure. last second! As a Fatalist, she’s got the +0
You think this is one of the old Public Altars Sentence “I’m always protected from weapons
you’ve heard about. by fate itself!” A field of scintillating energy
sparks into the air. She yells “Who dares
Kasey (Adarak): What are they doing with interrupt the Acolyte of the Seventh Moon!?”
it? And as soon as she does, her bodyguard, a
massive man in bronze hi-armor, begins to
Gia (GM): The smaller one is saying words prowl around, looking for you.
in a language you don’t know, and pouring
some sort of dust or sand onto it. She’s doing Kasey (Adarak): Cool! Cool, cool, cool.
some sort of ritual you think.
Gia (GM): Oh, and remember to put
Kasey (Adarak): Oh, absolutely not! I’m parentheses around “My blade is always
going to stop this right here. Time for me coated with a useful poison.” It won’t work for
to go hard. I want to kill her outright. Can I you anymore during this scene.
use “My blade is always coated with a useful
poison”? Kasey (Adarak): Ugh. At least I mark a dot
next to it too, since it failed?
Gia (GM): You can certainly try. She has her
own Sentences, afterall. Gia (GM): Yup! That’s your third dot on
that Sentence, right? That means it’s Primed.
Ewen (Hasen): Maybe you should use your
Token, Kase.

Kasey (Adarak): Ugggghhhh, you’re

probably right but I don’t want to use it and
waste it either. I’m going to save it. Let’s see
how this goes with just that basic Sentence.

32
REALIZATION:
SENTENCE PROGRESSION

Once a Sentence is Primed (having failed This represents not only the wear faced by
and been marked thrice), it can be Realized. the Sentence and its owner, but also the shift
This can be done at any time except during from something grand in nature to a more
the exact moment of comparison between particular form.
opposing Sentences during a Conflict. When
you Realize a Sentence, you do three things: Third, if the Sentence is Countered when
you Realize it, it regains its ability to be
• Increase how Real the Sentence is by used. Explain how Realization has returned
one rank. this use to you, then erase the parentheses
• Add a new limitation, qualification, or around it. If you cannot justify how this new
restriction to the Sentence. Realization would return the Sentence’s use,
• If the Sentence is currently Countered, then you still need to wait for a new scene
it becomes Uncountered. Explain how before it becomes Uncountered.
you overcome whatever Countered its
use earlier, and erase the parentheses. While the final decision of how a PC’s
Sentence is Realized is up to the Sentence’s
Let’s walk through these three steps in order. owner, the process should always be
discussed openly with the Band and the
First, the player controlling the Sentence GM. A great deal of the joy of Realis comes
increases its rank by 1 (from +0 to +1, +1 to +2, from seeing its broad, archetypal characters
etc.) to a maximum of +3. This is simple and become more specific and unique. Share that
straightforward, representing how wisdom joy (and the process, which itself ought be
and time have honed this Sentence and its joyful) with the table!
owner. As always, a more Real Sentence
always overcomes a less Real one. The GM’s Sentences, on the other hand,
can always be Realized privately (assuring
Second, the Sentence should be modified they’ve been properly Primed), so players
to be more constrained in effect, target, or should always be on their toes. The one
required circumstances. For instance, the exception to this is if a GM wants to Realize
Alchemist’s +0 Sentence “I always cure my a Countered sentence: Because explaining a
patient” could become the +1 Sentences “I Countered Sentence’s ability to be used again
always cure my patient when I have my tools” is part of the Realization process, the GM
or “I always cure my patient when I have the must detail that transformation in front of
time for careful work.” the table.

33
PLAY EXAMPLE #7
Kasey (Adarak): Okay, well. I had some Because of how powerful this stuff is, I can’t
other plans for how to Realize this dagger apply any of my other normal poisons to it
Sentence of mine, but I guess this takes again.
priority. I’m going to ignore the big brute for
now and focus on busting this Acolyte’s “fate Gia (GM): Yeah, that’s much more limited
shield.” than “a useful poison,” but still cool as
hell. Make sure to write down that it’s a +1
Gia (GM): Ooh, are you gonna Realize it so Sentence. Oh, and in this case I think even
you can Uncounter it? Remember, you have if it’s successful, it won’t ignore the shield—
to explain how it helps overcome the thing you’ll have to “unweave it” before getting in
that Countered you, otherwise you can’t do it. any sort of killing blow.

Kasey (Adarak): Yeah, I got it. So, basically, Kasey (Adarak): That makes sense. In fact,
right now it’s “my blade is always coated with you know what, I’m glad it won’t kill her
a useful poison,” and I’ve used that for a few outright. I think Adarak wants to frighten
different types of poison over the campaign her. Like “oh, you thought you were safe?
so far. But maybe one of those poisons is like Guess again!” I run right at her and do a cool,
an anti-magic thing. And normally I could X-shaped slash to cut away her shield, and
apply just a drop of it to get a good effect, but then do an intimidating pose.
this fate shield is just too powerful for it. So,
I’m gonna slip the whole vial out of one of Gia (GM): Great intent, and you absolutely
my pouches, do some jumps and tumbles to get it! She is shook. Your new +1 Sentence
get up there and grab my dagger from the beats her +0 one. She stumbles backwards in
ground, and then smash the entire anti- surprise. I’m marking a dot next to her “I’m
magic vial on the blade. always protected from weapons…” Sentence—
but remember, it’s not Countered, you’re the
Gia (GM): Ohhhh. Sick! What’s the Sentence one who was Acting, not her.
get rewritten to, though?
Kasey (Adarak): Yeah, yeah. Anyway, how
Kasey (Adarak): “My blade is always coated many dots does she have on that Sentence
with a fluid that unweaves magic.” I think it’s now?
almost like bleaching the color out of the
blade. Or like, turning the blade into bleach. Gia (GM) [laughing]: Wouldn’t you like
to know? In any case, she reels away from
you, and calls out a name in fear: “Fendus!
Fendus, help!”

34
 There is no one right time to Realize a
Primed Sentence. Some players may
immediately have an idea for an appropriate
advancement at the moment of Priming.
Others may choose to be reactive, waiting
until they need to advance the Sentence in
a defensive position. You may even choose
not to advance the Sentence at all, choosing HONING
to keep the weaker yet broader lower rank
version—but this carries risk: When a Primed
Sentence fails, the associated player does not In contrast to Realization, Honing offers
place any dots at all, losing opportunity not players a way to temporarily increase
only for success but also progress. the Reality of their characters’ Class
Sentences.
A final note: Class Sentences can never
broaden through Realization. This means Once per session, you may mark one
that, while Characters will change over Class Sentence (as if it had failed in a
time, there will always be things they will Conflict), then increase its Rank by one
never be able to achieve through use of their for the rest of the session by giving it
Class Sentences alone. When stifled by the a temporary condition as if they were
challenges of Realis, be sure to call on your Realizing it. You may Hone a Class
Bonds, secure powerful Ephemera, Discharge Sentence at any point, but honing it
your Token, and pursue your Dream. It is after it has been compared to another
said that to thrive on the Thousand Moons, Means during a Conflict neither changes
“one must always move sideways.” the outcome of that Conflict nor does it
recover a Countered Sentence.
For best practices on Realization, see page 72.
Be sure to write the added qualification
in parentheses so that it is clear it is
temporary. If you Hone a Sentence
towards the end of a session, the GM
can decide to extend the Honing into the
following session.

You cannot Hone a Primed Sentence.

Primed Sentences draw themselves
always towards Realization.

35
 PLAY EXAMPLE #8
Gia (GM): You hear his footsteps first: the heavy stomps of a large,
armored figure nearing with impossible speed. Fendus, a Juggernaut,
crashes through a nearby wall, and when the dust and rubble clears,
he simply stands, stretched tall, eyes filled with a sort of terrible
commitment to destruction itself. Can you Counter “When facing a foe,
I always embody an unshakable creed”? His intent is to frighten you
into submission.

Kasey (Adarak): Oh, come on, at least try to hit me. Man… That
sounds like a +1 Sentence, and it doesn’t sound like a “fluid that
unweaves magic” would help me here.

Ewan (Hasen): Am I there yet? Could I help?

Kasey (Adarak): No, no, wait. I think I got this. I’m going to Hone
my Sentence “I always disappear into the dark.” For the rest of the
session, it’s the +1 Sentence “When I’m scared, I always disappear into
the dark.”

Gia (GM): Ohhh, that’s good. So yes you’re frightened—otherwise

your condition wouldn’t trigger—but he doesn’t get his intent, and
because you Countered him, he can’t even use that Sentence again
when Hasen does show up.

Kasey (Adarak): Sick. Plus, I get to mark this Sentence since I

Honed it, right?

Gia (GM): Yup. And make sure to put parentheses around it, too, so
that you know to re-write it back to what it was before at the end of
the session.

36
BONDS
Whenever you call upon a Bond, you must
reflect a Bond's use in the fiction, either
Unless otherwise noted, Characters begin through the presence (current or impending)
with two Bonds, which are Means describing of both characters, the prominence of a
a relationship between two members of thematic link between the two in the scene,
the Band. Though a Bond is between two or some other clear connection. As such,
characters, only its owner can use it as a Bonds are also a great way to get characters
Means. Though two Bandmates may each into a scene.
have a Bond with each other, they are used
and tracked separately. A good Bond can be actionable or
descriptive, but it does not need to be
Bonds are marked and Realized in the same comprehensive, so try to write Bonds that
way as Class Sentences. When you Prime capture one specific aspect of the relationship
a Bond, both characters named in it may in question. Consider including phrases that
Recharge their tokens. As long as Bond is +0, drive your character towards taking certain
you can erase all of its marks and rewrite kinds of action (like “I’ll save them” or “I’ll
it. But once it has been Realized, it should prove them wrong”).
remain on its path. The gravity between two
people is perhaps the only force as strong as
that of Realis-Itself The history of Realis was shaped by
both grand, world-shattering events
Bonds are always about the relationship and quiet interpersonal moments. As
between two characters. As such, they such, players of Realis can tell their
may not seem especially “powerful,” but stories across multiple scales and can
they do offer you protection and utility in shift the heart of play as they need
cases when your other Sentences may not to. Encourage players to “zoom out,”
help. Additionally, Bonds can be boosted summarizing a long period of time
by Tokens from both involved PCs if their instead of playing through it beat by
players desire, meaning that unlike Class beat. Let them know that if they’d
Sentences, Bonds can have their rank like to, they can temporarily (or
temporarily increased by 2. permanently) step away from their
current characters or Band and tell
another story in the same setting. Be
adventurous not only in action, but in
narrative style as well!

37
 PLAY EXAMPLE #9
Gia (GM): Okay, you’ve disappeared into Ewan (Hasen): You know what’s bigger
the shadows, but what are shadows to a than a Juggernaut? An Orphan Vessel. Just
Juggernaut. He’s going to destroy anything as he’s about to do some sort of big jump
nearby that’s casting a shadow big enough for smash on some tower or ruins or something,
you to hide in. the Panta Rhei comes screaming through the
air and slam right into this Ferdus guy­­­—
Kasey (Adarak): That’s stupid. I hate that.
He shouldn’t do that. Gia (GM): It’s Fendus.

Gia (GM): I think it’s because you hate it Ewan (Hasen): Well, whoever he is, he
that he’s doing it. He’s using the Sentence “I gets knocked the hell away, then Hasen sets
am always unstoppable.” His intention is to the ship to hover nearby and broadcasts
remove all shadows—which would make out: “What would you ever do without me,
it pretty hard for you to use that Sentence Adarak.”
again in this scene, even though it isn’t
Countered. Can you counter him? Kasey (Adarak):.This reminds me, we’re
at two marks on that Bond. Time to start
Ewan (Hasen): Can I show up now? Don’t thinking of how to Realize it.
you have the bond “Hasen doesn’t approve of
my techniques, but he always has my back”? Ewan (Hasen): Hey, don’t get ahead of
yourself, who knows where we’ll be by the
Kasey (Adarak): I do have that bond! Can I time you get that third dot.
use it to Counter “I am always unstoppable”?
Gia (GM): Speaking of dots, I get to mark
Gia (GM): Yeah! Your Bond is only a +0, one on Fendus’ Sentence. It might be
but so is the one that Fendus is using to Countered right now, but if he gets out of this
attack you with, and Counters win on a tie. scene alive, that could be pretty bad for you.
Since this is about Hasen showing up, tell me
what this looks like Ewan. Ewan (Hasen): Well me and the Panta Rhei
are here now, so that’s a big if.

38
 DREAMS
Each player character begins with a Dream, Dreams are incredibly strong, but remember,
chosen at character creation. Your character not everything is uncertain. Some things
might know their own Dream, or it might be may certainly fail, no matter how deeply a
an end that you, the player, are interested Dream is held. Always discuss gray areas as
in seeing them work towards without them a group, referring to your Session Zero notes
knowing it. While this Dream may be and Foundation Sentences, when there is a
modified over time, it is the only one question about whether a Dream’s use is in
the character will ever have. When you line with the goals of your story.
spend it, cross it out and never replace it.
Whenever you spend your Dream, you
A Dream acts as both a goal for your character should consider and share with the table how
to pursue and an extremely powerful Means. your character feels about the pursuit of their
At the end of every session, consider if you dream in this moment. Once you spend your
have worked towards your Dream. If you Dream, cross it off of your sheet. There is no
have, then you may choose to add one dot way to gain a new Dream or return a spent
to any of your Class Sentences, as if you had one to your sheet. You will never Dream
failed using it. This represents the teleological like this again—either because in this action
draw of your character’s Dream slowly you have succeeded at it, or because you
shaping them, like the vision of a statue have used the deep reserve of inner strength
guiding a sculptor’s tools into the marble. budgeted for it on this action, here today.

You may do this whether your character has Before or after any session, including the
“worked towards” their Dream in material, first, you may rewrite an unspent Dream.
ideological, or even figurative or thematic ways— The world changes, and a Class can Dream of
be generous with yourself. This happens even many things beyond what is written on the
if you’ve crossed out a Dream because you’ve page. But remember, once you have spent
spent it. So long as you are working in pursuit your Dream you cannot write another
of your desire—even in maintaining that desire one.
after you achieve it—you may mark a Sentence.
If you achieve your Dream, you may want to
As a Means, your Dream enables you to consider retiring your character. The clarity
achieve the near-impossible. You may only of achieving one’s Dream is a rare moment
spend your Dream once. When you do, you for a character in any medium to achieve,
overcome any obstacle (overcoming any and it makes a good capstone on their story.
opposing Means), so long as there is even the But for some characters, continuing to follow
slimmest hope of victory. You can spend their lives after apparent success may offer a
your Dream at any time, even on a task new level of drama or intrigue. The decision,
totally unrelated to your Dream’s content. as always, is yours.

39
 PLAY EXAMPLE #10
Gia (GM): Unfortunately, Fendus stomps back onto the scene. He
might not be unstoppable any more, but that was hardly his only
trick. His plan isn’t to beat you at all now, it’s to keep you busy long
enough for his master to finish this ritual. Can either of you Counter
“Whenever it helps the High Acolyte and I’m on one of the Doomed
Moons, I always make myself a target.”

Kasey (Adarak): Uh. Long sentence you got there.

Ewen (Hasen): I played a Juggernaut once, and I think I recognize

that Sentence as a rank 3 variation from that class.

Kasey (Adarak): Rank 3? Yikes, that might be out of our league. We

could use a bond again and both of us could boost it with a Token
maybe?

Ewen (Hasen): You don’t have your Token, though. Could we

do that thing where a Sentence gets us deeper into trouble to get a
Recharge?

Gia (GM): Deeper trouble than a nihilistic cult doing an apocalypse

ritual? I mean, yes, technically you could use Tragic Success here, but
you’d have to do that after we resolve this current Conflict.

Kasey (Adarak): Fair. And honestly, even if I had it, I’m not sure
that would be enough. I honestly don’t see how we can get past him
now. Unless… What’s Hasen’s Dream again, Ewan?

Ewan (Hasen): “I will retire to a life of quiet peace.” What’s yours?

Kasey (Adarak): It’s “I will be the queen of all Realis, the Thousand
Moons, and the Corpse Sun.”

40
Ewan (Hasen): Big plans for a Blackguard. I know we could spend
them, but I don’t see how either of these apply to our fight with
Farkus.

Kasey (Adarak): I suppose I can’t be the queen if I’m dead. And you
definitely couldn’t retire.

Ewan (Hasen): Yeah. The stakes are too high, and I think Hasen
knows that. If whatever these two are trying goes ahead, there’s no
peace for either of us, at home or in a palace. I’m going to spend my
Dream.

Gia (GM): Okay. And to be clear: This doesn’t mean that you can’t
retire to a nice cabin in the woods one day, either. But you won’t be
able to spend your Dream to get it, and there’s a lot you’d need to do
to make retirement a possibility in the first place. Still. Who knows.
You might get there one day. Anyway, what does this moment look
like—drawing on this extra well of strength and willpower?

Ewan (Hasen): I think Hasen closes his eyes. For a second, he sees
himself standing in a little carpentry workshop. There’s the sound
of a stream a little ways away. Some birds. A soft guitar, maybe. I
think he’s measuring something—a piece of wood or something—really
carefully. He’s focused. Like it’s really important that this cut is at
seven millimeters and not eight. He’s concentrating, but he’s happy.
It’s a good image.

Kasey (Adarak): Damn…

Ewen (Hasen): Oh well. He does something we haven’t seen him do

before. He takes one of the glaives from the Panta Rhei’s old armory,
and he slides down a descent rope, the ship hovering above him. His
eyes are a little sad, but they’re so focused. What’s a juggernaut to a
dreamer?

