Pathfinder.Chronicles.[PZO1111].-.Campaign.Setting.ENG.OCR.pdf

CAMPAIGN SETTING

Table of Contents

Foreword

Flora

214

Chapter1:Characters

GeneralFeats

216

Races

Languages

218

Classes

LostNations

220

Chapter2:TheInnerSea

PrestigeClasses

222

OverviewoftheInnerSea

Harrower

222

NationsoftheInnerSea

LowTemplar

224

BeyondtheInnerSea

152

PathfinderChronicler

226

Chapter3:Religion

158

RedMantisAssassin

228

MajorGods

160

ShacklesPirate

230

OtherGods

170

Psionics

232

TheGreatBeyond

178

Technology

234

Chapter4:Organizations

186

TimeandSpace

236

MajorOrganizations

187

Trade

238

SmallerOrganizations

196

WeatherandClimate

240

Chapter5:TheWorld

198

Appendices

242

A:PathfinderChroniclesLocations 242

B:PronunciationGuide

HistoryandTimeline

198

TheDarklands

202

244

DomainSpells

204

C:Rogue’sGallery

246

Equipment

206

D:WanderingMonsters

252

Fauna

212

Index

254

Based on the Pathfinder Chronicles Gazetteer

by Erik Mona and Jason Bulmahn

Credits

Paizo CEO • Lisa Stevens

Vice President of Operations • Jeff Alvarez

Director of Sales & Marketing • Joshua J. Frost

Corporate Accountant • Dave Erickson

Staff Accountant • Christopher Self

Technical Director • Vic Wertz

Online Retail Coordinator • Jacob Burgess

Project Lead • Mike McArtor

Art Director • Sarah E. Robinson

Editor-in-Chief • James Jacobs

Editors • Christopher Carey, Erik Mona,

F. Wesley Schneider, James L. Sutter

Editorial Intern • Claudia Golden

Development • Jason Bulmahn, James Jacobs, Mike McArtor

Graphic Design Assistance • Drew Pocza

Managing Art Director • James Davis

Publisher • Erik Mona

In Memory of E. Gary Gygax

Special Thanks • The Paizo Customer Service and Warehouse Teams

Product Identity: The following items are hereby identified as Product Identity, as defined in

the Open Game License version 1.0a, Section 1(e), and are not Open Content: All trademarks,

registered trademarks, proper names (characters, deities, artifacts, places, etc.), dialogue,

plots, storylines, language, incidents, locations, characters, artwork, and trade dress.

Open Content: Except for material designated as Product Identity (see above), the contents

of this Paizo Publishing game product are Open Game Content, as defined in the Open

Gaming License version 1.0a Section 1(d). No portion of this work other than the material

designated as Open Game Content may be reproduced in any form without written

permission. To learn more about the Open Game License and the d20 System License,

please visit wizards.com/d20.

The Pathf inder Chronicles Campaign Setting hardcover is published by Paizo Publishing,

LLC under the Open Game License (OGL) and is suitable for use with the world’s most

popular fantasy roleplaying game. The OGL can be found on page 256 of this product.

Paizo Publishing and the golem logo are registered trademarks of Paizo Publishing,

LLC. Pathfinder, Pathfinder Chronicles, and GameMastery are trademarks of Paizo

Publishing, LLC. Use of other names without mention of trademark status should not

be construed as a challenge to such status.

Paizo Publishing, LLC

2700 Richards Road, Suite 201

Bellevue, WA 98005

Contributing Authors • Keith Baker, Wolfgang Baur, Clinton

J. Boomer, Jason Bulmahn, Joshua J. Frost, Ed Greenwood,

Stephen S. Greer, Jeff Grubb, James Jacobs, Michael Kortes,

Tito Leati, Mike McArtor, Rob McCreary, Erik Mona, Jason

Eric Nelson, Jeff Quick, Sean K Reynolds, F. Wesley Schneider,

Leandra Christine Schneider, David Schwartz, Amber E. Scott,

Stan!, Owen K.C. Stephens, Todd Stewart, James L. Sutter,

Greg A. Vaughan, Jeremy Walker, JD Wiker

Cover Artist • Wayne Reynolds

Cartographer • Rob Lazzaretti

Contributing Artists • Jeff Carlisle, Concept Art House,

Julie Dillon, Eric Dechamps, Andrew Hou, Warren Mahy,

Drew Pocza, UDON, Ben Wootten, Eva Widermann,

Ilker Serdar Yildiz

paizo.com

PATHFINDER CHRONICLES CAMPAIGN SETTING

NEW WORLD

that in many ways it feels like an old

world—comfortable,familiar,understood.

Not only did we f ind inspiration for Golarion

from such classic authors of fantasy as Robert

E. Howard, Jack Vance, and—yes—Professor

Tolkien, we also continue to f ind inspiration in the

ancient tales and legends of our own planet Earth.

The campaign setting is a new old world in other ways as

well. Many of us here at Paizo who laid out the foundations

of Golarion drew from material we created many years ago.

More than a little of Golarion (like almost all the gods, for

example) is imported directly from the homebrew campaign

setting James Jacobs has been working on since 1984. A few

chunks (like Shelyn and the Odeber family) come from an

epic fantasy novel I’ve tried (and failed) to write f ive times

in the past 15 years. Erik Mona invented Cheliax nearly two

decades ago on a family vacation. All of these ideas and

more have bubbled up from the past and are given new lives

in Golarion, the home world of the Pathfinder Chronicles

Campaign Setting .

