Challenge of the Five Realms manual

Challenge of the Five Realms: Spellbound In The World of Nhagardia

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I. BACKGROUND
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The Awakening...

The sound of clanging metal echoed through the corridors of Castle
Ballytogue. In the armory the young student, sweating, grunted
hoarsely as he swung his sword, his teeth clenched in a determined
grimace. His tall opponent, donned in ornate armor, defended the
attack with the grace and effortlessness of a master. Within
seconds the tall man skillfully plucked the sword from the young
man's grasp. It fell to the scuff-marked wood floor with a loud
clang that echoed off the lofty ceiling. The young man, breathing
hard, shook his head in disappointment and let his gaze fall to the
sword, The tall man smiled and wrapped his long arm around the
young man's shoulder. "Very good, your highness" said Sir Brandar
to the Prince.
"But you defeated me with ease." said the Prince, avoiding the
intense gaze of his teacher.
Brandar removed his helmet, revealing a bald head, shiny with
perspiration. He took several deep breaths and the chiseled
features of his face seemed to soften. "You are improving quickly.
You can't expect to best me. I've been training
for years...and don't forget, I am the King's Champion," said
Brandar with pride. After a silent pause he added with strict
seriousness, "You lack concentration and strategy. You are too
intense--too eager to win. Combat with the sword is elegant, like
a dance; it's not a test of strength or prowess. I am your teacher
and your friend. Learn from me. Study my movements."
"Do you believe I have ability?" asked the Prince, finally
looking Brandar in the eye. "I do," said Brandar. "With age comes
patience and experience. In time you will become a master of the
sword. For now, focus, concentrate, and relax your body. You will
not improve your sword skills by being aggressive and tense."
The Prince picked up his sword and assumed a fighting stance.
Brandar turned his back and placed his ivory handled weapon
carefully on a rack hanging from the wall
"Our lesson is finished," he said, removing his armor chest
plate and chain mail. "Contemplate what I have told you. We will
continue tomorrow."
The Prince knew better than to argue. Brandar was a stern
instructor and his word was final. The Prince thanked his teacher
and bowed with respect. He placed his sword in the scabbard around
his waist, turned, and left the armory, eager to inform his father,
King Clesodor, of his progress.
The Prince climbed the torch-lit winding stair to the main
level of the castle. He trotted down the tapestry-lined main hall
on his way to his father's study, stopping briefly to pay homage
beneath the painting of his mother that hung near the entryway. It
was a gesture of honor and devotion that he paid to her memory each
day. As he rounded the corner that
led to his father's chambers, he nearly toppled over Sir Hastings
who guarded the ornately carved wooden doors that led to the
King's study. Hastings was a stout knight with chubby rosey cheeks
and a gentle smile. Known more for his generosity than his bravery,
Hastings was a life-long friend of the King, and his undying loyalty
was rewarded when the King elevaled him to the honored position
of Seneschal. Hastings reached out and grabbed the Prince with a
warm laugh and an exaggerated, lighthearted, whoooaaa."
"You nearly barreled me over, lad, he said. Where are you off
to in such a hurry?
"I want to speak to my father. Sir Brandar taught me several new
moves today," said the Prince, grabbing the handle of his sword.
Your father is in a meeting right now. He can't be disturbed.
"Who is he meeting with?" asked the Prince.
"Never mind," said Hastings, "Come back later l'm sure your
father will be anxious to speak to you."
"Tell me, Sir Hastinqs," said the Prince with a worried look, do
you think my father is well?" Before the knight could answer the
Prince added, "He seems troubled."
"Your father has many responsibilities that constantly occupy
his mind. He's trying to prepare for the New Year's Celebration, and
that's a momentous task in itself."
"You would tell me if something were wrong, wouldn't you?"
"Of course," said the knight, patting the Prince's shoulder, "You
need not worry I am here to help relieve the King's burdens. We
should give him our total support."
The Prince turned and left, but his gait lacked a lively spark. He
tried to block out the fear of losing his father, but somehow troubling
images appeared in his mind's eye. He recalled the image of the
waxy body of his beautiful mother, lying in her white, silk-lined
casket, her hands resting on the fabric of her pale pink gown. A
visicn of his father in repose flashed in his mindr ln the daydream
he hated to have, but somehow always did, he was alone alone
with the fate of Alonia in his inexperienced, untested handsr
He thought about the future responsibilities that would some-
day rest on his shoulders. Uncertainty overwhelmed him, and
troubling questions flooded his mind. How couId he govern a land
that his father didn't allow him to see for himself? So much of the
kingdom remained hidden behind a dark veil His father shielded
him--but why? Why wasn't he allowed to travel the Kingdom freely?