41
 TOKENS
As any who have read our Every player has one Token, which begins
texts on the Narrasoulic know, Charged. The Token is a type of authorial
the history of the Thousand power that the Players can leverage to take
Moons is shaped less by hold of the story’s direction, embolden
prosaic forces like gravity their PCs, and even shift parts of the world
and magnetism and more by directly.
the Story, an over-structure
we believe to be radiated by Tokens can be Discharged in exchange for
Realis-Itself. Tokens represent one of three uses:
one element of this truth: the
centrality of the protagonist, • Boost the Rank of a Means by +1
who seems to warp the world • Use an established Moon Sentence
around them when history • Add and use a new Moon Sentence (if
demands it. there is room on the Moon Sheet)

BOOSTING THE
RANK OF A MEANS A Token may be Discharged in this way to
increase any Means except for Dreams, as
When a player declares the Means they are Dreams need no aid. The rank of a Bond
using to Act or Counteract, they may also can be increased twice if both characters
declare that they are Discharging their Token Discharge their Tokens at the same time.
to increase the rank of their chosen Means by Likewise, every member of a Band can
one. Because its owner must announce their Discharge their Token when a Band
use of their Token in this way when they Sentence is being used for increased effect.
declare their Means, Counteractors always
have the advantage of knowing whether the When a Token is used in this way, players
Actor is boosting their Means’ Rank (even should describe how their characters are
if they may not know the exact Rank of the drawing on something extra to succeed.
Means the Actor is using). Remember, Realis Are they using some piece of knowledge
prizes passivity, except after wisdom gained. they picked up along the way? Expending a
disposable piece of gear? Finding luck in a
You do not need to write or modify a dramatic and memorable fashion? Or maybe
sentence when you use your Token in this just putting in the extra grit and effort they
way, as you are implicitly making it more need to win? Whatever it is, make it big and
Real for only this moment right now. meaningful.

42
PLAY EXAMPLE #11
Kasey (Adarak): Well that’s the big guy
dealt with. Time to take down this ‘acolyte’
before she can get any further with this ritual.

Gia (GM): Are you using “My blade is

always coated with a fluid that unweaves
magic” again?

Kasey (Adarak): Oh you think you’re

clever. I bet her Sentence ranked up after
I beat it earlier. I’m going to Discharge my
Token to make mine more Real. It’s +2 now.
I’m sick of playing around. Here’s my Intent:
I wanna kill her once and for all.

Gia (GM): Sheesh. Okay, well, that beats

the now +1 Sentence “Fate always protects
me from bladed weapons.” What’s that extra
effort from the Token look like?

Kasey (Adarak): Hell yeah, check this out:

I throw the dagger at her shield, and it gets
like… stuck in the Fate field, hovering in the
air just in front of her. Then I charge forward
and give it like a running jump kick to push
it the rest of the way, through the shield and
right into her.

Ewen (Hasen): Yoooooo!

Gia (GM): Extremely cool. Remember to flip

your Token over though!

43
USING AN CREATING
ESTABLISHED & USING A NEW
MOON SENTENCE MOON SENTENCE

During play, you will encounter, learn, and Players may Discharge their Token to add a
create Moon Sentences, which represent the new, +0 Moon Sentence to the Moon Sheet
unique capabilities of the various locales and immediately use it as a Means.
your story takes place in. These Sentences
are written down on a piece of paper called At the beginning of the game, the Moon Sheet
the Moon Sheet, along with the Moon’s begins empty. The GM may add Sentences
name and its Impulse. (For more on Moon at any time, but Players can only add new
Sentences and Sheets, see page 67). Moon Sentences to the sheet when they
Discharge their Token during a Conflict, and
Players can Discharge their Token to utilize only if there is still space for a new Sentence
any such Moon Sentence on the sheet as their on the Moon Sheet or as the replacement
Means in a Conflict. It is important to note: for a Retired Moon Sentence. (For more on
No Sentence may be used on both sides Sentence Retirement, see page 75).
of the same Conflict, so a Moon Sentence
cannot be used to Counter itself.

As always, a Player using their token in this

way must narrate how the Sentence is being
used to overcome the Conflict. However, in
this case, this may not always be tied to a
PC’s direct actions. Instead, the Player may
describe a twist of fate, a lucky occurrence, or
a useful event that surprises even their own
character. After all, it is not the PC but the
Player who Discharges their token—taking
up the pen as author to add a new detail to
the story.

Moon Sentences go through Realization

in the same way as Class Sentences. The
GM or Player who uses a Moon Sentence
should add a dot to it if they fail in a Conflict.
Whoever places the third dot can Realize
the Sentence after discussing ideas for
Realization with the others at the table.

44
 PLAY EXAMPLE #12
Kasey (Adarak): You can’t use a Moon
Sentence against itself, can you?

Gia (GM): You can’t… but, you could

Discharge your Token to add a new Sentence
to the Moon Sheet and then use that if you
wanted to?

Ewen (Hasen): Huh okay, well. Let me

build on what we saw that Acolyte doing
when we got here then. Did you know that
“Yazerin altars always exude the Undoing
Word?”

Gia (GM): In the silence that follows, you Gia (GM): Oh ho ho! Yes, I love it. Add it to
can’t help but notice that the normally blue the sheet.
light of Realis is scorched and ominous here.
It’s under this fiendish, orange light that Ewen (Hasen): I will but, uh, what’s using
you see something terrible: Fendus and the the Undoing Word look like? You said that
Acolyte begin to stutter and twist, their forms it wasn’t like… magic magic, which is good
reanimated by the cursed moon itself! Can because Hasen isn’t really the mage-type.
either of you counter the Sentence “Yazerin
corpses always return twice?” Gia (GM): How about this: The altar—or
maybe it’s Yazerin itself—whispers to you.
Ewen (Hasen): You’ve gotta be kidding me. All you have to do is channel a little of the
altar’s dread energy through yourself. Speak
Kasey (Adarak): Can’t I just use my blade the Undoing Word and you can prevent your
again? Reminder that it unweaves magic. foes from returning.
This is magic. Lemme just stab them both
real quick and we’re good. Kasey (Adarak): Dude, that sounds bad!

Gia (GM): This is something older and Ewen (Hasen): It sounds sick! I’m doing
deeper than “magic.” This is the work of the it. I put my hands on the altar and open my
Undoing Word, against which few things can mouth, and it’s like, there’s nothing in there
stand. anymore. No teeth, no tongue, no flesh, it’s
just black. And then the same thing happens
Ewen (Hasen): Well, what if I could turn to those two, but to their whole bodies—they
the Undoing Word against itself? turn to black ash, and blow away.

45
DISCHARGING &
RECHARGING TOKENS
Because a player only ever has a single Token, As the name suggests, Tragic Success is about
it’s useful to choose a physical object that has one of your character’s Means seemingly
two binary states to track your Token’s current succeeding, but in a way that causes you
state. A coin, a card, a bottle cap, or anything trouble. Some examples:
else that can be flipped works best.
• Chrix, a Curioste, may use their “I am
A Player have a few ways to Recharge their always drawn to the unknown” to lead
Token during play: them to a derelict Roun tower, home
to ancient artifacts… and undead
ACTING IN LINE knights.
WITH AN IMPULSE
• Henri-Mentho the Fantasist may
Immediately after they use a Sentence during use “I always put on a good show” to
a Conflict in a way that’s aligned with their entertain in the town square, only
Sphere Impulse or the current Moon’s Impulse. to find that the cruel countess of the
region was in the audience, and has
taken special interest in them.
PRIMING A BOND
• While trying to escape from an
Whenever a Bond receives its third mark, both Empest invasion, Jepho the Kid
PCs in the Bond may Recharge their Token. allows Anise (a Thaumaturge) to
invoke her Bond with him: “He may
not know it, but Jepho has a natural
TRAGIC SUCCESS aptitude for the magical.” Together,
they describe how Jepho releases an
At any point, a player can Recharge their Token anxious burst of magical energy to
through an act of Tragic Success, using any protect them, which unfortunately
of their Means to lead the band deeper into also draws the attention of the nearby
chaos. When you do this, describe something Locustal-Legate.
consequential and undesirable caused by one
of your Sentences, then Recharge your Token.
Drama is a self-perpetuating engine.

46
Though each Class’ fourth Sentence is As the GM, you can always offer to invoke one of
designed with Tragic Success in mind, their character’s Sentences to change the situation
all Sentences can be used this way if (and Recharge their Token in the process). When
appropriate in a given situation. Using a you do this, always be clear about what the
Sentence in this way does not require a immediate and potential long term consequences
Counteractor, as this is an act of a Sentence might be. Every Class has a fourth Sentence
succeeding at getting you into trouble, not designed especially for this function, illustrating
failing in conflict. a personal, professional, or social difficulty. But
do not limit yourself to only these—every Sentence
Anyone can suggest a moment of Tragic can cause an unexpected or dramatic situation, if
Success, but only a Sentence’s owner can the moment is right.
trigger it for themselves.

Please note that players do not

Recharge their Tokens when the regular
use of Sentences organically draws them
towards danger. Tragic Success is a specific
type of action a Player can take, taking a
moment of heightened control as a co-author
and intentionally driving the Band towards
trouble.

47
PLAY EXAMPLE #13
Gia (GM): Well, that’s the Acolyte and her Ewen (Hasen): And I’m guessing you don’t
guard dealt with. mean “a quiet life in a nice cottage”?

Kasey (Adarak): Yeah, but at what cost? Gia (GM): Not exactly. A life dedicated to
Can I rush over to Hasen and see what’s up the Undoing Word. It’s going to channel
with this altar? through you… and through the Panta Rhei,
which has its own mind, remember. If you let
Gia (GM): Oh absolutely. The first thing you this happen, I’d count it as a Tragic Success…
notice—besides the vacant look in Hasen’s
face—is just how ornate it is. Even after all Ewen (Hasen): Okay, I know I just chose to
these years, all of the engravings and sigils wield the Undoing Word for my own ends.
and details have remained. What exactly would this do to my character,
though? How cursed would I be?
Kasey (Adarak): I truly do not care, we can
decipher all that later. I want to pull Hasen Gia (GM): I think that’s a “play to find out
away from it. what happens” sort of thing, but I’m not
going to lie to you. It’s negative enough that
Gia (GM): You pull him back, but as you do I’m offering you a Recharge in exchange for
so, the piles of colored sands that the Acolyte Tragic Success.
poured on top of the altar slowly start to
slide around its surface, aligning into arcane Ewen (Hasen): You know what, yeah,
configurations. The whole thing begins to Hasen would totally do this, especially with
thrum with power. how he feels after spending his Dream. He’s
got a little bit of desperation in him now. He
Kasey (Adarak): Oh we gotta get out of here. doesn’t think he can achieve his big picture
goals alone anymore.
Ewen (Hasen): Wait one second, I just
spent my Dream and I didn’t get to Prime Kasey (Adarak): But he’s not alone.
any sentences. I’d really like to get my Token
back before we go anywhere. Is there a way I Ewen (Hasen): I know that and you know
could do that? Maybe with this altar? that, but does he know that? Does he feel
that? I don’t know. So… yeah, he goes up to
Gia (GM): Hmm. Hasen, don’t you still the sand and begins to write the name of his
have the Sentence “I always have the right Orphan Vessel into it with his finger.
map, somewhere.” What if I told you that you
found the map of all maps? Not just a map to Kasey (Adarak): Good. Great. At least I’m
a place—though, that too—but also a map for getting some good ideas for how to Realize
how to live the right way. that Bond.

48
EPHEMERA
From time to time, when the story naturally allows it, characters may
find or be rewarded with Ephemera. Ephemera might be a renowned
piece of equipment, a temporary and powerful mode of being, or a
passing allegiance that the character can call on in a crisis.

Ephemera are represented on your sheet as a temporary Sentence

representing some new, but impermanent aspect of the character
in question. While the GM may know what the Ephemera in
question might represent (a sword, a temporary allegiance, a cursed
but powerful idea), how it is represented as a Sentence should be
discussed as a group, with the GM and player who is receiving the
Ephemera agreeing on a particular phrasing.

Like regular Sentences, each Ephemera carries a rank of Reality,

ranging from +0 to +4 and determined by the GM when they are
awarded to you. A +4 Ephemera allows characters to achieve the
truly fantastic—only Dreams open up the opportunity for greater feats.

There are two major differences between Ephemera and other sorts
of Sentences.

First, Ephemera do not need additional limitations to be more

Real. A +3 Sentence may be as simple as “The Index Key always
opens any lock.” At the same time, a lower ranked Sentence may have
restrictions appropriate to the fiction, for instance the +1 Sentence
“When held by loving hands, the Living Razor is always lethal against the
ancient undead.”

Second, as their name may suggest, Ephemera have limited

uses and cannot be Realized. When you gain an Ephemera, write
its Sentence down on your sheet and draw three empty circles next
to it. Every time you successfully use a piece of Ephemera, put an
X in one of the circles. Using an Ephemera as a Means to overcome
even unopposed uncertainty counts as a successful use. Once all three
circles are filled, it can no longer be called on as a Sentence.

49
 This does not necessarily represent the destruction or loss of the
Ephemera in question. Instead, it means that whatever special
advantage that the Ephemera once gave you has been accounted
At its heart, Realis is for by the ever-fluctuating, narrasoulic equilibrium of Realis. What
a game about classic was once a dramatic new development to the narrative weave of the
(even clichéd) types of Thousand Moons is now simply another part of the quilt. You may
characters becoming continue to wield your ancient runic blade, but its shine simply does
increasingly unique as not impress as it once did.
their stories are told.
In order to achieve In the rare case that an Ephemera passes hands from one character to
this goal, try to depict another, be sure to consider and discuss whether that act should grant
the archetypal in the new wielder their own fresh set of uses or if they should continue
all of its big, broad to draw from the same pool as the previous owner. If a character’s
strength and convey rival steals the Holy Blade of Tyn’a’don from them, vowing to use
the particular in its power for evil, you should probably determine a new Ephemera
memorable detail. Sentence and give it three fresh uses (and the narrative weight that
comes with that). But if it’s as simple as one member of the Band
When a game of Realis sharing an enchanted canteen with another while they’re trekking
begins, a Berserker across the deserts of Trusk, you should simply mark one of the
“always kills their foe,” original owner’s uses.
but by the end, they
might “always wound How often new Ephemera are introduced and used is up to the table
their foe when wielding to determine. A game closely focused on the character’s interiority
the blade of a fallen and growth may wish to limit their use, as they shift the focus away
comrade.” In order for from character Sentences and towards these more temporary tools.
the latter to sing, the A campaign more interested in swashbuckling adventure buoyed by
former must first shout. new, fun Sentences and less interested in high drama might flip this.
Ask players to describe Finding the right balance will be a collaborative and ongoing process
their daring heroics for every table, and should reflect the established tonal goals set
in epic detail and help during Session 0.
them to think about
all the small, material EXAMPLE EPHEMERA
changes that have
affected them by the +1: When it’s sunny out, my solar gravpack always lifts me to new
end of their story. heights.
+2: Our new friendship with the Blood Chorale always gives us
access to impenetrable places.
+3: My connection to the inner wolf always grants me an
unending hunger and the unstoppable power necessary to feed it.

50
 PLAY EXAMPLE #14
Gia (GM): Adarak, as Hasen is beginning
this ritual, you see dark energy begin to
gather all around the altar. It’s beginning to
pulse and spark, and you get the sense that
it might blow up any second now. What do
you do?

Kasey (Adarak): Uhh… Oh, is there

anything I can use from the body of that
Fatalist? She had that fate shield she
projected right? Maybe something that could
do that for me?

Gia (GM): Oh, quick thinking! Yeah, around

her neck you find a little onyx pendant
from a thin silver necklace. It’s shaped sort
of like an omega symbol, or like someone
was drawing a circle but stopped just before
finishing. That’s the symbol of her sect, and
you can feel its power surging as you pick
it up. Take the +1 Ephemera “The Fatalist
Pendant always protects me from enemies.”

Kasey (Adarak): Only from “enemies''? Is

this altar an “enemy”? What about “… always
protects me from harm” instead.

Gia (GM): Sure, that works. Those are pretty

powerful words, but it’s only +1 and you only
get three uses. Write it down and put three
circles next to it, one for each use. And since
you’re using it right away, cross out one of
the circles next to it right away.

51
CONFLICT IN BRIEF
While the above section contains the basic rules governing conflict,
remember: Realis is a storytelling game first and foremost. While It’s a good idea to
these rules help us determine outcomes in uncertain situations, they introduce some NPCs
are not the focus of play. and Factions by
asking if anyone can
So, whenever you use Means to resolve conflict, always declare Counter one of their
dramatic Intents and return to the story being told. Describe the Sentences, especially
outcome of any Conflict collaboratively and in exciting detail. It’s good when you know that
when the Jeopardist at your table uses their Sentence “I always move the PCs will succeed.
my body in striking ways” to distract the raiding party. But it’s great It’s exciting for a
when the players involved get to describe how they twist and twirl player to say yes!
their body across the courtyard, misleading their foes, and setting
them up for the militia’s main force to swoop in and push them away.

In short: Always use Means to resolve Conflicts, then get back

to the story.

In general, play is thus structured like this:

1. Open Play: Players engage in open, conversational storytelling

until they reach a moment of uncertainty or opposition.

2. Declare Actor Intent, Means, and Tokens: An Actor

(whether a PC, GM character, faction, or environment)
declares a dramatic Intent and the Means—Sentence, Bond,
Dream, or Ephemera—by which they wish to achieve it. The
actor must also declare the if they are going to Discharge their
Token to temporarily increase the Rank of their Means.

3. Check for opposition: If the Actor is unopposed, they

overcome the uncertainty of the moment and play returns to
conversational storytelling.

4. Declare Counteractor Means and Tokens: If the Actor is

opposed, the Counteractor announces their own Means and
whether they are using their own Token.

52
 5. Compare Final Ranks of Means: The total Reality of both
Means (including any increase from Token Discharge) are
compared. The higher Ranked Means wins. Ties go to the
Counteractor.