So what can you expect to f ind? Immediately after this

introduction, Chapter 1 launches into creating characters for

Golarion and gives detailed looks at all the races and human

ethnicities, as well as the 11 standard classes. Chapter 2 gives

an overview of the entire world and in-depth looks at more

than three dozen nations of the Inner Sea region (including

three never seen before!). Following that, Chapter 3 looks

at the 20 major gods of Golarion, plus a number of lesser

deities and philosophies. It ends with an overview of the

Great Beyond—Golarion’s planar cosmology. Some of the

most important organizations in the Inner Sea region get

detailed descriptions in Chapter 4. The topics that do not

f it well within those chapters end up in Chapter 5, which

presents its many subjects in alphabetical order, after an

overview of Golarion’s history, with topics ranging from the

Darklands to Weather and Climate. Following all that are

several appendices of information that might prove useful

to GMs and players.

Because of the importance of the project, I was allowed

to pull out all the stops when it came to f inding writers

to work on this grand tome. A quick peek at the all-star

cast should give you an indication of the quality you’ll

f ind in the following pages. Working on this book gave me

the opportunity to contact many of my favorite designers,

some of whose works I grew up reading and who helped to

build the gaming infrastructure we all rely upon today. In

addition, I had the privilege of providing the f irst RPG-

industry assignments for a few of 2007’s inaugural RPG

Superstar Top 4 f inishers. Finally, I drew upon Paizo’s

stable of excellent writers built up over the last 6 years,

including some names you’ll likely recognize from other

Paizo products as well as a couple whose potential we’re

only beginning to tap. As if that weren’t enough, check out

who I got to write guest forewords on the facing page.

All of the hard work involved in this project, all the long

hours and occasional weekends spent in the off ice—all of

it—was worth every moment of stress and anxiety in order to

bring you this book, this magnum opus of my career. I hope

you enjoy it.

Mike McArtor

Editor

Project Lead

AN OLD

G olarion is a new world. We hope, however,

INTRODUCTION

have created this for you to use and, not only that, to expand upon. But this is no ordinary world. It is

one like no other. It is a fantasy world. Aha! We already knew that, so this is old news, but aside from

that, this fantasy world is new. And it’s all yours to do with as you wish, for unlike our own Earthly realm

we can have only limited experiences within, this new world has no fathomable limits.

World design is a fascinating subject. It’s no easy task for designers to present all the information and

backdrop needed for gamers to depart upon, the many kernels and slices of fantasy-world-life that inspires

its participants to reach into these for direction as well as to reach beyond them for additional substance.

Worlds require participating in them in order to be fully appreciated and realized. They need you as much as

you need them. While designing parts of the World of Greyhawk and my World of Kalibruhn one thing was

always apparent: I was the one “True God” in charge of it all. I chose those areas to make come to life; I created

supplementary information that went above and beyond what was presented; I brought continents, cities and

villages to life; I placed many dungeons upon (or under) their surfaces; and I animated beings, including gods,

which in turn took their stabs at moving about and inf luencing world affairs. In short, I was always in creative

control, a world master if you will. Through that process I became intimate with each setting and in doing so

came to understand their needs. I fed them even as they were feeding me. It is a bond like no other in fantasy

RPGs; and it is one that every participant in this new world presented by Paizo’s authors can in turn emulate,

and even in some cases, exceed.

Every adventure starts with but a single step. You have taken the first step by purchasing a book like no other.

The exciting path to exploration is now before you. May enchantment guide you in your travels!

Robert J. Kuntz

Author of Maure Castle, Co-DM of the Original Lake Geneva Campaign

Discovery channels every Saturday. Building a world that makes sense to a reader means building in

the logical constructs of society in ways that are familiar. Human history is varied, or is it? The truth

is, when you get below the names and the rituals, there is an underlying commonality from ancient Egypt

to the Romans to the Turks to the Brits to America.

When I sat down to create the world of Corona for the Demon War Saga, I started with the idea that

I would be in the Middle Ages of these societies, pre-Renaissance. As I wanted the Abellican Church to

dominate, I preferred to stay away from Corona’s “enlightenment.” And since there was magic in use,

the technological advancements could be slowed considerably. Necessity is the mother of invention, and

if magic sources mitigate that necessity, invention will be a slower process. So here’s my “truism” in the

world of Corona, here’s what makes it different: the gemstones really do have magic in them, which can be

accessed. That was the keystone of the world-building. Now, go from there: what societal structure would

then seek to control the gemstones? It would either be the ruling lords or the religious class, logically, and if

the only group who understood how to make permanent and how to best access the magic within the stones

was the church, we now have a powerful societal force on our hands, one that will no doubt rub the wrong

way the churches that were in place before the stones were found, and one that would no doubt use this

magic as soft blackmail to the political powers that be to increase its own inf luence. And with this absolute

power comes, as history teaches us, corruption.

So that’s how Corona was built. From the gemstones to the church to the lords to the countries, and

underlying every step of the construction were the lessons I learned from watching the History Channel.

Because those themes of human folly—greed, power, coveting thy neighbor’s goods—are the eternal

paradigm of our own familiar history.

So how did I build the society of Menzoberranzan and the drow in the Forgotten Realms? From the work

of Gary Gygax and Ed Greenwood for some details, to be sure, but the real secret can be found in the pages of

Mario Puzo’s The Godfather . Hey, I’m an Italian kid from Massachusetts! What can I say?

R.A. Salvatore

New York Times Best-Selling Author

W hat you have in your eager hands is a World. Think about that for a minute. A whole world. Its authors

T he simplest tip I can give anyone who wishes to do some world-building is to watch the History and

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