Why couldn't he visit villages and speak to the citizens? Why did his
father insist that he remain confined to the safe haven of the castle?
Was there really danger lurking outside the castle grounds?
He hoped his father was overprotective because he feared
losing him. He knew his father felt the pain of losing his wife Maybe
it was natural for a widowed father to shield his only son from
potential dangers for as long as he could. The day would come, the
prince thought, when his father would have no choice but to share
the secrets of the Kingdom and prepare him for his destiny.
Recalling the words of Sir Brandar, the Prince resigned himself to
wait patiently for that inevitable day without forcing the issue.
It would come soon enough.
The Prince walked down a narrow staircase that led to the
kitchen. With each step of his descent he felt the temperature rise
When he walked into the kitchen, the moist heat from the boiling
cauldrons rolled over him like a wave. So did the
appetizing aroma of the fresh soup that hissed and steamed as it
boiled. lmmediately, he felt beads of perspiration roll down his face
in uneven streams. The cramped kitchen was a messy sight. The
torch flames on the walls cast a greasy yellow light across the room.
Two long wooden planks, supported by square cut boulders of
granite, ran the length of the two walls to his left and right. The table
to his left was crowded with fresh vegetables, fruits, spices, and
scorched steel pans of various size. To his right sat a large wooden
Bowl filled with gummy dough and several fat loaves of fresh bread.
Walking forward, the
Prince stepped in a sprinkling of flower that dusted the stone floor.
Near the back wall hung a large side of fresh beef that swung gently
like a pendulum rwo giant coal burning ovens in the back emitted
fieury heat
"Who's there?" shouted a voice from the supply room behind
the ovens. A short, bearded obese man, soaked with glistening
sweat, appeared with a handful of ripe oranges. "Oh, it's you, your
highness," said Wilagon Blacklost, the castle cook. "What can I do
for you?," he asked, tossing the young Prince an orange, which he
accepted graciously.
"Nothing," answered the Prince. I've just come for a visit."
"Well, that's kind of you," said the fat cook, smiling. "You will
enjoy your dinner this evening, your highness," said Wilagon with a
blissful giggle "I'm preparing beef steaks that the Mayor of
Buntonderry sent as a special gift to your father. What glorious meat
it is," he said, admiring the hanging side of beef.
There was no reply from the Prince who took a seat in a stool and
began peeling his orange lethargically.
"What's wrong?" askcd Wilagon, sharpening his knives.
"I am worried about my father. He looks ill and seems
very melancholy."
"Aye," said Wilagon, "So he does. I spoke to Mistress Caletta
after she delivered the King his noon meal. She saw him meeting
with a strange man who frightened her. Who is this stranger,
your highness?"
"I don't know," answered the Prince, springing to his feet. "But
I'm going to find out right now."
The Prince tossed the half peeled orange to Wilagon, turned,
and darted up the stairs, two at a time. He ran down the long corridor
but stopped dead when he saw Sir Hastings accompanying a lanky
man in a long black cloak down the hall. The stranger passed him
and for an instant their eyes met. The coId stare of the stranger's
dark eyes left the Prince startled. He looked like a baneful sorcerer
from the pages of a storybook, but that was impossible. His father
had issued a decree banishing all magic and sorcery in the
kingdom over a decade before. He watched as the stranger turned
the corner that led to the main hall. The Prince turned and ran even
faster, throwing open the heavy double doors that led to his father's
study. There he saw his father, the King, at his desk with his head
buried in his hands. He glanced up at once, but his eyes were
glazed...exhausted. The Prince was startled by his father's
haggard appearance.
"Are you too important to knock?" asked the King with a tone that
reflected fatigue, not anger.
"I'm sorry," replied the Prince. "But I'm worried about you, father
and I want to talk. Who was that man who left with Sir Hastings?"
"Never mind," said the King, removing his crown and rubbing
his hands through his hair "It doesn't concern you."
"Nothing ever concerns me!" shouted the Prince. "When are
you going to treat me like a man?"
"When you grow up!" snapped the King "When you stop
daydreaming and start behaving like the son of a King."