6. Resolve Outcome: Then describe the moment that the Intent

comes to pass. If the Counteractor succeeds, they describe how
the Actor was stifled along and the repercussions of that failure,
while the Actor marks the Countered Means with parentheses,
indicating that they cannot use it again during this scene.

7. Mark Results: If a Sentence or Bond failed, mark it with a dot.

If an Ephemera succeeded, cross off one of its uses. If a Dream
was called upon, it is crossed off the sheet.

8. Return to Open Play: Players then return to conversational

storytelling, using the conflict’s resolution as a jumping off
point for what comes next.

A note from the authors: Laying out the steps in this way suggests that play is mechanical
and cold, an act of clockish repetition. Such is the reductive effect of clarity. In reality you
will find your play becoming looser. Steps will combine and shift in position. You will fail to
account for an exception to a rule, or you’ll decide that at your table, you do things in a slightly
different order. So long as you treat each other well and engage with attention and care, your
story will be yours—and thus good. With that in mind, consider the following list as best
practices towards making such a story more than simply good:

DO: DON’T:

• Declare dramatic Intents. • Turn uninteresting tasks into

• Consider your story’s tone and mechanical conflicts.
Foundation Sentences when deciding • Repeat a conflict unless the situation
if a Sentence works. has changed.
• Come at big problems sideways. • Cling onto Tokens and Ephemera.
• Discuss perspectives in good faith. • Fret about whether it’s the perfect
• Describe what spending Tokens “looks time to Realize a Sentence.
like” in the story. • Tell your story in a defensive posture.
• Respect and build from consequences.
• Pursue Tragic Success.

53
 END OF SESSION
The end of a session of play is a great opportunity to review the Sometimes it is best
events that happened, talk with the rest of the players about where to use the name
you’d like to see the story go next, and consider changes to your of a character in
characters. order to keep the
players embodied
Here is a simple list steps to take before you end your session: and emphasize the
drama of the situation.
1. If you worked towards achieving your Dream, mark a Other times, it’s best
dot next to one Means of your choice. to directly speak to
the player, like when
• Be generous to yourself. Characters don’t need to move there’s a question of
the world in order to have worked towards their Dream. content and comfort,
The path is long, and even stumbling steps move you when checking in
further. about long-term
narrative interests, or
2. Choose one Means that shaped how you played your when discussing the
character, but which you did not mark during play and game’s rules. Each
mark it. table has its own
fitting blend, which
• Just as a Dream can draw a character towards it, you can help to find
sometimes a Sentence shapes one’s actions in a greater through attention
way than a simple accounting may show. Though no and awareness in
failure was felt, your character may still have gained conversation.
wisdom from the burden such a Sentence put on them.
If you cannot decide which Sentence to mark, consider
choosing one which you were regularly looking for an
opportunity to call on, as such a posture undoubtedly
shaped your character’s actions in play.

54
3. Write down the current status of your Token.

4. Review your Means, ensuring that they were properly

marked. While preparation
has its place, it’s very
• Honed Sentences should be returned to their original important to go with
form, unless the GM determines the Honing should the flow of the story,
extend to the next session. following player
• Class, Band, Bond, Faction, NPC, and Moon Sentences interest and character
should have a dot for each failure. choices instead of
• Ephemera should have an X for each successful use. overtly guiding them.
• Dreams should be crossed out if used. But this does not mean
that you should play
5. Review Bonds, Dreams, & Band Sentences fast and loose with the
truth. Keep track of
• If a Bond has been marked three times, it’s Primed your character, faction,
and both players should have Recharged their Token. and location sentences
Consider whether you want to Realize it now. and do not adjust
• If your character’s Dream has changed, rewrite it now them unless the rules
or before the next session call for it.
• If everyone in the Band agrees, discuss rewriting the
Band Sentence together, maintaining its current rank of
Reality.

55
56
THE UNLANCED BLISTER

BEYOND
THE BASICS
Everything that has come before is enough to begin playing the
game. Our advice is to jump in and begin telling stories together. But
eventually, you may hit circumstances which go beyond this basic
conversation, and these rules will help you when that time occurs.

Many other games like

PC-VS-PC CONFLICT
Realis help to structure
the basic conversation
of play through
special rules about
turn order, initiative, Though Realis is written to be a storytelling game of cooperation and
or other elements of collaboration, it is also a game structured around exploration, drama,
play. Because Realis and conflict. That means that sometimes the story may turn towards
does not have those, tension or even outright quarrel between player characters.
it is able to create a
more dynamic and When this happens, slow down the pace of the game immediately.
narrative-focused First be sure that the conflict is between characters and not
gameflow. It does, players. Ensure that everyone at the table has the same working
however, mean that understanding of the situation, and before any specific situation is
you must help to resolved, discuss potential outcomes ahead of time, determining the
facilitate and structure scale and severity of the conflict.
the conversation. Ask
clarifying questions, Acting against PCs is very different than acting against NPCs, even
give suggestions when though some of the rules are the same. Because it would be very easy
moments are dry, to turn PC-vs-PC action in Realis into a tit-for-tat, back-and-forth
describe the world with encounter, any PC quarrel that needs to be settled with the
exciting detail, and be Conflict system is concluded in a single comparison between
sure to share attention Means. There is no notion of “Actor” and “Counteractor” during a
between players as PC-vs-PC conflict. When protagonists come into conflict, they are
equally as possible. both Acting on each other and being Countered.

57
 PLAY EXAMPLE #15
Gia (GM): That altar’s energy is now Ewen (Hasen): Oh, don’t worry, I
consuming the entire courtyard, and the understand. That part is also awesome, and a
whole area around you shifts visually into a little heartbreaking. So, how do we do this?
negative of reality. Hasen, you see this energy
begin to coalesce around you and your Vessel, Gia (GM): Well, first of all, are you sure
and you can feel yourself growing stronger. you’d both push on this and not give up?
Hasen wouldn’t give in to Adarak’s pleas?
Ewen (Hasen): Sounds good to me.
Ewen (Hasen): Nope. He’s never really
Gia (GM): But for you Adarak, it looks understood how much Adarak cares about
much less like they’re getting stronger to you, him. He doesn’t understand that this is
and much more like … an infection? The coming from a place of friendship or love.
beam of energy that is going into Hasen and He thinks that they think of him as, like… a
his ship sort of writhes and squirms. Like a really solid co-worker.
worm or parasite or something.
Kasey (Adarak) [slumping back]: I am
Kasey (Adarak) [laughing nervously]: going to die. You are killing me. It’s great. I
Uhhh, what the fuck? No, nope. Gotta stop love it. I’m dying.
this from happening. I want to try to get
Hasen to stop. Adarak starts to yell Hasen’s Gia (GM) [laughing]: And Adarak, I take
name and try to shake him free. that to mean you wouldn’t just try to get
away while protected by the pendant?
Ewen (Hasen): No way, Hasen is
committed. Kasey (Adarak): I… No, I think they’d stay.
They clearly haven’t said it enough, but they
Kasey (Adarak): Come on, you can tell this do care too much for Hasen to let him do this
is evil. to himself.

Ewen (Hasen): “Evil” is strong. Dangerous, Ewen (Hasen): Awww, that’s sweet.
maybe. But more to the point: Maybe you
and I can tell that, but Hasen can’t. That’s Kasey (Adarak): Oh, shut up!
what makes this awesome.

Kasey (Adarak): Sure, I get that, and I think

that’s cool. I just also think Adarak is going to
try to interfere with the ritual.

58
PC-VS-PC CONFLICT CONTINUED

Each player should state their dramatic If the chosen Means are the same rank, then
Intent as normal. Because this Intent will there is no winner. At this moment, the
affect another character, these should be Conflict reaches a standstill, and any further
talked through carefully and agreed upon action between your characters would need
by all involved parties. PC-vs-PC Conflict to happen under different circumstances.
cannot be used to change a PC’s mind, kill a Describe that exchange, and determine what
PC, or otherwise modify who a PC is in any your characters do from here, including
way that the player does not consent to. Still, whether they leave each other’s company.
try to play with an open heart: One of Realis’
goals is to explore change, including difficult
or troubling change.
PLAY
If the stated Intents are not in opposition
to each other, then there is no reason to EXAMPLE #16
continue with PC-vs-PC Conflict. Each PC
gets what they declared (unless it would be
uncertain or opposed by a third party, at Gia (GM): Okay, okay. So, each of you
which point that separate Conflict needs to chooses what you want and how you’re going
be resolved). to go about this. You each get to use one
Sentence against each other.
If the Intents do contradict each other, each
player secretly selects a Means, writing it Ewen (Hasen): I’m Actor right?
down and sharing it with the GM privately—
ensuring to include whether they are Gia (GM): In Conflicts between PCs, there is
spending a Token or Honing/Realizing a no Actor or Counteractor. You’re both trying
Sentence. to act on each other at the same time. We
interpret based on the ranks of the chosen
Finally, their Means are revealed and their Sentences and how we think the actual
total ranks are tallied and compared. If Sentences might interact. You get one shot at
either Means is more Real, that PC succeeds. this, and on a tie, neither of you wins.
Treat this outcome as you would a normal
resolution (marking the failed Sentence, etc.), Kasey (Adarak): What would that even
and Counter the loser’s chosen Means until mean here?
the end of the Scene.

59
 Ewen (Hasen): Maybe like you stop me from being infected, but
can’t help the ship?

Kasey (Adarak): Or what if I get hexed instead of you.

Gia (GM): Either of those could work, it’ll depend on your Intents,
the Sentences we choose, and what we think makes sense. So, say
what you want to happen, then write down a Means and hand it to
me.

Ewen (Hasen): Got it. Easy. I want to siphon the power of this altar
into the Panta Rhei and myself.

Kasey (Adarak): And I want to save you from yourself, so my intent

is “I bring Hasen to his senses.” Does that work?

Ewen (Hasen): Hmm, I’m a little torn on that honestly. It suggests

that I’m not doing this of my own free will. And, you know, the altar
is definitely encouraging me, but… I don’t know, I just don’t think I
want my feelings to come down to who has a stronger Means.

Kasey (Adarak): Okay, that makes sense. What if I just focus on

getting you out of here. Like, “I’ll drag Hasen away from the reach of
this dark power?

Ewen (Hasen): Yeah, that totally works for me. And you could even
do that non-physically. There are lots of ways to drag someone.

Gia (GM): Okay, both of you have your Means written down? Make
sure to note down if you’re Discharging your Tokens to boost the
Rank.

[Both players turn over their pieces of paper. Kasey has chosen the +0
Sentence “I always get the drop on my target.” Ewen has Honed Hasen’s
+0 Sentence “I always find the way through or around,” temporarily
rewriting it as the +1 Sentence “When in search of power, I always find
the way through or around.”]

Everyone: Oh!!

60
Ewen (Hasen): Why didn’t you use your anti-magic dagger! That’s a +1!

Kasey (Adarak): Well, first of all, I was trying to save you, not stab
you. But we also determined the Undoing Word is more than just
magic, remember?

Gia (GM): Regardless, I think I see what happens here, if this makes
sense to you. Adarak, you try to sneak up on Hasen and pull him free
from the ritual—”getting the drop on him.” But before you can, Hasen,
you sense her approaching, and can dodge out of the way.

Ewen (Hasen): I like that, but can we juice this up? What if using
this new Undoing Word thing, the Panta Rhei projects a portal in
front of me, right where the altar is, and when Adarak puts their
hand on my shoulder, I shrug it off and walk into the portal.

Kasey (Adarak): Ohhhhh, no… That’s… That’s so good. That’s so sad.

Wait, the ship made the portal? So Panta Rhei itself also wants this?

Ewen (Hasen): Yeah. You know how it has that row of lights that
sort of look like eyes? They start glowing bright red, as if it’s glaring at
you. You’ve seen it do this before, but on your side. It’s like looking at
a friend betraying you. And then it expands the portal and it slowly
glides forward into it.

Gia (GM): Well, on the plus side Kasey, that failure means you can
mark “I always get the drop on my target” with another dot, which
means it’s Primed to become more real. And Hasen, you should take
the +3 Ephemera “I always wield the entropic power of the Undoing
Word.”

There is one additional rule for conflict between Player

Characters: While a player can invoke their character’s Dream as
usual, if both players do, neither will get their intention, both Dreams
will be crossed off, and both actors will leave the conflict spiritually
spent.

Such clashes are succor for the parasitic physics of Realis-itself.

61
CHANGING SCOPE & FOCUS
Realis is a vast place, and the stories of its inhabitants often shift Keep in mind that
in scale over time. Sometimes, the story is about a small group of these techniques are
friends huddled around a fire. Other times, your comrades may be always available,
flung across many Moons, where they work on mystic rituals in not only during
private study, build the foundations for new communities, embark on moments of character
months-long sojourns, or even command armies and fleets. When the changeover or after
story takes your characters in these disparate directions, you have a major events. Consider
number of options available to keep the story moving and coherent: their use when it
comes to the inclusion
• When a player feels it is appropriate, they may put down of content you want
their character sheet, narrate a brief description of what their to include but aren’t
character will be spending time while away from the narrative interested in depicting
focus, and create a new character to join the party. They may directly: You might
choose to come back to that PC in the future, or may even note that your main
hand them over to the GM for future play. characters will be
busy with a military
• Play may shift from being about the moment-to-moment campaign for the
action to a wider, more abstract style of storytelling. If the table coming Cycle, but
is interested in this, you can talk about weeks, months, even decide to “zoom out”
years of life, “zooming in” to particular choices or extrapolating on that action instead
from a character’s Means to explain what happens during this of going beat-by-beat
period of life. All of Realis’ normal rules continue to function since, while you think
as written at this scale. it’s the right direction
for your Band and
• Sometimes, the entire table may decide they’re interested their story, you’re not
in what is happening elsewhere in Realis. When that interested in directly
happens, you may retire your current party (temporarily or describing the bloody
permanently) and shift the entire game’s focus elsewhere. realities of war. You
Perhaps you could spend a few sessions as characters in an could also take that
antagonistic faction in order to directly explore how your foes moment to switch to a
see things. different part of Realis
to show the distant
• Tables interested in particularly complex storytelling may effects of the conflict.
allow for players to take on the role of multiple characters
at a time. Or, players might even begin to make decisions as “When you intertwine
factions, using the appropriate Sentences to tell stories at the things large and small,
most “zoomed out” view possible. you’ll always knit a
vast net of stories.”

62
PLAY EXAMPLE #17
Ewen (Hasen): So, now what? Adarak escaped back to the Orphan
Vessel alone and Hasen is still down on Yazerin. Do we just have a
split party now?

Gia (GM): That’s an option for sure. It really depends on how we

want to do it.

Kasey (Adarak): I think… Okay, I think I know what Adarak wants

to do but it’s a whole thing.

Gia (GM): We can do “a whole thing.”

Kasey (Adarak): So, I don’t think they’re ready to give up on Hasen

that easily. They wanna start researching what happened down there,
and they want to see if they can undo it.

Gia (GM): Yeah, that’ll take a while. We can do that beat-by-beat or

we can “zoom out” a little bit and play it in montage. It might help to
know what you wanna do, Ewen.

Ewen (Hasen): I know exactly what Hasen does, and I think a

montage would be great. I have the power of the Undoing Word, and
you told me that there was a literal map involved too right?

Gia (GM): That’s right. You have coordinates to an asteroid field that
hangs dangerously close to the Great Void.

Ewen (Hasen): Alright, well, first of all, the Orphan Vessel has a new
name—one it chose for itself. It’s Mēdén Rhei now. “Nothing Flows.”

Kasey (Adarak): Oh, that’s sick. God. The first time Adarak hears
that name, I bet it breaks her heart.

Ewen (Hasen): That’s not even the big thing. If we’re “zoomed out”
in scale right now, then I think we get some scenes of Hasen slowly
working his way to that asteroid field, except he isn’t alone. He’s
building a fleet. Hasen is building a new mercenary company. The
Band of Black Fire.

63
GM & MOON SENTENCES
While Player Characters are the engine of a Realis campaign, they
are not the only ones who use Sentences to push the story forward.
Make Realis Generally speaking, the GM directs the Factions and Non-Player
mysterious, colorful, Characters of the 1,000 moons.
and dangerous
GMs can use:
Make the iconic
bold and the specific • GM Sentences (Comprising both NPC and Faction Sentences)
elaborate. • Class Sentences (when an NPC is made using a Class)
• Ephemera (When wielded by a Faction or NPC)
Embody the • Moon Sentences (Which can also be used by Players)
Foundation in Spirit
and Word GMs (and their NPCs and Factions) do not have access to Band
Sentences, Bonds, Dreams, or Tokens.
Play to find out what
happens. GM SENTENCES: NPCS & FACTIONS

GM Sentences reflect the general capacities and tendencies of

the NPCs and Factions in question and operate just like Class
Sentences in matters of Conflict.

NPCs are specific, named individuals who have their own interests
and goals—though they are often associated with a particular Faction,
Moon, or other organization. Like PCs, an NPC can have up to four
Sentences (though many have fewer), and can use Ephemera if they
come into possession of one. NPCs can also use Moon Sentences freely,
so long as such use is justified in the Fiction.

Generally speaking, we use “Faction” to refer to an organization of

great size and strength, normally extending their power over multiple
moons and over many years. Faction Sentences generally represent
the types of locations and roles that are commonly at work for one
of these groups, though a Faction may also have Sentences tied to
individual items or specific people or places. Factions tend to start
with six Sentences—three for types of people and three for types of
places—and can have a total of ten.

64
An NPC can use a Faction Sentence if they happen to align properly.
For instance, a Hawkshaw NPC who is also serving as a peacekeeper
for the Killiad Consortium could use “Consortium peacekeepers
always stifle change with power” as if it were their own Sentence, but
marking it on the Faction Sentence list if it fails.

Factions may also have a cast of fully developed NPCs who work
towards their ends, but these are individuals whose efforts can be
undercut, whose perspectives can be challenged, and whose hearts
can be changed. In Realis, Factions are more steadfast things than
that: Kill the Leo Suzerain and a new monarch will take their place;
convert the Empest Queen-Commander and the swarm will yet fly. It
takes monumental effort—and often the power of a Dream—to truly
change the fated momentum of organizations as stubborn as the great
powers of Realis.

Example GM Sentences:

• Venerant See crusaders always punish non-believers.

• Empest facilities always perplex outsiders who dare breach
them. If something is
• Whispertous Blooded always know the secrets of the guilty. attempting to deceive,
• Exhalate, Unspoken Death, always reminds others of what attack, or generally
they’ve lost. work against the Band,
you must successfully
GM Sentences function like Character Sentences, Realizing after use a Sentence against
three failures, maxing out at +3, and retiring after that. When an NPC them, verbally giving
retires their final Sentence, they retire just as a PC does. If a Faction them an opportunity
ever retires all of their Sentences, discuss what happens as a group: to respond. If an NPC
The Faction could be destroyed, slip into obscurity, or be dramatically has the Sentence “I
reshaped from within. always follow my prey
silently,” they must
While Player Characters may be part of Factions, or the Band may succeed at a conflict to
ally with a specific NPC, GM Sentences can only be directly used by use it against the Band.
the GM (and their NPCs, when appropriate). A Player Character who Bringing Sentences
wants a Faction or NPC to work on their behalf may be able to do so, directly into Conflict is
resulting in a larger narrative consequence or the acquisition of an the most honest thing
Ephemera representing their relationship to the Faction in question. you can do in Realis.
But Players can never wield GM Sentences directly.

65
 PLAY EXAMPLE #18
Gia (GM): Okay, let’s slow down, we Gia (GM): Ooh, good call. It is definitely
actually still have to play through some opposed by the +0 Faction Sentence “Leo
of this! Ewen, I think it’s interesting to Suzerainty diplomats always carry the correct
see if Hasen can actually begin building a paperwork.” We don’t need to name any of
mercenary fleet. What’s that look like, and those characters or anything, but the second
what Sentence are you using to do it? you start to make a name for yourself and
a little money, the royal tax collectors come
Ewen (Hasen): Am I actually opposed? in, looking for their cut. How Real is your
Sentence again?
Gia (GM): I mean, I’m uncertain if you
succeed, so that’s enough to require Means Ewen (Hasen): It’s +1, so I impress those
from you. But also, it depends on how you’re jerks too. Actually, I wonder if they’re who
doing it. Where are you recruiting people I wound up really impressing: They report
from? Depending on where you’re working, back to their lords what a good captain I am,
someone may try to Counter you. and it ends up getting me more work.

Ewen (Hasen): Well, let’s see. The Leo Gia (GM): Oh wow, yeah, that’s great. I’m
Suzerainty worlds aren’t too far from here, marking this Faction Sentence, since it failed.
and they’re always squabbling with each Still, it sounds like building an armada may
other. So I think I start by just earning a take longer than a few months. Is that okay
rep among mercenaries there, saving up for with what you’ve got planned for Adarak,
more ships, and slowly recruiting talent. Is Kasey?
that too big of an intent?
Kasey (Adarak): Fine by me. Time for
Gia (GM): Maybe if we hadn’t said we Adarak to go scholar mode.
wanted to zoom out the scale of this, but I
think it makes sense to do it this way. Gia (GM): We are not saying “scholar mode.”

Ewen (Hasen): Cool. Then I want to use

“At the helm of my Orphan Vessel, I always
announce my presence with unmistakable
flair.”

66
 MOON SENTENCES
& THE MOON SHEET
Moon Sentences are much like Faction Sentences, representing the
qualities and proclivities of a particular moon’s environment, people,
and cultures. These Sentences (along with the Moon’s Impulse) are
listed on a central, shared sheet that all players can reference.

Each Moon Sheet has room for 10 Sentences, but it begins

empty, except for the Impulse created by the GM.

GMs will draw on Moon Sentences to describe locations across

Realis and to challenge the PCs as they traverse these environments.
Sometimes, you’ll first encounter a Moon Sentence directly through
Conflicts, as the GM surprises you with an element of the location
you’re in. Other times a GM may simply add one to the sheet
simply to help explain the atmosphere or social setting of an area.
And whenever a Player’s Token is Charged, they may spend it to
introduce a new Sentence to the Moon (and use it in the current
Conflict) so long as there is room on the sheet.

Over the course of play, a game may take place across multiple
Moons. Give each Moon its own sheet, with its own Impulse and
Sentences. Most Moons are worlds unto themselves, but some things
may count as a Moon despite being smaller: A space station, a major
capital ship, one of the largest metropolises in the Orbit.

We suggest that a GM never prepare a full set of 10 Sentences for a

Moon, as the Moon will fill with the most life when its construction
is a collaboration. As such, the example Moons we list later in this
volume (on page 117) only include 6 Sentences and their starting
Impulse.

67
MOON SENTENCES DIFFER FROM OTHER
GM SENTENCES IN TWO KEY WAYS.

First, Moon Sentences tend to be more As an example of these principles, consider

descriptive and less pointed than a player whose character is being pursued
GM Sentences. They capture general by bounty hunters through a busy market
environmental and cultural aspects of a district on the moon of Daniley. While they
given Moon, and as such often require a little might use one of their more aggressive
extra creativity to use them as Means. Sentences to confront the Hunter, they’d
prefer not to put the many innocents in the
They can sometimes refer to a specific place bazaar in harm’s risk. They consider their
or time on the moon rather than the entire options, and then choose to spend their
world itself, such as “Yazerin afternoons Token to use “Daniley parents always tell
always stretch too long,” but they should you about their children,” describing how
never be used in place of a collection of NPC the hunter gets distracted by a tipsy father
sentences for a developed character. Once bragging about his kids, allowing their PC to
someone becomes important within your slip away safely.
story, Realis grants them their own spark
of life that can not be so easily subjugated Like Faction Sentences, Moon Sentences
through the use of a single Token. begin at rank 0 and advance the same
way that Class Sentences do. Mark
Second: A player can Discharge their Token them with a dot next to them whenever
to either use a known Moon Sentence as they fail in a Conflict. They are primed for
a Means or add and use a new one. The Realization after three dots are placed, and
Moons of Realis (and the people, creatures, if a Player Primes a Moon Sentence, they
and environs thereon) have their own get to collaborate with the GM during the
motives and priorities. Their loyalties wax Realization Process.
and wane, and they are often caught up in
what can only be called kismetic situations. For some example Moons, check page 117.
For now, here are some other example Moon
When a player spends their Token in this Sentences:
way, that may reflect a temporary alliance
between the Moon’s residents and the band, • Orionelle dressmakers always set the
a clever use of environmental knowledge, trend.
or a stroke of total luck. But it does not • Quettel fields always resound with
mean that their PC has taken control of bitter work songs.
the Moon or an aspect of it. Instead, using • The Unyielding Engine of Daniley
Tokens in this way is an act of the player- always burns.
as-author taking hold of the narrative and
directing it in a new, unexpected way.

68
PLAY EXAMPLE #19
Gia (GM) [sighing]: Okay fine. Tell me Gia (GM): Ohhhh, yes, that’s great. Getting
what “going scholar mode” looks like. into the library otherwise would definitely be
a whole thing, so Discharging your Token for
Kasey (Adarak): So, my big picture goals this really streamlines everything. That said,
are, first, figuring out what weird force has I don’t think this would give you a cure for
taken hold on Hasen, and second, how to the Undoing Word—it’s just a library, right?
break it—even if he just decides to go back to But it can definitely explain what it is and
it in the end. Is that too big of an Intent? point you in the right direction.

Gia (GM): You know, normally I’d say that’s Kasey (Adarak): Yeah that makes sense to
two different things and that each needed me.
their own Means, but given that we’ve
zoomed the scale out, I think that’s a fun Gia (GM): Okay, so, you show up and they
montage to do. totally let you in again—though maybe by
the end of this they start to give a side-eye,
Kasey (Adarak): Yeah, like I said, scholar you’re not actually enrolled here and maybe
mode. Anyway, my Intent is finding a cure that’s why you lose access eventually.
for whatever is happening to Hasen. And in
terms of Means… Do you remember when Kasey (Adarak): Never was one for
we went to Narovi, the moon with the big academics anyway…
towers and airships and stuff?
Gia (GM): Fair enough! Anyway, after a few
Gia (GM): Yeah, the two of you did that hit months of reading everything you can get
on the corrupt historian. The air barge fight. your hands on, you start to piece it together.
Where you’re going is the easy part: Mount
Kasey (Adarak): No, we did a hit for a Janeska and your old friend Zendira. The
corrupt historian. We were killing a corrupt problem itself is a little more complicated:
provost. And remember, as part of my Tell me what it looks like when you finally
payment, the historian gave us access to find out about the terrible power of the
the library, and we added that sentence to Undoing Word…
its Sheet: “The Whorling Library of Narovi
always has the right book”. I’m going to
Discharge my Token to use it.

69
ILLUMINATING
FAILURE
In general, Means come into conflict and become more Real through
the natural progression of the story and conversation. But given
how Realization works, players may be eager to find ways to “safely”
fail, especially when a Sentence is near to being Primed. This is not
aberrant play, it is simply one way that learning works.

To codify this, we offer you the act of Illuminating Failure: Once per
session, each player may frame one scene in which a chosen
Means fails against uncertainty or opposition. The Means
chosen for Illuminating Failure is Countered until the end of
the next scene the PC is in, though Realization can allow it to
be used again, as normal.

The GM may reveal a new Faction, NPC, or Moon Sentence to

help the Player in their description of the character’s failure. Other
PCs can participate in Illuminating Failure if they’d like to, and
using Illuminating Failure for a Bond or Band Sentence requires all
relevant members to agree to its use.

Though Means are chosen and are Countered as a cost, this is not a
regular Conflict scene. Instead, these scenes can tend to remain in the
conversational mode of play. Players may describe their characters
sparring with each other, honing their martial skills as steel sharpens
steel. Or, they may frame a moment of failure during day-to-day life
between the grand adventures of the Band—such as a thief eluding
the PC Questionist’s “I always uncover the truth” or an Alchemist’s “I
always cure my patient” coming up short against a disease they’d
never encountered before.

As your instincts may have already sparked upon reading the prior
examples, moments of Illuminating Failure are often excellent
catalysts for future stories. Sometimes, Illuminating Failure can lead
right into adventure, with the action picking up just after the failure.
Other times, these scenes are more like vignettes that occur during
downtime, though they still can set the stage for what’s to come.

70
 PLAY EXAMPLE #20
Kasey (Adarak): Before I go to Mount Janeska, I’ve been thinking
and I think it’s time for me to change “I always find a well paying job.”

Gia (GM): Oh, is that Primed? I must’ve missed that.

Kasey (Adarak): It isn’t, but it’s close. I was wondering if I could

frame an Illuminating Failure scene so that I could advance it.

Gia (GM): Huh. Normally I use that to try to push you into taking
risky or shady work. Do you have an idea for where you might
purposely cause it to fail?

Kasey (Adarak): I do, actually. Since Hasen has been climbing the
ranks inside of Leo territory, I was thinking maybe I’d run up against
“Leo Suzerainty diplomats will always carry the correct paperwork.”
Maybe they’ve been told by the Band of Black Fire to blacklist me. If
that’s okay with you Ewen?

Ewen (Hasen): That’s interesting, but I don’t want to say that

Hasen has specifically made that happen—that’s a Faction Sentence,
and I can’t really use those. That said, it’s easy to imagine one of his
lieutenants deciding to do it on his behalf, to keep Adarak far away.

Gia (GM): Oh I like that! Let’s run with it!

Kasey (Adarak): Do I get to Recharge my Token too, since my

Sentence is getting me into trouble?

Gia (GM): Nah, that’s Tragic Success. Illuminating Failure just

lets you mark a Means as if you’d failed, so go ahead and Counter
that Sentence, but Prime it too since that’s its third mark. As a
consequence, maybe you’re banned from Suzerainty space, Adarak.
Does that work?

Kasey (Adarak): So I’d be a Blackguard and an outlaw? Love it.

What’s better than this? Nothing.

71
TIPS FOR
REALIZATION
For many new players of Realis, Realization can be both exciting
and scary. You’re changing your character permanently and in an
open-ended way. There are more ways to Realize any given Sentence
than there are moons of Realis. Thankfully, while there are no firm
rules for what sort of limitations you place on a Sentence during
Realization, there are some best practices.

In brief, when you Realize Sentences, they tend to change in terms of

scale of effect, type of target, prerequisite circumstances, or cost. That
may seem limited, but each of those is quite extensive. For instance,
if you were Realizing the +0 sentence “I always win in one-on-one
combat,” it might become the +1 Sentence:

• I always win in one-on-one combat when fighting in the sunlight. (Circumstance)

• I always win in one-on-one combat against humanoid opponents. (Target)
• When wielding my prized saber, I always win in one-on-one combat. (Circumstance)
• When I spend all my ammo, I always win in one-on-one combat. (Cost)
• I always survive one-on-one combat. (Effect)
• I always impress people when engaged in one-on-one combat. (Effect)
• I always win in one-on-one combat against enemies of the Venerant See. (Target)
• I always win in one-on-one combat when a crowd is watching. (Circumstance)
• When I frighten my friends and allies, I always win in one-on-one combat. (Cost)
• I always kill my opponent in one-on-one combat. (Effect)
• I always win in one-on-one combat when I’m angry. (Circumstance)
• I always win in one-on-one combat against people who attack me first. (Circumstance)

Some of these are even variations on similar themes, but the

difference in phrasing can mean the world. Be thoughtful with your
Sentences, but also follow your instincts.

72
You should choose restrictions that you actually feel, but you also
should make sure to conceptualize the change in terms of a single step.
Don’t limit yourself too broadly, too quickly. For instance, “I always
win in one-on-one combat against the Empest” is a better +1 Sentence
than “I always win one-on-one combat against Zhalika, Queen-
Commander of the Empest,” which is far too narrow. (Though that
might work as a +3 Sentence for a particularly determined character
or in a campaign where she becomes a regular rival).

Still need inspiration? Try tying your Sentence changes to:

• A place: “In space, on my Vessel”; “on solid ground”; “in my province”; “in
the forest.”
• A time or environmental condition: “At night”; “in the dark”; “in the
rain”; “in zero G.”
• A motivation or goal: “When trying to save someone’s life”; “when
following a direct command”; “when it is in line with my faith’s beliefs”;
“when a friend is in trouble.”
• A type of obstacle or opponent: “When investigating magic”; “when
fighting the Empest”; “when teaching students younger than me.”
• A meaningful narrative cost: “When I break a promise”; “When I trade a
valuable”; “When I give my life.”
• The subtraction of a quality: “an unstoppable weapon” becomes simply
“a weapon”; a “unique vessel” becomes only a “vessel”
• A change in verb to make something more specific: “I always catch
my prey” becomes “I always locate my prey”; “I always kill my foe” becomes
“I always wound my foe.”

There is often some degree of ambiguity during Realization. After

all, in the final example above, is “wound” really a restricted form
of “kill”? Discuss such changes at the table. If the shift feels like an
exciting change for the character, bringing them further away from
the archetypal and abstract and closer to the particular and the
concrete, then it’s probably a good change.

The only rule about Realization that you must always follow
is that Sentences be restricted, not expanded. The Liminalist’s “I
always know how to enter or leave the Drift” might become the more
narrow “I always know how to enter or leave the Drift when piloting my
Orphan Vessel,” but it can never become the broader “I always know
how to enter or leave the Drift and other mysterious realms.”

73
 PLAY EXAMPLE #21
Gia (GM): Adarak, you’ve tracked Zendira the Misted Alchemist to
a ruined shrine atop Mount Janeska. You haven’t seen her in years
now, and you can’t be sure what she’s doing in a shrine like this. As a
reminder, when you last saw her, the two of you got into a fight over
her interest in forbidden incantations, and you went separate ways.

Ewen (Hasen): You ever think about how uptight Adarak is for a
Blackguard?

Kasey (Adarak): I’m not uptight, I’m careful. Anyway, I want to try
to sneak up on Zendira then. If she’s going to help me save Hasen,
then I better make sure she’s not corrupted too.

Gia (GM): What Means are you using?

Kasey (Adarak): Actually, I think it’s time for me to finally upgrade

“I always get the drop on my target.”

Gia (GM): Oh wow. That’s been Primed since you and Hasen fought
right?

Kasey (Adarak): Yeah. I just haven’t wanted to limit it, even if that
means it gets stronger. But I’m ready now. It becomes the +1 Sentence
“I always get the drop on people I’ve spent time with before.”

Gia (GM): Oooh, that’s spicy! Okay, she’s using “I always carry a
satchel of alchemical supplies” to set up a magical protection circle, but
that’s only +0, so you easily evade the chalk outlines and the burnt
twine that makes up her defense.

74
RETIREMENT
& DEATH
No story goes forever, nor does any character live for eternity.Though
Realis is a game about a block of stone being hewed at until it is a
distinct and memorable figure, eventually that process of chipping
and erosion wears even the statue away. This process is called
Retirement.

SENTENCE RETIREMENT

When a Sentence or Bond reaches +3, it has reached its peak. When
you would Prime a +3 Sentence, having placed three dots next
to it after failing, you instead Retire it. This is not a choice and
cannot be delayed. Erase it, and replace it with the original version
of it, but in the past tense. For example: “I always got the drop on
my target” or “I was always unstoppable.” This is called a Retired
Sentence.