The Prince stared at his father for a few confused, silent
seconds. The King's head dropped and he rubbed his gray
eyebrows "I'm sorry," he said. "I know you mean well, son we will
sit and talk this evening but right now I must try to sleep."
The King turned and walked toward his bedroom chamber
taking short, shuffling steps. He closed the door behind him and left
his son standing alone. From the window, the Prince saw the
stranger leave the castle grounds. The Prince thought silently for
second and dashed toward the castle entrance.
Sir Hastings and Sir Rummel were conversing in the corridor
near the drawbridge. The Prince walked by them without
saying a word.
"Where are you off to?" asked Hastings.
"Just taking a walk."
"Well stay close to the castle," warned Hastings. "A storm is
brewing," he added, looking up at the gathering clouds overhead
The Prince didn't answer. He crossed the bridge, and ran down
a dirt path that led to the woods. He jogged along a narrow trail that
cut through a dense wall of towering trees. Dark clouds gathered
overhead and raindrops began to trickle through the treetops
Soon, the Prince heard the grumbling of thunder far off in the
distance. Within moments he caught sight of the cloaked stranger
walking at a brisk pace in the darkness ahead. The Prince followed
him for several miles, attempting to shrewdly duck behind bushes
and tree trunks so he wouldn't be noticed. After several miles, the
Prince saw the stranger enter a tiny thatched shack that sat along
in a forest clearing. Taking deliberate soft footsteps, the Prince
approached the side of the hut; he dropped to his hands and knees
and crawled the last twenty feet. Rising cautiously from a squatting
position, he peeked in the open window. The cloaked stranger was
lighting a fire with his back turned.
"Come in, your highness," said the stranger.
The Prince was stunned. He ducked from sight and squatted
with his teeth clenched, afraid to draw a breath. The stranger
emerged from the front door and walked around the side.
"Well come in." he said in a soft nasalIy voice that seemed oddly
out of characterr "I'm not going to hurt you."
The Prince stood and looked at the man. "How did you know it
was me?" he asked.
"I knew you were following me shortly after I left the castle. I'm
quite observant." he said, gesturing for the Prince to enter with a
graceful wave of his arm.
The Prince entered the cluttered hut As the stranger lit
candIes through the room, the Prince took careful notice of
the filthy surroundings. Tables and shelves were littered with
magic bccks covered that were covered with thick coats of dust.
The smelI of rotting food and spoiled meat from a table in the
corner attacked the Prince's nostrils, leaving him
momentarily nauseous.
A large black dog with protruding ribs appeared in the doorway
and let out a vicious, deep-throated growl.
"Silence, Foobash!" screamed the stranger. "We have a visitor."
The dog dropped its head and whimpered, taking a submissive
seat near the fire.
The Prince stood silently as the stranger removed his cloak and
took a seat The Prince immediately felt troubled--something
wasn't right. By the time the stranger gestured for the Prince
to sit in a chair acrcss from him, the Prince knew it was too latc to
make a run for it. For the first time, the Prince gazed upon the
stranger's full face: thin and angular, sporting a short, neatly
trimmed black beard and mustache. The man had heavy black
eyebrows that danced from one expression to another. For
an instant he looked sinister, but then he flashed an ornery grin
that gave him the appearance of a lighthearted,
approachable person.
"To what do I owe the honor of a royal visit?"
"Who are you?", asked the Prince.
"I am Shiliko."
"I saw you at the castle." said the Prince. "Please, tell me why
you were there." Shiliko leaned back in his chair and stroked the
whiskcrs on his chin. The soft stroke became a troubled itch and
then he said, "The King summoned me to assist him."
"Are you a doctor?" asked the Prince.
Shiliko chuckled and poured a glass of mead from a rusty
pot..Never asking the Prihce if he would like to share a drink with
him. "A doctor? No..." he snapped. "At one time I was a necromancer
but I gave up the art many years ago." he added dejectedly.
"I was blamed for the death of a child in Farinor, and after that day
I turned my back on magic."
"What happened?" asked the Prince.
"None of your business." screamed Shiliko, pointing a threaten-
ing bony finger at the Prince.
"I'm sorry," whispered the Prince, wishing he could leave the hut
at once.