(Because of this rule, be sure to keep your character’s original

Sentences available somewhere. If you are using an unmodified
class from this book, then you can always refer to their page.)

Retired Sentences are +0 and may never advance. You may still use
these Sentences, as they reflect all the experience you gained when
the Sentence was in previous forms, and you can still boost the use of
a Retired Sentence with your Token. But the Sentence itself will be +0
for the rest of your Character’s life.

Moon Sentences also retire when they would advance beyond +3,
being rewritten as a +0, past-tense version of their initial wording
(for instance, “Orionelle dressmakers used to always set the trend”).
Once retired, they can be replaced by a player who Discharges a
Token to add a new Moon Sentence. When this is done, it represents
a collective cultural forgetting that such a trait was ever held by the
Moon in question.

75
CHARACTER
RETIREMENT
When all four of a character’s Class Players must Retire their PCs when
Sentences are Retired, it’s time for them their final class Sentence retires, but they
to Retire too. do not have to play that Retirement as
death.
After you have Retired your character’s
fourth Sentence, and as soon as is In the case that a Conflict’s outcome seems to
appropriate for the story you are telling, demand a PC’s death, but the player does not
frame a scene in which the character settles yet wish to Retire their character, discuss as
down to a life of peace, dies, or otherwise a table what happens instead, while always
passes out of the spotlight. maintaining the truth of the Sentence in
question.
Death is neither required for Retirement,
nor is Retirement the only way a character Perhaps the character dies only to return
may die. While a player character must be to life in a strange ritual. Maybe they find
removed from play after all of their starting that they were never truly alive at all. Or
Sentences have been Retired, whether they discover that in the orbit of Realis-
that is framed as death or not is up to that Itself, death has an unexpected quality. Find
character’s player. something that everyone is happy with,
but truly consider that death may be an
Likewise, a GM may prompt a player to appropriate end for them.
consider whether a situation or the result
of a Conflict has led to the death of their Whenever a player character does die, be
character well before they’ve Retired their sure to give their death appropriate gravitas.
final Sentence. If a character reaches what Like a Dream, a character gets only one true
seems to be a conclusion before their official death.
Retirement, consider whether death is
appropriate. Finally, if a character finds themselves
incapacitated, imprisoned, trapped, or
Regardless of whether it is raised because otherwise out of play for the foreseeable
of Retirement, Conflict, or the natural future, decide as a group how you’d like to
progression of the story, player character proceed. Remember that the scale and focus
death is always a choice and never a of the story are up to you to decide. (See
requirement. page 62 for more on Changing Scope and
Focus).

76
PLAY EXAMPLE #22
Gia (GM): Whew. So, with the guards dispatched, the two of you
have made your way into the exhaust pipes that run through Hasen’s
asteroid base complex.

Ewen (now playing Zendira the Alchemist, she/her): Just

gotta find him now. I guess. Seems a little late, given that he’s got an
asteroid base filled with loyal Neo Fatalists and powered by the dark
magic of the Undoing Word…

Kasey (Adarak): Shit.

Ewen (Zendira): I mean, I think we got this, we—

Kasey (Adarak): No, not that. I just realized something. During that
last sequence, I failed with my +3 sentence “My blade is coated with a
fluid that always disrupts the Undoing Word of the Band of Black Fire.”
And that means I’ve marked it three times.

Gia (GM): Which means that you have to Retire it. Yeah. Write
down “My blade was always coated with a useful poison.”

Kasey (Adarak): Oof. What rank is that again?

Gia (GM): +0. You remember how poisons might have helped you
throughout your career as a Blackguard, but now that blade of yours
is just a piece of metal.

Kasey (Adarak): That’s okay. I don’t plan on stabbing Hasen

anyway.

Ewen (Zendira): Even after all of this?

Kasey (Adarak): Especially after all of this.

77
 ENDING YOUR STORY
Realis has no definitive end state or goal, though tools like Dreams and
the Session 0 conversation can help to shape a campaign’s eventual
conclusion. Once it seems as if the story is coming to a close, players
should discuss what loose ends they would like to address in the final
sessions of play, and which they’re happy to leave ambiguous.

In place of the normal End of Session play, when the final session
concludes, everyone should review their sheets and discuss how their
characters have changed. Then, write one final Sentence summarizing
who your character was, a la “Adarak was always a committed friend.”
Once this is done, players should write a Sentence in the same way for
the character to their left, and continue until they’ve written one for
every member of the Band.

78
 THIS IS YOUR
BAND’S FINAL
RECORD.

HONOR IT IN
WHATEVER WAY
IT DEMANDS.

79
80
THE CIRCUIT STATE

CLASSES
THE NINE SPHERES
The following chapter
contains a fractional Classes are organized into nine Spheres. Each Sphere has its own
offering of what the Impulse, a drive to act in a certain way, even if the situation at hand
final version of Realis doesn’t seem like it calls for it. If a Character ever uses a Means in line
will contain. Some with their Sphere’s Impulse, they immediately Recharge their Token.
classes mentioned in They do not have to win a Conflict, only declare the use of a Means
this document (like towards an end in line with their Impulse.
the Curioste, Tetsudine,
and Fantasist) Narratively, an Impulse might be understood as a broad way of
will appear in that seeing the world, a deeply ingrained instinct, or a commitment to an
publication. oath or vow. Mechanically, Impulses incentivize acting in a way that
might create drama and momentum for the Band.

Like most categories, Spheres are porous, incomplete, and flexible.

The Spheres, their Impulses, and their currently available classes are:

SPHERE OF STEEL
Impulse: Respond to a peaceful problem with violent Means.
Warriors, fighters, and other combatants. They tend to see the world on the edge of a blade.
Berserker
Duelist
Peregrine

SPHERE OF SORCERY
Impulse: Respond to a mundane problem with magical Means.
Mages, wizards, and warlocks. Spells unlock more than power, they unlock the world.
Esoteric
Syzygist

SPHERE OF SPIRIT
Impulse: Respond to an urgent problem with ritualistic Means.
Clerics, occultists, spirit-worshipers, and spirits themself. Power is out there, and it must be courted.
Theologicant
Witch
Quintessent

81
 SPHERE OF SHADOW
Impulse: Respond to a noble problem with dishonorable Means.
Assassins, thieves, and ne’er do wells. Anything worth having is worth taking.
Blackguard
Runner

SPHERE OF SOJOURN
Impulse: Respond to a local problem with excursionary Means.
Explorers, map-makers, and investigators. There’s always a way around.
Newshound
Xenagogue

SPHERE OF SCIENCE
Impulse: Respond to an intuitive problem with technical Means.
Doctors, engineers, and scholars. Nature is a solved problem.
Alchemist
Pedagogue

SPHERE OF STAGECRAFT
Impulse: Respond to a private problem through public Means.
Artists, bards, and jesters. Life is, first and foremost, a source of inspiration.
Idol
Zanni

SPHERE OF SOCIETY
Impulse: Respond to a material problem through social Means.
Detectives, flirts, scions, and anyone else who knows how sharp a word can be.
Heritor
Valet

SPHERE OF STORIES
Impulse: Respond to an epic problem with everyday Means.
Regular moonfolk, doing what they can to get by. With a wide definition of “regular.”
Goodfisher
Kid

82
 BERSERKER
SPHERE OF STEEL: Respond to a peaceful problem with violent Means.

A WARRIOR WHO BOTH FINDS AND LOSES

THEMSELF IN BATTLE.

Berserkers have a reputation as crude, unpredictable engines of violence. Yet,

too often, the degree to which they are engines is underestimated. These warriors
employ the rules of physics to their advantage more than the average fighter, yet
the destruction they wreak may appear to defy those same rules. Ah, the pure
mechanics of how they move! The terrible motions they endure. Living dynamos of
blood and bulk. Frightful. Immaculate.

CLASS SENTENCES

“I’ve seen a single • I always kill my foe.

body turn a battalion • I always carry an unstoppable ❧weapon.☙
under themselves like • I always learn through violence.
a plough tilling soil. • I always hurt those close to me.
Don’t ask me what
process forges that. If
I knew, this would be EXAMPLE BONDS
a much worse place
to live.” • [Character]’s weakness makes them vulnerable. It is my
responsibility to protect them.
- Regisal Veldas, • [Character] is wise in the ways of the world. I can rely on
Outrider-Commander them to act when strength is not enough.
of the Elk’s Eye
Mercenaries
EXAMPLE DREAMS

• I will be the greatest warrior ever, known across the Thousand

Moons.
• I will defeat a legendary monster.
• I will find transcendent clarity in the midst of battle and
become my truest self.

83
 DUELIST
SPHERE OF STEEL: Respond to a peaceful problem with violent Means.

ONE-ON-ONE COMBATANT. PRECISE AND SHOWY.

If you are lucky, you will first witness a duelist’s skill in one of the traveling
tournaments which circuit the Thousand Moons. If you are unlucky, you will
only learn that you face one as their weapon is drawn against you. Entertainer,
bodyguard, or wandering scholar, any of them could remove the smile from your
face permanently—by blade, bullet, boomerang, or otherwise. Whether they deign to
do so or not may depend on their humor as much as the severity of your infraction.

CLASS SENTENCES

“The next time you look • I always win a one-on-one fight.

at the stars, raise your • I always impress those who see me in combat.
hand up to your eyes • I always wield a beautiful and distinct ❧weapon☙.
and narrow the spaces • I always accept a challenge.
between your fingers
until only the light of
a single star can pass EXAMPLE BONDS
between them. Know
that a cut of that • [Character] is a wild bull, but sometimes you need a wild bull.
threads-width size can • I will prove that I am stronger than [Character] even if that
fell anybody, if landed means fighting them myself.
properly.”

- Sanja Mirei, Founder

of the Second EXAMPLE DREAMS
Heaven School of
Swordsmanship • I will defeat my rival in fair and final combat.
• I will attain victory on the largest stage and enter the realm of
history.
• I will save countless lives with a single strike.

84
 PEREGRINE
SPHERE OF STEEL: Respond to a peaceful problem with violent Means.

KNIGHT-ERRANT, DRIVEN BY DISAFFECTION,

WANDERLUST, OR A DESIRE TO FIND THE RIGHT
LORD.

When chivalrous service is cut short by the death of one’s master, or when one’s
master proves unfit to be so honorably served, a Peregrine is cursed to wander
the moons. Wealth, property and prestige are typically insufficient to attract and
retain one of their ilk, to the great dismay of many an embattled noble grasping for
advantages. What they seek is greater, more elusive, and they will pursue it to the
grave.

CLASS SENTENCES

“The kind of people • I always wear the distinguished ❧arms☙.of my past service.
who say things like • I can always call in a favor.
‘everyone has a price’ • I always have the determination to continue.
also tend to have an • I always leave eventually.
extremely narrow
definition of worth.
What won glory will EXAMPLE BONDS
they recognize if it
doesn’t shine and • [Character] is not my master, but their manner nevertheless
sparkle in front of merits my loyalty.
them?” • I will serve alongside [Character], but I need not enjoy their
presence.
- Armiger Eusiba

EXAMPLE DREAMS

• I will become a valued and loyal vassal to a new, worthy lord.

• I will die with such heroism that all learn the story of my last
master.
• I will gather so many loyal souls around me that I become a
leader of great renown.

85
 ESOTERIC
SPHERE OF SORCERY: Respond to a mundane problem with magical Means.

HIGH-FALUTIN ECCENTRICS. TOURISTS OF THE

OCCULT. PAID WELL FOR THEIR SERVICES.

While the Esoteric might wield the incense, cloth, and spectacle of the Sphere of
Spirit, it’s all just for show. Unlike witches, syzygists, and cultists, the esoterics vow
loyalty to no patron other than power itself. They are not spiritual worshippers or
vocational practitioners. Disregard their theatrics: They are mystical opportunists
and little more.

CLASS SENTENCES

“This is magic as • I always amaze with my mastery of the magical.

viewed through the • I always bring my collection of mystical curiosa.
eyes of mundanity • I always have the ear of a potential patron.
itself! Embrace that • I always play with forces beyond my control.
or turn from it, but
your shame for the
pageantry will change EXAMPLE BONDS
nothing material.”
• I hope my magic brings light to [Character]’s gloomy world.
- Candensia Trance, • [Character] doubts my occult expertise. They will learn to
Sellsorceress recognize my wisdom.

EXAMPLE DREAMS

• I will summon the Castle Roun and transpose it and my court

onto the surface of Realis-Itself.
• I will recover the Gypsum Lancet.
• I will become the court wizard to the most powerful of the
moons.

86
 SYZYGIST
SPHERE OF SORCERY: Respond to a mundane problem with magical Means.

ATTENDS TO STELLAR ALIGNMENT TO SENSE WHAT

THE FUTURE WILL BRING.

In some places, people turn to oracles, haruspices, or prophets for knowledge of

what is to come. But in the Thousand Moons, where the alignment of celestial
bodies is paramount, it is the Syzygists who serve as high diviners of the future.
As the moons come into their alignments, these seers draw on the powers thus
conjuncted.

CLASS SENTENCES

“13th deferent, 4th • I always read the future in the spheres.

epicycle, Masal’s • I always sense which prediction someone needs to hear.
position… 17th deferent, • I always know how to ritually summon the power of the
8th epicycle, Evander’s moons.
position… 30th • I am always bound by my own destiny.
deferent— Ah. It’s too
late.” EXAMPLE BONDS
- Genai Shim of the • I find [Character]’s foolish struggles against the lines of fate
Shim Clan of High endearing.
Divination • [Character] is aligned towards grand things. I will ensure none
derail their journey.

EXAMPLE DREAMS

• I will travel to Realis-Itself and see the first alignment of

worlds with my own eyes.
• I will create the Final Observatory theorized by the ReGnostica,
from which all futures become one.
• I will enact the ritual of separation, breaking destiny itself.

87
 THEOLOGICANT
SPHERE OF SPIRIT: Respond to an urgent problem with ritualistic Means.

GOD IS MISSING, SOME SAY. THESE SCHOLARS

WONDER WHICH GOD YOU MIGHT MEAN.

Theologicants are not merely priests, though some do wear frocks or habits. Instead
of zealous belief, they’ve allowed their study of the religions of Realis to expand
beyond a single strain and towards encyclopedic knowledge. They’ve learned the
proper maneuvers and the correct chants. They even hear the voices of deities
minor and major echoing in their heads. Perhaps it is because of this overabundance
of knowledge, and this unique connection to the gods, that they so often believe
none of it.

CLASS SENTENCES

“The Venerant See, the • I always know the rituals of the faiths.
ReGnostica, the Cult • I always hear the whispers of the countless daemons.
of Iternitas… It isn’t • I always make the presence of the divine felt among others.
that any of them are • I always doubt.
wrong, per se. It is
simply that they are
attempting to describe EXAMPLE BONDS
the sky, but see only
mirrored views of the • [Character] does not see the value of belief. I will guide them
low clouds.” towards faith’s power.
• [Character] recognizes that the curtains of reality are moved
- Enrietta de Quosta, by winds and not daemons. I will confide in them.
Gyrovague

EXAMPLE DREAMS

• I will excise the voices of the gods and hear only people.
• I will find something worth believing in and build a grand
temple to celebrate my faith.
• Through revelation, election, or manipulation, I will turn my
own church against its foundations.

88
 WITCH
SPHERE OF SPIRIT: Respond to an urgent problem with ritualistic Means.

WICKER AND WORD. BLOOD AND BLADE. FOR

GENERATIONS.

It is hard for some of us to admit, but Witches are kin-and-kind to Wordwrights.

Disregard their ichor-drawn sigils and the smell of burning herbs, and listen instead.
Before our pens were sharpened, the Witches pared reality with their incantations.
Chanting. Howling. Yawping. Theirs is a dull, heavy blade, but it cuts none-the-less.

CLASS SENTENCES

“It’s not how cultured • I always know the old words.

the place is, or how • I always trade blood for effect.
clean, how crowded, • I always hide my shelter.
how out of reach you • I always let the nature of Realis take control.
think it ought to be.
They go where it calls
them. They’re out in EXAMPLE BONDS
the wilds or they’re
dug in under the • [Character] is a reincarnated truth. I will show them from
commons snapping whence they come.
their bones. It’s all the • [Character]’s blood pulses with untapped strength. I will open
same.” a vein.

- Anonymous catechist,
to their pupils EXAMPLE DREAMS

• I will form a coven, secret and safe.

• I will relight the Corpse Sun with a great ritual.
• I will return Realis to the ways of fear and mastery.

89
 QUINTESSENT
SPHERE OF SPIRIT: Respond to an urgent problem with ritualistic Means.

GHOSTLY EMBODIMENT OF A PERSON, PLACE,

ELEMENT, OR CONCEPT. SOMETIMES A DEAD ONE.

The mediums of the Thousand Moons group ghosts, elementals, and other spiritual
constructs together. Whether pulled into the realm of the physical because of a
magical ritual, a tireless drive for vengeance, or some other cause, a Quintessent
haunts the world until its truth is observed.

CLASS SENTENCES

“Sylph, presence,‘geist, • I am always intangible.

or demon—call it what • I always force others to confront the truth.
you will. This ghastly • I always wield ❧a spectral or elemental power.☙
being is wickedness in • I always frighten those who perceive me.
the wind and it must
be purified!”
EXAMPLE BONDS
- Inquisitor-Bishop
Frecano Baern • [Character] is terrified of the truth I embody. I will make them
face it.
• When I am with [Character], I remember what I once was and
feel at ease.

EXAMPLE DREAMS

• I will reshape the Thousand Moons in the image of my truth.

• I will gain revenge on those that ruined my former physical
form.
• I will reunite with that which I was separated from.

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 BLACKGUARD
SPHERE OF SHADOW: Respond to a noble problem with dishonorable Means.

KILLS PEOPLE DISHONORABLY, SECRETLY, AND

NORMALLY FOR MONEY.

The shadow is not a place, it is a blade. Such is the first and final lesson of the
Blackguards—assassins whose mastery of forbidden poisons and tenebrous
technique separate them from the average hired killer.

CLASS SENTENCES

“You want it to look • I always get the drop on my target.

like an accident? • I always coat my blade with a useful poison.
Listen, friend: Half the • I always disappear into the dark.
clade wants him dead • I always find a well paying job.
anyway, you think
anyone’s going to care
whether he tripped EXAMPLE BONDS
on the stairs or into a
knife?” • [Character] doesn’t approve of my techniques, but they always
have my back
- Asker Foule • They wouldn’t admit it, but [Character] wishes they had my
moral flexibility.

EXAMPLE DREAMS

• I will end a great conflict with a single death.

• I will become rich and comfortable on my earnings.
• I will hang up my blade before it cuts me, too.

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 RUNNER
SPHERE OF SHADOW: Respond to a noble problem with dishonorable Means.

TRANSPORTERS, SMUGGLERS, AND COURIERS.

Every major power of Realis, even the Freemoons Assembly, has some concept of
contraband. As the sages say, “the social is predicated on its exclusions.” And with
the invention of contraband comes, necessarily, the invention of the contrabandist.
Runners are not as effective navigators as the Xenagogues are, but they do much
more than carry their cargo (illicit or otherwise) from place to place: they keep it
safe from prying eyes and grasping hands, no matter the cost.

CLASS SENTENCES

“Before I accept • I always have a solid alibi.

anything from you, I • I always keep my cargo hidden.
need you to look me in • I always unveil a concealed weapon.
the eyes. I’m not going • I always pilot my ❧Orphan Vessel☙ towards trouble.
to turn the load down
either way, it’s just
how I gauge whether EXAMPLE BONDS
or not I want to know
what’s inside. That’s • I got [Character] out of trouble, they owe me!
how I work.” • [Character] treats my Vessel right. They’re the only other
person I’ll ever let pilot it.
- Grej

EXAMPLE DREAMS

• I will break the Empest blockade and reach the first moon.
• I will finally find someone who can keep up with me.
• I will make enough money to hire my own Runners.

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 NEWSHOUND
SPHERE OF SOJOURN: Respond to a local problem with excursionary Means.

GONZO “WRITERS” EAGER TO TELL HIDDEN TRUTHS

(SO LONG AS THEY ARE CREDITED WITH THE
TELLING).

Unlike we Wordwrights, who master the natural grammar of Realis-Itself, these

wandering reporters and critics care more about spreading their own syntax across
the moons. They call themselves many things—”journalists,” “essayists,” “stringers”—
but like their ink and paper, they are vulgar tools more than anything else.

CLASS SENTENCES

“If you must be corrupt, • I always find the story.

at least be corrupt in • I always slip past the perimeter.
a way too boring for • I always communicate in compelling ways.
anyone else to build • I always attach my name to my story.
their career on.”

- Proconsul Manasses EXAMPLE BONDS

to his page
• I can tell that [Character] has a killer origin story. I’ll be the
one to write it.
• [Character] knows how to make a good distraction.

EXAMPLE DREAMS

• I will uncover a gravity shaking secret and share it with the

world.
• I will create a timeless work of art.
• I will become a Wordwright.

93
 XENAGOGUE
SPHERE OF SOJOURN: Respond to a local problem with excursionary Means.

A SHOWY TOUR GUIDE AND COURIER FROM A LONG

LEGACY OF NAVIGATORS AND MESSENGERS.

Many ages ago, the Betweeners used recovered Orphan Vessels to map the
Thousand Moons, the Corpse Sun, the Great Void, and Realis-Itself. Along the way,
they developed a nomadic culture recognizable for its colorful fashions, countless
festivals, and its worship of the very ships they pilot. Now, they serve as premiere
messengers, freight carriers, and chauffeurs.

CLASS SENTENCES

“I do appreciate it when • I always pilot my ❧Orphan Vessel☙ with great skill.

someone takes an • I always find the way through or around.
interest! Here, come • I always have the right map, somewhere.
right up front with • I always announce my presence with unmistakable flair.
me, there’s plenty of
room. Now, did you
know this route was EXAMPLE BONDS
originally established
by humble salt • [Character] couldn’t find their own ass if someone slapped it
runners?” for them. Poor thing.
• [Character] is the most precious cargo my Vessel’s ever carried.
- Cicerone Avega Anz I won’t ruin this job.

EXAMPLE DREAMS

• I will discover something unmapped by any of my ancestors.

• I will find my Orphan Vessel’s Progenitor and reunite them,
paying back the great favor it has paid to us.
• I will, in death, become worthy to receive the prayers of those
who come after.

94
 ALCHEMIST
SPHERE OF SCIENCE: Respond to an intuitive problem with technical Means.

MASTER OF PHIALS, UNCTIONS, AND PETTY

TRANSMUTATIONS. PERHAPS, ONE DAY, MORE.

Alchemists are skilled in the practical and medical care of others, but are driven by
a desire to master the fundamental chemical truths of Realis. Their succor in a given
situation may be an act of pure charity, though it’s just as likely that the alchemist is
using it to walk some new path of inquiry.

CLASS SENTENCES

“I wouldn’t put too • I always cure my patient.

much weight on it. You • I always carry a satchel of alchemical supplies.
say you have to? Well. • I always identify an object’s material composition.
Fine. Breathe this in, • I always experiment on others.
deeply now.”

- Yorj Calan, EXAMPLE BONDS

Neighborhood Physik
• [Character] is in harm’s way too often and needs to be placed
under my care.
• There is something strange about [Character]. Something to be
studied.

EXAMPLE DREAMS

• I will cure death itself.

• I will turn lead into gold.
• I will create the philosopher’s stone.

95
 PEDAGOGUE
SPHERE OF SCIENCE: Respond to an intuitive problem with technical Means.

TEACHERS, PHILOSOPHERS, NATURALISTS, AND

LECTURERS.

See, but they aren’t just teachers, are they? All teachers have a vision of Realis,
but the pedagogue believes theirs is the only righteous one, and has developed an
instrument of instruction sharp enough to convey it.

CLASS SENTENCES

“If I’m asked to engage • I always get my point across.

on a topic of which I • I always know the right reference material.
have a thorough grasp • I always shake one’s faith in oneself.
with someone who has • I always separate myself from those I seek to teach.
barely internalized
the first of Miele’s
Folios, I am going EXAMPLE BONDS
to simplify it. And
if I am then derided • [Character] is naive but well intentioned. I will shape them the
for that considerate right way.
simplification—well, • [Character] knows just enough to get them into trouble. I will
you understand the break their confidence.
dilemma.”

- Flester Ornos EXAMPLE DREAMS

• I will become enshrined among the great scholars of the

thousand moons.
• I will gain tenure with the Zvezd Lyceum.
• I will create a grand academy in my own image.

96
 IDOL
SPHERE OF STAGECRAFT: Respond to a private problem through public Means.

BELOVED, SHOWY, AND POTENTIALLY TARGETED

FOR THOSE REASONS.

One must take care in describing an Idol because naive accounts will slip away from
the writer, recolored by the subject’s aura, reshaped by their gravity into something
altogether too appealing. So, in plainest terms: An idol is one who is worshiped, or is
a synecdoche for something else that is. Do not believe anything else.

CLASS SENTENCES

“Remember! Wherever • I always garner affection.

you are, whenever • I always direct my followers to my ends.
it might be, we each • I always wear prestigious attire.
live under the same • I always get wrapped into the Dreams of others.
brilliant blue!”

- AsTer EXAMPLE BONDS

• [Character] is not moved by my presence. I will find out why.

• I am grateful for [Character]’s loyalty and will return it in kind.

EXAMPLE DREAMS

• I will be idolized across all one thousand of the moons.

• I will lift the spirits of countless people.
• I will ascend to godhood.

97
 ZANNI
SPHERE OF STAGECRAFT: Respond to a private problem through public Means.

WAIT A MOMENT YOU FOUL JESTER, GIVE ME THAT

PEN BACK! STOP WRITING WHAT I AM SAYING!
CLOWN! TORRID JUGGLER!

With their painted faces, baggy attire, and well-honed acts, the Zanni of Realis seem
like regular clowns. But in reality they are inhuman manipulators, whose amorality
is without equ really fun people to hang out with and also they are entirely deserving
of your ear and coin purse. If you meet a Zanni, BE sure to BE friend them or BE
ready to BE sad.

CLASS SENTENCES

“A w…rus p…mised to • I always bring joy with my antics.

ta… the oys…s for a … by • I always reveal the truth.
… se…, but he ate th… i… • I am always quick in wit and bone.
ad–woe is he!” • I always anger the powerful.

- Unattributed, quote
re-created from page EXAMPLE BONDS
impressions as the
original draft was • [Character] can see through the makeup. I will bear my other
irreparably befouled self to them in honesty and friendship.
• What’s wrong with [Character]!? Can’t they take a joke!?

EXAMPLE DREAMS

• I will find a patron with a good sense of humor and

overstuffed coffers.
• I will become the next archetype, after which new comedians
are named.
• I will open my mouth wide, show them a real smile, and tell
the last joke.

98
 HERITOR
SPHERE OF SOCIETY: Respond to a material problem through social Means.

HOWEVER OLD, STILL PRINCIPALLY KNOWN AS ‘THE

CHILD OF SOME HIGH-RANKING NOBLE.’

Whether scion to the Suzerain’s Many-Legged Throne or heir to a meager House of

some minor Moon, a Heritor is a walking investment. Not only in the dynasty from
which they spring. Not only in the domain which they will one-day rule. But in
the entire notion of inheritance itself. Should a Heritor falter in public, should they
stumble on the field of sport, should they be outspent on the ball or battlefield… then
onlookers might wonder what the whole enterprise was good for, anyway.

CLASS SENTENCES

“I have never seen my • I always travel with a skilled ❧bodyguard.☙

sister take to someone • I always move with the athleticism earned from a life of
as quickly as she has professional leisure.
taken to that blighted • I always have the wealth of my inheritance.
goatherd.” • I always live in the shadow of my lineage.

- Tetrarch Alikhiyne of EXAMPLE BONDS

Orionelle
• [Character] is my bodyguard, but perhaps they could be more.
My parents would hate it.
• I am [Character]’s child and they will never let me forget it.

EXAMPLE DREAMS

• I will inherit my title and become all that is expected of me

and more.
• I will destroy my own house and obtain true freedom.
• I will ascend beyond my already noble birth and become unto
power itself.

99
 VALET
SPHERE OF SOCIETY: Respond to a material problem through social Means.

THE CHIEF SERVANT FOR A NOBLE OR SOMEONE

USING POWER TO PRETEND TO BE. EYES IN RICH
PLACES.

Fidelity takes many forms across the Thousand Moons, but none is more profound
or rare as mundane loyalty. It is far easier to die for one’s moon or to live for a cause
than it is to wake every day and prepare tea, wardrobe, and itinerary for someone
who is equally capable of doing such for themselves. Such devotion ought be
rewarded—if not out of altruism, then out of a sense of self-perseveration.

CLASS SENTENCES

“Yes, sir. For the best, • I always see through the pretenses of the powerful.
sir. No, we wouldn’t • I always know a way into a house of means.
want that, sir. Ah, well, • I always carry the authority of my ❧master.☙
in that particular • I always do what is asked of me.
case… If I might speak
freely, sir…”
EXAMPLE BONDS
‑ Masai Ansbach,
Steward of • [Character] is my master, and I am duty-bound to serve as
Candlebrush Hall their chief attendant.
• Like me, [Character] knows what it means to serve. We are
comrades in this life.

EXAMPLE DREAMS

• I will serve my master dutifully until a well-earned retirement.

• I will tear down this facade of “nobility.”
• I will kill my master and no one will suspect a thing.

100
 GOODFISHER
SPHERE OF STORIES: Respond to an epic problem with everyday Means.

ANGLERS, FARMERS, CARPENTERS, AND ANY

OTHERS WHO DO THE DAILY WORK OF THE MOONS.

I was born to be a Goodfisher, did you know? My mother turned cloth, my father
was an able cobbler, and both went to sea in the proper season. I still mend my own
clothes today, despite the protestations of my fellow Wordwrights. They joke—in
that halved way—that I do it to “remain humble,” or that it is nostalgia for a worse
life, one which I cannot shake. They do not understand. It is a unique pleasure
to move needle through thread, to return what is torn to whole-form. “Wrights.”
Sometimes, I wonder.

CLASS SENTENCES

“Cos, have you heard • I always put in an honest day’s work.

the saying about idle • I always find a simple, but effective solution.
hands? Seems to me it • I always remind people of their origins.
must’ve been said by • I always struggle against ❧my roots.☙
a man of leisure, else
he’d know that you
can’t grow calluses EXAMPLE BONDS
with a hammer still in
your hands.” • [Character] is from the same place as me, but sometimes they
act like they don’t remember that.
- Dismas Varelope, • [Character] knows the value of effort. I’ll show them I do too.
Journeyman Cask
Maker

EXAMPLE DREAMS

• I will make my home safe from the chaos of the outside world.
• I will find a new home for myself and my family.
• I will replace my reputation with a new, grander one.

101
 KID
SPHERE OF STORIES: Respond to an epic problem with everyday Means.

A PLUCKY SCAMP—THE WORLD’S CRAWLING WITH

THEM, BUT THIS ONE’S DIFFERENT.

One might ask where this child’s parents are, and one might get an answer. After all,
a kid can get into all kinds of trouble out on their own without someone responsible
to keep an eye on them. Especially a kid like this; precocious doesn’t even scratch
the surface. If they were in school right now surely they would be better off, even
excelling. But as they say, if ifs and buts were candy and nuts…

CLASS SENTENCES

“For your information • I always slip away unharmed.

I’m 10 and 7 months, • I always see things differently than adults.
which means I’m • I always have a trick up my sleeve.
basically 12.” • I’m always smaller than I need to be.

‑ Keeshawn
EXAMPLE BONDS

• I’m going to grow up to be just like [Character], and I’ll prove

it to them.
• No matter what I do, [Character] treats me like a baby.

EXAMPLE DREAMS

• I will get home safely.

• I will grow up to be powerful and beautiful and everyone will
love me.
• I will never grow up.

102
 RUNNING REALIS
A full guide on how to GM Realis will follow in a future publication.
For now, we offer a brief introduction to life among the Thousand
Moons, along with a small taste of the Factions and NPCs that one
can use in running their game. We do, however, have one instruction
we are bound to give you. It is as follows.

THE ONLY UNCHANGING THING

Realis is a game about dramatic action, not problem-solving, and

as such you must always GM as a collaborator and never an
opponent.

In many games, the excitement comes from PCs facing down carefully
crafted odds. But in Realis, characters will almost always have some
Sentence available to cut through whatever knot you put in front of
them. While there will be times that players need to think creatively to
overcome obstacles, if you play with the goal of tactically challenging
them, you will find yourself stifled. Whether you’re trying to embody
a solitary storyteller, a cunning strategist, or a clever mastermind,
you will find yourself frustrated by the ease with which the player
characters overcome your challenges. Realis is not built to handle this
style of oppositional play—even when performed in good faith.

Because of this, running Realis requires a subtle touch more than a

firm grip, but the GM is not only a facilitator either. The GM must take
joy in revealing the world, encouraging experimentation, and providing
opportunities for players to explore their characters. The successful
Realis GM prepares a wonderful palette for an improvisational mural.
The successful Realis GM is the good editor, whose distance from the
characters mixes with an interest in their turmoil, allowing them to
suggest connections and opportunities that the writers themselves may
not have seen. Only together will you Make Realis Yours.

Thus, this is the first Sentence, and the only Sentence a GM must
never, ever change: “I always play with (and not against) my players.”

103
104
YAZERIN

THE THOUSAND MOONS:

AN INTRODUCTION
Here is our knowledge complete: The colossal world of Realis is
orbited by multitudinous moons, and is driven by the natural
laws of identity and change. The Sentence is its lifeblood,
conflict its heart, and story the body made alive.

All else than this is knowledge incomplete, reflecting simple

observation, speculation, investigation, and reasoning, but absent the
transcendental aspect necessary for true certainty.

Thus, here is our knowledge imperfect:

• Realis-Itself is a massive, blue world which only a few dozen

have ever landed on and returned from. Those that have
are called Radiants. Some live as demi-gods. Others sit in
mysterious meditation. And many are frauds.

• Most of the Thousand Moons support human life, and all

support some sort of life. Each has also been touched by the
long lost Roun civilization, who, it is said, once traveled a
universe filled with many stars, bright and alive, unlike our
dull, red Corpse Sun.

• Travel between the Thousand Moons is limited, but not

unheard of. Near range shuttles connect neighboring moons
but require expensive and slow refueling. Most long range
travel is done through the use of Orphan Vessels, sentient
ships descended from a universe before ours. These are rare,
hard to maintain, and extremely valuable.

• Technology is spread unevenly across the Thousand Moons.

On the most remote or hostile of the inhabited spheres, entire
generations may pass without an off-worlder’s arrival. In
contrast, some worlds see the daily arrival and departure of
Orphan Vessels and short range shuttles. Some settlements live
on candle light, while others cities are lit by glowing cursive
and are home to alloyed automata.

105
 • About half of all worlds are claimed by one of four Great
Powers, whose machinations and maneuvers affect everyday
people.

• The Leo Suzerainty, a feudal confederation driven by

the spiteful ambitions of its bickering nobles

• The Imperial Empest, a once august empire, now

voracious, glistening, and insectoid.

• The Killiad Consortium, a small but wealthy nation

which wields both cynical mercantilism and civil
condescension.

• The Freemoons Assembly, a loose coalition of tribes,

travelers, and outcasts determined to map the moons.