"Oh... all right.. I'll tell you," said Shiliko, with a sudden and
unexpected half-smile. "There were twin sisters--young girls
who were playing outside the village. They didn't realize that
crocodiles inhabited the lake they were swimming in...and as they
waded and splashed around, a crocodile snatched one of the girls
and dragged her down. Her screams were heard for miIes." Shiliko
took a Iong gulp of mead and breathed hard, the air inflating his
cheeks as he exhaled. "The crocodile drowned her...luckily the
villgers arrived and killed it before it could feed on her corpse. The
little girl's mother--in a deep state of shock begged me to call
upon my magic powers and cast a resurrection spell." Shiliko
finished his cup of mead and immediately poured a second.
"And...?" encouraged the Prince.
"And," barked Shiliko, angry again. "And...the spell backfired.
Instead of resurrecting the dead girl, the spell killed her living twin
sister. That is when I fled to the solitude of these woods."
"Why did my father seek your service?" asked the Prince.
"It seems as though your father is plagued by nightmares. I was
asked to help him overcome his disturbing dreams. Your father
believes that magic is his only defense against the demons
of his mind."
"But my father hates magic." said the Prince.
"Your father has a weak mind . He hates what he fears and fears
what he hates," said Shiliko, tilting his head at the ceiling.
"Did you help him?" asked the Prince.
Shiliko shook his head in disgust. For an instant the Prince
thought the sorcerer would lash out and strike him.
"At first I thought it was a trap." said Shiliko, pounding his fist on
the table. "But I realized the request was legitimate when Sir
Hastings discovered my dwelling. lf the King planned to have me
arrested, Sir Hastings would have shackled me then and there."
Shiliko cracked his knuckles violently and continued. "I cast a spell
for your father and assured him that his nightmares would cease
But my skiIls were drowned with that little girl in Farinor. I selected
an ominous sounding spelI from that black book," he said, pointing
to the table in the corner, "and cast it with an impressive incantation
that added dramatic effect. If your father sleeps welI tonight, it's only
because he believes my spell had power to kill his bad dreams."
Shiliko finished his third cup of mead and, without pausing,
poured a fourth, gulping it down in three huge quaffs. Outside,
lightning flashed and thunderclaps boomed. Rain began to fall in
sheets and the Prince could hear the downpour pounding the
thatched roof.
Drops of water began to drip on the Prince's head, and he stood
and walked to the table where the black book rested. The book was
titled The Black Art and its cover had a threateniny illustration of a
red serpent--exposed fangs ready to strike its enemy. He opened
the book and leafed through it until he stopped at a page with a
tasseled bookmark. The Chant of Death was described
in hideous detail.
"Is this the spell you cast?', asked the Prince holding
up the book.
Shiliko belched and squinted "That's the one." he answered,
laughing. "I told the Kirg it would kill everything in his nightmares."
The Prince thought he heard him mumble, "the fool"
under his breath.
The Prince closed the book and placed it cover down--on the
table. His eyes scanned the crowded book shelves. One book
captured his attention: The Legend of Nhagardia. He rcached up
and snatched the book. Turning to Shiliko, he said, "My mother
Used to read me this book when I was a little boy...she loves these fables."
"So, the Queen was a believer?" Shiliko asked, more to himself
than to the Prince. "But fables they're not. The legend of Nhagardia
is true, very true."
The Prince looked at Shiliko with a leery glance.
"You doubt me?" grunted Shiliko.
"No...tell me about the legend," said the Prince, taking
his seat again.
Shiliko, half drunk, licked a few errant drops of mead from his
mustache and sat up in his chair. He leaned forward with a smile
and began speaking with enthusiasm and authority. "The enchanted
land of Nhagardia was once a great empire comprised of five
realms...and each realm was ruled by the great Emperor Shamar.
Alonia is our own realm--but the other realms are nothing like ours.
Alveola is a subterranean realm inhabited by the Gnomes; Thalassy
is the wondrous land hidden at the bottom of the sea...and Aerieus
is the realm of the clouds. Dare I forget Fraywood, the forest home
of the mischievous elves and fairies. Emperor Shamar commanded
the five realms from the Castle Thiris, the ruins of which
still exist today."
Shiliko finished another cup of mead and continued, his speech
beginning to slur. "Magic," he shouted, standing and pointing for
emphasis, "was the quintessential thread that bound the five realms
together." The sugar from the fermented honey rushed to his head
and drove him downward into his chair with a thud. The Prince
pushed his chair away slowly. Now he was frightened by Shiliko's
unpredictable behavior.