• There are hundreds of religions spread across the moons,

but most do not reach further than a few worlds. The two
exceptions are:

• The Venerant See, led by the Radiant Eola, which

preaches asceticism, austerity, and the purity of the
empty space between moons, yet who hypocritically
hoard wealth and leverage power to their own ends.

• The ReGnostica, an assemblage of schismatic clergy

and a number of smaller cults and sects, who believe
that the only way to know the divine is through direct,
sensuous experience, touching and feeling the Thousand
Moons.

• Stories connect the moons. Legends travel quickly, reaching

even remote worlds through long distance transmitters, many
of which are controlled by the Participant Pearl, a self-
righteous (if useful) news outlet. Regardless of their accuracy,
these stories help to knit together the fractious Moons,
providing a common tongue and lexicon. Wherever we are, we
are Moonfolk first.

106
THE THOUSAND MOONS:
FACTIONS & NPCS
“Factions” are groups that exist across many
moons, or whose knowledge or power could
affect many moons. There are countless
smaller cultures, who structure themselves
as villages, tribes, clans, cities, and even
nations or churches—the reach of these is
largely covered in Moon Sentences, partly
because their reach is confined as such, and
partly because unlike Factions, these smaller
groups are able to be temporarily guided by
crafty PCs.

Generally speaking, Factions begin with six

+0 Sentences, with three dedicated to types
of people working within the Faction and
three tied to common types of locations (or
particular places) important to the group.

Factions are also listed with a handful of

specifically named characters—evocative
inspiration for the sorts of NPCs you might
have in your game—and a series of Faction
NPC Classes. Finally, there are also Generic
NPC Classes, to help you fill out your
campaign with the unaffiliated. As always,
what is here is only guidance—feel free to
use NPCs from one faction with a story
about another, or rewrite their Sentences
to different Ranks of Realization if its what
your story needs.

107
THE LEO SUZERAINTY ,
Dukes, marchionesses, knights, and the many who squeeze out life between them.

A realm of self-important “begats” and “betrotheds.” The central nation offers “protection” to
its smaller states, and, of course, the vague promise to any with talent that you too could one day
find your way into the peerage. In reality, it is a squabbling collection of vassal-kingdoms desperate
for the attention of Suzerain Telemachus Leo X—and fearful of his famed Knights Naturalis.

PEOPLE SENTENCES

+0 Leo Suzerainty scouts can always remain hidden among trees

+0 Leo Suzerainty diplomats will always carry the correct paperwork
+0 Leo Suzerainty farmers will always find treasure in their fields

PLACE SENTENCES

+0 Leo orchards will always burn in spring

+0 Leo rivers will always run through ruins
+0 Leo mountain passes will always be blocked

EXAMPLE CHARACTERS

• High Baron Delacroix

• Regisal Veldas, Outrider Commander of the Elk’s Eye Mercenaries
• Elleine Tunt, corrupt coin keeper

NPC CLASSES
CASTELLAN: Unctuous functionaries who maintain stone fortresses for the even-more-
powerful. Whether minor noble, knight-general, or simple steward, the one in charge of a castle
and its environs.
+0 I always command others to do my will.
+0 I always wield my own master’s authority.
+1 I always live a life of walled-in luxury.

108
NOBLE: Anything but. Born into a high
station and intent on keeping it that way.
+0 I always wield my lineage as a sharp
weapon
+1 On my family’s estate, I am always
unimpeachable
+2 When I am threatened, I can always
convince others of my station to use
their power to defend me.

AEROPHANT: The Zephyr’s wisdom. Wind’s

dark poem. One of the five infamous Knights
Naturalis.
+0 I always know what the wind knows.
+1 By day, I always move with gale speed
+2 I always speak with the wind’s soft
grace to those who would listen.

CICATRIX: Broken bark. Living scar. One of FERRONIC: The Unbendable. Strength
the five infamous Knights Naturalis. of all rock. One of the five infamous Knights
+0 I always inspire with my blossomed- Naturalis.
self. +0 I am always invincible.
+0 I always protect myself with wooden +0 I always bend metal with my will.
armor. +1 When fighting on land, I always lead
+1 I always survive with scars. my side to victory.

FULMINANT: Snaked lightning. The echo

of thunder. One of the five infamous Knights
Naturalis.
+0 I always command raw lightning.
+0 I always turn rage into power.
+1 In a storm, I always spread my power
through my allies.

TIDALINE: Ocean’s pull. River’s current. One

of the five infamous Knights Naturalis.
+0 I always pull others out of place.
+0 I always thrive in chaos.
+1 I always use running water as a
weapon.

109
THE IMPERIAL EMPEST .
A monstrous, locustal empire which roams and feasts.

Not a plague, the plague. A biomechanical armada. A floating colony of exoskeletal humanoids.
It is unfair to call it “the remnants” of a once powerful empire, because it is as vast as ever
before, only its members now arrive from the corners of your vision, the shadows of your city,
and the edge of your nightmares.

PEOPLE SENTENCES

+0 Empest worker-drones always work, day and night.

+0 Empest soldiers always overwhelm the enemy with number.
+0 Empest nesters will always convert the most fertile territory first.

PLACE SENTENCES

+0 Empest facilities always perplex outsiders who dare breach them.

+0 Empest farmlands are always dark and swampy.
+0 Empest shipyards always buzz with activity.

EXAMPLE CHARACTERS

• Zhalika, Queen-Commander
• Flestur, chief engineer of the Carapaced Armada
• Eat-the-Sun, Corrupted Grand Vessel

NPC CLASSES
DRONE: The flexible workers of the vast and buzzing Empest. These winged beings are insectoid
hominids. Unlike their masters, they neither remember nor know about a time before the
swarming fleet. They simply hunger, feed, and work, forever.
+0 I always attend to the Empest’s needs.
+0 I always work with another Drone.
+1 When flying, I always mark prey for other Empest to find..

110
STILLHOPPER: Surreptitious scouts and SUNSET CRAWLER: “Do not let them
saboteurs who gather information for the fool you. They are little more than colorful
Empest. Before returning with the information maggots.” | “Do not let them fool you. A
they’ve reconnoitered, they infect those they’d grub does not oft become king.”
been spying on. +0 I always build my shelter in a safe
+0 I always flee with bounding leaps. place.
+0 I always hide to learn what I can. +1 When I have a shelter, I always
+1 When I go unnoticed, I always spread gather the food I need.
disease. +2 When I have shelter and proper
food, I always rest.
FLATFEEDER: Deployed by the Empest +3 When I am safe, fed, and rested, I
where traditional human militaries would always transform into a Mornarch.
deploy long term scouts or assassins. Gruesome
in their work, and difficult to stop until it is MORNARCH: The Empest are of
too late. course led by the unseen Empestilence,
+0 I always draw strength from blood. which delegates to its ever-dozen Queen-
+1 When I haven’t yet eaten, I always slip Commanders. But there is more than
past unnoticed. one royal line. The Mornarchs aurate an
+1 If I’ve eaten recently, I always outlast eventide orange, a halo of pure, amoral
my foe. presence. Some say they are descendents
of the interim sovereigns who oversaw
SHIELDBUG: After an Empest expansion the grand transformation from empire to
begins, it’s the Shieldbugs—drones, re-shaped swarm. But perhaps they are those self-
into wider, bulkier bodies—who protect the same rulers, souls locked in metamorphic
feasting swarm. cycle.
+0 I always travel in formation. +1 When I am aloft, I always remain
+1 When I’m scared, I always summon untouched.
an odoriferous fog. +1 I always inspire those loyal to me to
+1 When I stand together with an ally, I do the impossible.
am invincible. +2 When bathed in the light of Realis-
Itself, I always wield an unfading
WOODEATER: Specialists in skulking flame.
and sieging who work to weaken enemy +3 When a prestigious pursuit has
infrastructure. By the time a unit is spotted, it my undivided attention, I always
is often too late. succeed.
+0 I always remain undetected until it is
too late.
+1 With enough time to study, I always
identify weakpoints.
+3 When I work with my unit, I always
devour anything not stone or metal.

111
THE UNSPOKEN …
Desires given form strong enough to begin taking.

Inside of the uncanny realm known as the Drift, there is a niche so hostile and unpredictable
that it deserves its own entry—the domain of the Unspoken. Disavowed monsters of the
psyche, the Unspoken arise not from traitorous ambition or a pining heart, but from the
stubborn refusal to confront such aspects of the self. No wish is as frightful as the one
disowned.

PEOPLE SENTENCES

+0 Unspoken fears always arrive quietly.

+0 Unspoken hopes always make themselves noticed.
+0 Unspoken ires always harm without discretion.

PLACE SENTENCES

+0 Unspoken haunts always twist lines into labyrinths.

+0 Unspoken nights always delay the sun.
+0 Unspoken dreams always end in confrontation.

EXAMPLE CHARACTERS

• Contralto, a girl’s crushed dream echoing through the halls

• Salax, sturdy and curving and warm, too warm, and far
• Lassus, enervating beast who draws in strength and confidence

……………
112
NPC CLASSES
OBJETA, UNSPOKEN PASSION:
THE GRIKE, ABANDONED A deep shadow of desire, which takes for
UNSPOKEN: Yes, the Grike is a standing a monstrously appealing form. Like all
shadow of fear. But it has also been left behind Unspoken, it is not passion but guilt thereof
by the Unspoken, unwelcome in their presence. which calls it into being. Though most report it
This is why it is so dangerous. A guilted demon to take a human-like shape, there is no single
though it is, it is also pathetic and exiled. It form it takes—nor is its power limited to only
squeezes pity and camaraderie from those who the one who summoned it into being. The only
fear similar standing. A squat, round creature way to know it before it is too late is to know
of fur and moss, mouth wide to whisper into one’s own heart.
forsaken ears, hands warm enough to hold +0 I can always be who you want.
yours. What a beast. What a beast. +1 When we spend time together, I
+0 I always separate. always take part of you away with me.
+1 I always give those who sleep dreams +2 After I know you intimately, I am
of a world without them in it. always in the room when you are
+1 I always befriend those left alone. alone.

IDYL, PERFECT UNSPOKEN: Oh, what ZHEL, UNSPOKEN AVARICE: For

else could you be? A hero perhaps? A better those who know not its nature, this crawling
friend? A perfect lover? Artist, inventor, high shadow of greed might seem to be a bright
priest of the Venerant See? This standing auspice. Regardless of if it takes form human,
shadow of desire knows every daydream animal, or chimeric—it has been seen in many
and doubt, scolding inaction with its pristine shapes—its gleaming, golden idol-body seems
presence. Action! Action alone will sway the to swallow all darkness, and when it moves it
beast. Be the self you quiet inside, else perish! does so with extra time, as if smoother than
+0 I always show others what they could you or I. This is all misdirection: As you face it,
be. dozens of its free little hands sneak through the
+1 When I speak without my summoner periphery, reaching for purses and vault keys
present, I am always a convincing and necks.
duplicate. +0 I always inspire greed in those who
+X This is a copy of the highest ranked see me.
Sentence of whomever inadvertently +1 Whenever I have something of
summoned Idyl, but at one rank moderate value, I always use it to
higher (maximum +3) with the added frame the innocent.
clause “Whenever I am in front of +1 When I am in the presence of great
my summoner” (or nearest possible wealth, I always kill orgiastically.
verbiage).

113
THE MOONFOLK %
The Moonfolk are not a faction. They are neither craven nor ambitious enough. They are,
instead, the many varied sorts who dot the Thousand Moons, living under commanding
shadow (or at its very edge). They are too numerous to name, impossibly complex,
fundamentally irreducible. But, perhaps you know a few firsthand. Name them for me, then.
Tell me their ceremonies and their recipes, use these Sentences as guidance, and name them.

In the act of such naming, you will have begun your apprenticeship.

FOLK SENTENCES

+0 The Folk are always similar and different to other Folk, in ritual, mentality, food, love,
politics, and all other things.
+0 The Folk are always shaped by their experiences.
+0 The Folk are always worthy of dignity and respect, though they may not be shown it,
show it to others, or believe it is due in either case.

GENERIC NPC CLASSES

BALLADEER: A singer with a golden voice CHARIOTEER: Moves at speed and with
and a limited repertoire. fury in a sharply-wheeled wagon before it is
too late is to know one’s own heart.
+0 I always know the right song. +0 I always terrify by the sound and fury
+0 I always earn a few tips at the end of of my vehicle’s approach.
the night. +1 I always shake the ground from the
+1 With the right accompaniment, I safety of my chariot.
always move listeners to tears. +1 I always crush my targets beneath my
wheels.
BLACKSMITH: Makes things out of sturdy
material. Commonly called “A Sturdy Murdy.” CONSTABLE: Magistrates, inspectors, and
+0 I always turn raw material into enforcers of oft unfair laws.
something useful. +0 I always assign guilt.
+0 I always find hospitality because of the +1 I always truncheon the guilty
service I provide. unconscious.
+1 I always make wonders from +1 I always whistle for backup when
magnificent materials. outnumbered.

114
FATALIST: The Fatalists are seekers of +2 When acting in my official capacity,
the total end. They believe that all of Realis I always kill nonbelievers without a
is a dread purgatory, and seek to locate and second thought.
capture the power of Yazerin, whose “altars
always exude the Undoing Word.” The JUDGE: A judge may exist in town, country,
Fatalists know not whether what comes after or city, but in all cases they are petty tyrants
Realis’ destruction, but work towards its and servants of larger ones, little more than
arrival through the death of all that is current. the living alibi of the powerful.
Perhaps you could call them optimists, in their +0 I always find my victims guilty.
own way. +0 I always wear a symbol of absolute
+0 I am always protected from weapons justice.
by fate itself. +1 So long as I serve them, I always have
+0 I always tempt others with promises of the ear of the powerful.
a better world to come.
+1 When allowed to speak, I always drive KINGPIN: Imposing boss of a dubious
Realis closer to crisis. organization.
+0 I always intimidate others.
HELIOMANCER: Adherents of the Corpse +1 I always keep control when I have
Sun and masters of undeath. wealth.
+0 I always speak with the words of the +2 After I’ve displayed my willingness to
dead. be cruel, I always have absolute power
+0 I always summon minions of sinew inside of my territory.
and bone.
+1 With my accursed lantern in hand, LABORER: Told that they work so that the
I always wield the cold heat of the world may do the same. Betrayed.
Corpse Sun. +0 I always find the strength to get the job
done.
HERESIARCH: In word and deed, defender +0 I always know more than others
of some heterodoxy or other. suspect I do.
+0 I always tempt with another truth. +0 I always do what I must to provide for
+1 I always maintain pull with members those I love.
of my old church that knew me well.
+1 If I’ve had time to perform my regular MINOTAUR: Trapped within a labyrinth, it
intercessions, I always carry the power makes its prison its domain.
of my chosen daemons. +0 I always know the shape of the maze.
+0 I always burst through the walls.
INQUISITOR: Finds out secrets for the +1 So long as I am trapped in the prison, I
powerful, or compels the creation thereof. am immortal.
+0 I always ferret out the rebellious.
+1 I always intimidate those who share
my beliefs or loyalties.

115
NURSE: Skilled in the practical care and RAKE: Some call them ‘hedonists,’ but I’ve
medical well being of others. met many true pleasure-seekers, and few take
+0 I always reduce pain. as much joy in the sorrow of others.
+1 With the right herbs, I always help +0 I always enjoy myself
wounds heal. +1 To the naive, I always seem cultured
+2 In proper facilities and with the right and worldly
medicine, I always put death on pause. +1 When I can find someone to stake me,
I always have a scheme to make more
OPERATOR: Master of switchboard, satellite, money.
signal, and semaphore. Communicates over
long distances, often for money. TECTONICIST: Monks who study and
+0 I always get the message out. manipulate the energy of the many-plated
+1 With good weather conditions, I moons.
always receive a message sent to me. +0 I always strike with the force of a
+2 When I’m paid well, and when the quake.
recipient is secure, I always send +1 I always find peace and clarity when I
messages privately. can sit with the land.
+2 With a day’s time and unbroken focus,
PHYSILIST: A prizefighter who knows when I can shift continents.
to swing hard and when to take a fall.
+0 I always have a counterpunch ready. UNDERLING: Follows commands with
+0 I always put earnings above honor. amoral efficacy.
+1 When I have the time to feint first, I +0 I always do as I’m told.
always deliver a knockout blow. +0 I always talk a big game.
+0 I always retreat to my boss.
PREYBIRD: A flighted animal of little
strength. UNDYING SAINT: Following a series of
+0 I always fly from danger. bloody miracles in their name, the greatest of
+0 I always flock towards food. believers return to life for further service.
+1 From the air, I always see more than +0 I always live again
others. +0 I always command the blood.
+1 When my true visage is revealed, I
PROMOTER: Brings people to see the always demand holy awe.
entertainment.
+0 I always make myself heard.
+0 I always take the biggest cut of the pay.
+1 I always convince the curious to buy
what I’m selling.

116
 THE THOUSAND MOONS:
A LIMITED ATLAS
When I peer from the port window of my All of which is to say: What we can offer
chamber, I see Realis as an iridescent orb is a faulty archive of Realis as we have
with the color of a robin’s egg, dashed with experienced it, not as it fundamentally is.
swirling clouds of white. In my lifetime, and
in the entire era shaped by my guild, all Still, we have provided the following short
lunar surveys completed have arrived at the collection of moons for your perusal. Though
count of 1,000 moons, but from my position, this list of moons represents only one
I can only count dozens—perhaps hundreds if percent of the whole orbit, we believe that it
searched with time and care. But if watching represents something more important than
from a certain bearing, I would instead see a factual survey. It is our attempt to perform
that moments ago, the abyss below us all has an act of curatorial truth telling. “This,” we
finally devoured one of our number whole. say, “is our Realis.” It captures something
Thus is my knowledge incomplete. that a scroll of names, data, and coordinates
would not only miss, but actively distort.
There is no way to observe Realis in total.
Even beyond the Corpse Sun, by whose Yet remember always: you may look from
hemorrhaged light we see even in shadow, your porthole and see a world of red stone
one’s vision would be obscured by Realis- with only a few moons. Perhaps your Realis
Itself and the moons. What if one were to is not a world at all, but a star or a gravity
put multiple observers in places astride the well or a monument of iron and fire. How
orbital sphere who, somehow, could remain can I know how many moons your Realis
in constant perfect communication with one keeps when I do not know you?
another? Well, in such a situation, one must
now consider the possibility of inaccuracy As such, take this chapter as an introduction
and deceit. And above it all, there is the to an indefinite world. We hope it can be
matter of time. There were eras before our useful in finding your own.
guild, and there will likely be eons after it.

117
 DANILEY,
THE
PURPLE Evidence that the Thousand Moons do not stand still,
Daniley is a world in the middle of great change, brought

FLOWER upon by the discovery of an ancient and powerful engine.

(The locals believe it is Roun technology, but I suspect

MOON something much older and more dangerous). Using its

power, the people of Daniley have moved into a new age of
industry, battled their way free of the Leo Suzerainty, and
have begun transforming the very nature of their moon.
IMPULSE:
Put in a hard Once, it was easy to get lost on this land of glens and rivers.
day’s work. Forests cover nearly the entire world and settlements, few,
far between, and well concealed by the dense woods. But
today, travelers can spot settlements in Daniley's wilds
from miles away: One must simply follow the shining,
purple smoke that rises from a village's forge or tradepost's
generator, or (more curiously) the violets, lavenders, and
purple berries that now grow in the woodlands around
those communities.

All across the Moon, you’ll find people excited by such

changes. Proud that theirs is the generation of great change,
many have become fascinated by the novel and different.
New smells flood Daniely kitchens. Daniley musicians
struggle happily with unfamiliar instruments. Offworlders
are welcomed with open arms—so long as they aren’t Leo,
anyway.

One wonders how long this bliss will last.

PEOPLE SENTENCES PLACE SENTENCES

+0 Daniley engineers always wear bright +0 The Unyielding Engine of Daniley

purple patches. always burns.
+0 Daniley parents always tell you about +0 Daniley valleys always gurgle with
their children. river sounds..
+0 Daniely storytellers always worry that +0 Daniley forges always transform the
their tales will be forgotten. world with smoke and steel.

118
 TRUSK,
THE
MOON Is Trusk the first moon? Perhaps. It is the first one listed
in our archives, and as it once stood as the great capital

THAT of the Roun at the (literal and figurative) height of that

civilization, it was certainly once considered first among all

ONCE moons. Such a time is long past now though, isn’t it? Today,
Trusk is little more than sand and disaster, a taut reminder

WAS of what was and a threat of what may be again.

As the moon closest to the Corpse Sun, Trusk is battered

by sick, scarring light, illuminating a distraught landscape
IMPULSE: of fallen towers, dry riverbeds, collapsed bridges, and the
Learn something rapacious and hard-scaled creatures that take these as their
dangerous about homes. They are not alone: Diving from the ruins of the
the past. Rounic High Castles—for a wide enough tower on its side is
still quite tall—are the red eyed hunters of Trusk, who feed
on meat, mushrooms, the hardiest of root vegetables, but
live on pride and determination.

Many argue that Trusk’s inhabitants—hunter prey. And I have heard the prey whisper back.
and monster both—are the true Roun. Words I do not know, yet meaning conveyed.
They weren’t lifted to some other realm by Something beyond the Sentence, I suspect.
mastery of their runic namesake, the position
holds, but simply faded into violence and I would not be surprised if the person holding
obscurity. Perhaps, perhaps. this text was from some future where Trusk
has once again ascended, ushering us into
But whatever they once were, I believe the some new era. If it is true, I greet you not
Trusk to be something greater than the past: as outsider but as anachronistic student. If I
The future. I have heard them in their hunts, could, I would join you there, happy to learn
talking not only to each other, but to their what terrible world comes next.

PEOPLE SENTENCES PLACE SENTENCES

+0 Trusk survivors always prepare for +0 Trusk days always sear with the
tomorrow. Corpse Sun’s heat.
+0 Trusk creatures always evoke +0 Trusk ruins always suggest a world
unaddressed feelings. once connected and at peace.
+0 Trusk hunters always bring an extra +0 Trusk-Itself always blares
blade. apocalyptica.

119
ORIONELLE,
THE
MOON Orionelle is one of Realis’ most populated moons, a world
of mountains and lakelands, dotted by palaces, castle

OF villages, and port towns. These places bustle with as much

daily activity as the most prosperous moons of any of the

LONG Great Powers. It is only that its inhabitants are ghosts.

LOST Translucent aristocrats gather to cross blades and wits

at summer court. Incorporeal courtesans glare at each

LACE other from behind free-floating hand fans. Look close: In

their eyes (and in the reflections of the lakes themselves),

AND another galaxy than our own looks back. Stars as the Roun
wrote about them: glowing, blue-white, and distant despite

LATTICE their loveliness.

Quite unlike those visited by the cursed and ghastly Roun,

those who travel to Orionelle are treated as guests, whether
IMPULSE: by village head or manor lord. As such, for those with the
Give a gift that is nerve to feast alongside their undead hosts (and the means
hard to let go of. of getting there), Orionelle has become something of a
destination world.

Some suggest that Orionelle ought not count among the

Thousand Moons. Their argument is clear to any who has
spent time on this haunted (if hauntingly beautiful) world:
It simply isn’t from our orbit, nor is it like the rest. To
which I ask ‘which world truly is?’

PEOPLE SENTENCES PLACE SENTENCES

+0 Orionelle phantom nobles always +0 Orionelle water always reflects

dance and duel. another time or place.
+0 Orionelle spectral dressmakers always +0 Orionelle evenings always lead one
set the trend. towards romance.
+0 Orionelle ethereal artists always +0 Orionelle manors are always protected
reveal hidden feelings. by ghostly starlight.

120
 YAZERIN,
THE
SEVENTH It was a matter of great debate whether to include
Yazerin in these pages. The result is the compromise

MOON you find here—neither denial of the cursed moon of the

Undoing Word, nor the risk of gathering its Sentences
so near to each other that they begin to resonate,
entice, or expand. Find them if you must, but we
suggest distant and academic interest and whatever
greatest precautions your time best offers. After all,
“Yazerin-Itself always resents Realis.”

121
122
THE GREAT VOID

CUSTOMIZING
REALIS
THE SINGLE MOST IMPORTANT PART OF CUSTOMIZING
REALIS IS THAT YOU DO IT.

The reason this game features so much material—classes, NPCs, and

factions—is twofold: First, any accounting of a place (real or imagined)
is endless if it is to be honest. All worlds are fractal coastlines: The
closer you look, the more vast they become.

The second reason that even this early draft is so large is because it is
simply so fulfilling to continue to create things for this model of the
world. Though Realis began only as a ludic exploration of the valor
and vainglory so common in this orbit, we soon found that we’d built
a sort of toolbox whose hammers and nails had more resonance with
“game poems” or “lyric games” than we could’ve ever anticipated.

Indeed, every new class is a poem, every new faction a sketch, every
new moon a song. And Realis, with its simple but firm rules, braces
your hand and helps guide the pen so that you can focus not on being
accurate in your imagining, but on drawing from your subject the
vibrant elements that best speak to you.

This draft offers only a limited picture of the Thousand Moons, but
even the final manuscript will be incomplete. Yet Realis—and Realis,
too—will survive so long as it compels creation. Throw the rest out,
every word of ours.

AS WE SEE IT, THE VALUE OF THIS

GAME IS THE EASE WITH WHICH YOU MAKE IT YOURS.

123
 AFTERWORD
BY BENDIX VITAL,
GUARDIAN-AUTHOR OF
THIS LIVING TEXT

I
t was forty odd cycles ago, as I was On those days, I watched her whittle and
boarding the Vessel of Nominative asked her questions about the sea. She
Master Alcides, that my mother placed never had stories, but she had answers. The
her knife and the block of wood into names of fish. A list of which conlunations
my palm. It was a boatswain’s knife, which is had taken form above the ship. A strictly
to say it was well touched by the sea, but less factual recitation of the other ships hers had
worn than most other blades aboard, since its encountered. A description of her favorite
use was relegated to correcting the mistakes and least favorite crew members. All the
of lower rank sailors. There were no words while, she worked the knife, and before we
exchanged—the Master had been clear about had dark, she’d produced some figurine. A
what such a violation might mean for my duck or a dagger. The distinct skull of an
education, which was after all the whole Orphan Vessel. A working recorder, once. A
point of this severance—but the exchange of ring I’d wear for a season and lose in a bet.
tools proved out the maxim that there is a
language before language, presence before It was a full year before I felt confident
pronunciation, meaning before or beyond or enough to work the block. It is a subtractive
bestride words. form, and there was no wood aboard Alcides’
Vessel nor those of any other Wordwright I’d
The block was basswood. It felt soft in my met—so what my mother had given me was
hands—she had treated it in anticipation precious. I shook during the first seven, slow
that I might struggle with my cuts. The knife slices. The result was a fiendish thing, but
was warm on my skin, evidence that she recognizable as a horse, mane and tail and
had palmed it tightly for some time prior. all. And like all fiendish but mundane things,
As I had never personally held her blade I could never bring myself to elude it with
before, its heat could not transport me to anything except my eyes.
a time when I worked with it, and instead
only reminded me of the humidity of the late I have never put the blade to block again, but
summer days when she’d return from the this is perhaps because I have found other
last trip of the season. ways to shape the world.

124
ON THIS
TRANSLATION
On the day Kentaro Miura died, I found it in enjoyed the sunset, I could write
the sand, on a little beach of the strait we call “LoveBobSkyWhen Dusk, today” or
a river. A small trunk, made from green-gold “LoveBobSunset, today,” or “LoveBob the
metal which sang when I touched it, and which red-purple sky.” (And, of course, “LoveBob”
lifted more easily than its contents did when could also be read to mean “I always love
stacked together or placed in a bag. Those Bob.” Context is key.)
contents—a pile of unbound manuscripts
and monographs, a few volumes in the style The exception to this system is the future
of reference texts, and something like a tense. For whatever reason, “will” (and
photobook—were not written in any language any attached name or pronoun) attaches
I’ve been able to locate in our world. In fact, as a prefix when making claims about the
though I know the words well—I rewrote future. As such, “Bob will love the morning
them, with the aid of my collaborators, into sky” becomes “WillBobLoveDawn” (and its
the book you now hold—I’m not sure that I variants). As you might suspect, this was a
ever actually read them at all. recurring stumbling point in the earliest days
of translation.
Do not misunderstand: I can explain the
little grammar of the Wordwrights’ language, It was putting my eyes on such a Sentence
with all of its little eccentricities. It is verb- that led me to this process to begin with.
initial with an assumed subject of “I”, and Again, not reading, because at that point I
every verb, unmodified, is understood to did not know the language. But, somehow, I
carry the adverb “always.” A suffix chain understood it, like watching the waves come
can modify the subject to a particular name in without knowing exactly when high tide is.
or a pronoun and/or adjust “always” to And that Sentence, the one that led us here,
“never,” “when,” “always, except,” etc. But any today was “WillYouMakeYours Realis.” It
particular timing comes in a secondary clause, was not a question. Nor is it one now, as we
modifying the first. In addition, the language pass it to you.
has countless compound verbs, accounting
for some original verb-phrase first embodied. On the next page, find a list of influences that
aided us in the act of translation. Realis—at
For instance, if I were to say “I always least as presented by the Wordwrights—
love the blue sky” in the Wordwright’s reminded us of these works of fiction and
language, I could write “Love Blue Sky” or play, and without them (and our diligent
“LoveBlueSky” or even “LoveSkyExceptOnly playtesters, also listed), we could not have
Blue.” If I wanted to explain that Bob brought the game to its current state.

125
And as to that current state, please know that FILM AND TELEVISION
this edition represents our initial translations • The Fall (dir. Tarsem Singh)
of an early draft of Bendix’s text. We are at • Flesh and Blood (dir. Paul Verhoeven)
work currently on a later draft—and further • Lessons in Darkness (dir. Werner
on than one might expect. Read and play Herzog)
with the confidence that an even wider view • Star Wars (dir. George Lucas)
of the Thousand Moons will come into focus • Werckmeister Harmonies (dir. Béla
soon. - A.W. Tarr and Ágnes Hranitzky)

MUSIC
• async by Ryuichi Sakamoto
COMICS • Celestial Lineage by Wolves in the
• Berserk by Kentaro Miura Throne Room
• The Chromatic Fantasy by H.A. • Clear Moon by Mount Eerie
• The Incal by Alejandro Jodorowsky • Pornography by The Cure
and Moebius • Meeting with a Judas Tree by Duval
• Stages of Rot by Linnea Sterte Timothy
• Tartarus by Johnnie Christmas,
Andrew Krahnke, and Hilary Jenkins TABLETOP GAMES
• Dream Askew/Dream Apart by Avery
FICTION Alder and Benjamin Rosenbaum
• Black Leopard, Red Wolf by Marlon • Fellowship by Vel Mini
James • Electric Bastionland by Chris
• Book of the New Sun by Gene Wolfe McDowall and Alec Sorensen
• Hollow by Brian Catling • Legacy: Life Among the Ruins by
• Labyrinths by Jorge Luis Borges Minerva McJanda
• The Earthsea Cycle by Ursula K. Le • UVG 2E: Ultraviolet Grasslands and
Guin the Black City by Luka Rejec

ANIMATION VIDEO GAMES

• Angel’s Egg (dir. Mamoru Oshii) • Caves of Qud by Freehold Games
• Reign: The Conqueror (dir. Yoshinori • Diaries of a Spaceport Janitor by
Kanemori) Sundae Month
• Nausicaä of the Valley of the Wind (dir. • Dragon’s Dogma by Capcom
Hayao Miyazaki) • The Elder Scrolls III: Morrowind by
• Outlaw Star (dir. Mitsuru Hongo) Bethesda Softworks
• Scavenger’s Reign (created by Joseph • Hyper Light Drifter by Heart Machine
Bennett and Charles Huettner

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PLAYTESTING BANDS
THE MEDALLION CAVALCADE, A TRAVELING CIRCUS
• Folly the Jeopardist - Sylvi Clare
• King Lud the Berserker - Jack de Quidt
• Siegfret the Esoteric - Janine Hawkins
• The GM - Austin Walker

THE URSINE CONNECTION

• Leoporis the Heritor & Duelist - Annie Johnston-Glick
• The Significist, Antares (a Liminalist) - Paz D.
• Sequoia Goodfisher the Goodfisher - Katelyn Keeshen
• The GM - Kavita Poduri

(UNNAMED) - PARTICIPANT PEARL STRINGERS

• Leeside Valiant the Xenagogue - Si Sweetman
• Raven Verona - Riley
• The GM - Takuma Okada

BEST DETECTIVES - THE HARVEST MYSTERY GAME

• Briah (nicknamed Dirt) the Kid - Annie Johnston-Glick
• Aster Etude the Questionist - Everest Pipkin
• Mair Grin the Sailing Draper - Conner Fawcett
• Birdsong Whispers the Theologicant - Tyler Crumrine
• The GM - Brendan McLeod

THE MOON OF GERHAUL / THE RELIQUARRY

(A DUNGEON CRAWL)
• Jyura the Hound, the Ur-Hunter - Si Sweetman
• Squire Paw, the Peregrine - Brendan McLeod
• The Briared Sir Belfair of The Third Steeple, the Knight - Conner Fawcett
• Esk, the Quintessent - Sam Beck
• Tyne, the Gaunt - Wes Bruce
• Troh Faber, the Goodfisher - Cado Contreras
• The GM - Everest Pipkin

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RAMSHACKLE / THE ROUNCROWN JOB
• Dirt, the Kestrel - Annie Johnston-Glick
• On A Past Wingbeat Driven Forward Towards a Future Told in Ruin-Soaked Words,
the Pedagogue - Carter Richmond
• Tungsten Van Kellen, the Tetsudine - Si Sweetman
• Special Thanks (& his Gonn, Simple Desire), the Gonnist - Tyler Crumrine
• The GM - Brendan McLeod

THE HIDDEN FAMILY / AFTER-WAR XUEYE

• Lizard, the Ephemeralist - Si Sweetman
• Anchor Wilde, the Mercenary - Brendan McLeod
• Our Merciful Sister, the Misericorde - Birdie
• The GM - Carter Richmond

THE SUZE CRUZE

• Moniker Special, the Heritor - Conner Fawcett
• C.L. Laterre, the Xenagogue - Kris Allison
• Crescendo Conference, the Valet - Carter Richmond
• D.O. Spectra, the Newshound - Caro Asercion
• The GM - Si Sweetman

THE COSMIC JOKES

• Cpt. Sol Sabbatine, the Xenagogue - Sean Martin
• Gauss Vidius, the Syzygist - Axel Hassen Taiari
• Lucio Ulm, the Zanni - Ewan Wilson
• The GM - Gareth Damian Martin

“THOSE NERVELESS CHANCERS, THE KRINSKY

FAMILY CIRCUS AND TRAVELLING CURIOSITY”
• Hye Malis, the Syzygist - Ali Acampora
• The Sense of Dread Observed Near the Back Staircase in the East Wing (Donnie), the
Quintessent - Art Martinez-Tebbel
• Wellaway Piaster, the Zanni - Keith J. Carberry
• The GM - Austin Walker

UNNAMED BAND - ’S ESCORT

• , the Pomesse - Janine Hawkins
• , the Thamauturge - Andrew Lee Swan
• , the Berserker - Sylvie Bullet
• , the Struggler - Jack de Quidt
• The GM - Austin Walker

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