"It was a world of magic and wonder, continued Shiliko. The
sorcerers and wizards were heralded as heroes...but Emperor
Shamar's magic began to fail and he fell ill. He set off in search of
a remedy, but before doing so he forged five individual crowns from
his own crown, dispersed his power equally among the five realms,
and named a King in each territory." After a short, contemplative
pause he said, "I suppose one of those Kings was
your direct ancester."
The Prince thought for a moment and asked with uneasy
reservation, "What happened to the Emperor?"
"Shamar left and was never seen again," said Shiliko angrily.
"Don't you know anything? ..Are yow daft?" Within seconds he was
smiling again, saying. "Legend says he died before he could
discover the remedy to his illness."
"You said the legend wasn't a fable--what do you mean?"
asked the Prince. "I mean that the other realms really exist," he said,
leaning back in his chair. "Alonia is only one of the realms of
Nhagardia. Your father may be the King of Alonia, but there are
other Kings in Nhagardia as well."
"Why can't we travel to the other realms today?"
asked the Prince
"The realms intermingled peacefulIy for centuries, but slowly
contact between the races began to diminish until the portals were
sealed off," replied Shiliko. "And it certainly didn't help when your
father banned magic in the kingdom!" he shouted, kicking the table
leg in a sudden rage.
"But how do you know the other realms exist?"
"Beeeeccaauusssee.." dragged on Shiliko sarcastically, "I've
seen an Elf and a Gnome myself--right here in these woods.
Believers can still see remnants of the realms. Are you a believer"
"l don't know," responded the Prince.
"You really are a wonderful young man," said Shiliko, reaching
over and patting the back of the Prince's hand. The Prince stared
him in the eye, looking for a flash of genuineness that he couldn't
find. "You can take the book with you. Consider it a gift."
The Prince hesitated, but accepted it with gratitude. Shiliko
stood and walked slowly to the fireplace. He turned his back to the
Prince, slouched his shoulders, picked up a poker, and jabbed the
burning logs, which sparked and crackled as they rolled. Shiliko
stood straight and remained silent, staring directly at the wall in front
of him. He turned suddenly--wild crossed eyes and a clenched
grin so strained that his head shook violently. A look of sheer
madness erupted on his face.
"Get out of here!" ordered Shiliko, pointing the poker at the
Prince's throat. "I'm tired of talking to you. Leave me alone!"
The Prince was too frightened to stir. Shiliko nudged Foobash
with the poker and the dog snapped to attention. "You heard me!"
screamed Shiliko. Foobash hates visitors, especially pesky little
spies like you."
Foobash began growling, his fangs exposed and his upper lip
quivering in spasms of rage. The Prince placed the book underneath
his garment, hesitated for a moment, and dashed out the door into
The pouring rain. Foobash chased him forty yards before turning
back, and the Prince could hear Shiliko's cackling laugh drown
away in the rain. He ran as fast as he could--frightened, queasy,
and dripping wet--through the woods toward the safety
of Castle Ballytogue.
The Prince stumbled through the pitch black castle corridors,
feeling his way along the walls. The darkness terrified him, as it
terrified all the inhabitants of Alonia. Because it was a flat world, the
land never experienced the darkness of what the storytellers called
"night." The Prince didn't understand why all light was extinguished--
why he was blind. He only knew he was alone. Suddenly, the Prince
became disoriented and tripped over what felt like lifeless bodies
lying on the floor. Adrenaline raced through his system, his heart
pounded, and he was too terrified to scream. In a state of panic, he
tried to run, but hands with sharp fingernails reached out and
grabbed him from the darkness. The hands restrained him while
razor fangs tore into his flesh.
He fell through a trap door and landed harshly in a freezing,
black room. He staggered forward in the darkness, feeling
desperately for a match so he cculd shine light. He stepped on a
sharp object and felt a piercing pain in his foot. It felt familiar. His
father's crown, his future crown, was lying on the floor. He picked
up the crown and clutched it tightly to his chest. The Prince,
paralyzed by terror, felt an evil presence surround him, closing in
slowly, choking him He was suffocating in the darkness.
The Prince sat up in his bed, gasping for breath. His pillow and
sheets were soaked with sweat The book that Shiliko gave him
dropped from the bed onto the floor. The pages were wet and
wrinkhed Catching his breath, the Prince realized he was safe in his
room, safe in the light. He laid back and tried to gather his thoughts,
but he could hear his father's restless footsteps shuffling through
the corridor outside his room. Back and forth, for hours, his father
walked the halls in despair.
The nightmares grew worse.

BACKGROUND
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The Kingdom of Alonia

Challenge of the Five Realms begins in the Kingdom of Alonia.
Your father, King Clesodor, rules the land, and you, the Prince, are
the future heir to tho throne. Thc world is a flat disk and its oceans
lap the edges of the world, pouring into the infinite abyss of space.
Because the world does not rotate around its sun, its inhabitants
never experience darkness or what the story tellers call "night." Most
inhabitanhts of Alonia are claustrophobic; they are terriIied of dark-
ness and generally avoid enclosed areas where natural light can't
reach: places like caves, dungeons, and cellars. Those thrust into
darkness as a method of punishment are often driven mad.
Time in Alonia is counted in millennia (thousands of years). And
every thousand years, the world celebrates the end of an era and
the beginning of a new one. This year, in only a short time, the new
millennium will be celebrated.
As the Prince, your life has undergone significant change in the
last decade. Nearly ten years ago your mother, Queen Feya, was
killed in a tragic accident at the Cliffs of Mahor. Shortly after, your
father who always despised magic, but tolerated it because your
mother was an advocate of the art banned magic and issued a
decree exiling sorcerers from the kingdom.
The mainland of Alonia is comprised of a number of villages and
landmarks. The terrain varies greatly. Thc polor caps of the north
and south are for the most part uninhabited. There is a rugged
mountain range in the north. Mount Shaska is the highest mountain
in the land. The desert to the south is barren only one desert
vilIage is populaled. Both the east and west cosats of Alorlia have
harbor villages where ships from distant islands dock and trade.
Commington Forest, which stretches for miles, is usually avoided
because of stories of rogue bands who inhabit the forest.
and rob visitors.
Landmarks on the mainland include the Cathedral of Eqqus, the
hub of the religious order that most inhabitants of Alonia profess to
follow. The gothic cathedral is home to the monks of the religious
order. The Cliffs of Mahor, on the west coast of Alonia, are scenic
and awe-inspiring, though you find it difficult to visit the site, for it was
there that your mother met her tragic end. CastleDuras, in the upper
west coast of Alonia, is the royal family's western castle. Since your
mother's death you have spent very little time there. The Mines of
Signor--in southeastern Alonia--were once the source of Alonia's
most precious gems. But most experts agree that the mines have
been stripped, and the site has been closed and declared a
hazard. ln the very center of the world are the ruins of the Castle
Thiris (The Castle of Thorns). Storytellers say Thiris was the seat of
Emperor Shamar's kingdom and the ruling center of the five realms.
Today, the castle is surrounded by an impenetrable wall of
thorns and serves as a focal point for famous Iegends, ghost
stories, and myths.
There are inhabited islands and landmarks off the coast of
Alonia. The island of Vinazia, in the northeast, is ruled by your cousin
Duke Gormond. Castle Cologn, the Duke's castle, is just outside a
well populated village. Though the Duke has remained loyal to your
father, you've never enjoyed his company or trusted his motives. In
public settings Duke Gormond has been kind, but privately the
Duke demonstrates his general lack of respect by taunting you with
verbal insults. ln the northwest is the island Jupiles, where an
eccentric self-proclaimed ruler. The Grand Exalted Royal Honored
Emperor Kuvey Lyter, oversees his own independent kingdom.
Lyter has continually rebelled against the King's rule, but to date the
King has never attacked the neighboring island. The Dungeons of
Monteplai are on a small island in the western waters, near the Cliffs
of Mahor. The dungeons house the most sadistic and dangerous
criminals in the kingdom. No one sentenced to a term in the
dungeons has survived...the legend says.
This is the kingdom of Alonia--a land filled with beauty, magic,
mystery, danger, and intrigue. lt's a land that is still very new to you,
despite the fact that you will one day be its ruler.

BACKGROUND
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The Legendary Five Relms of Nhagardia...

Nhagardia is the name that storytellers and mystics call your
world--a world divided into five independent realms or dimensions.
Fables state that the five legendary realms are: Alonia, an ordinary
agrarian realm inhabited by Humans...Fraywood, an enchanted
forest land where mischievous elves and fairies cause chaos and
use strange magic... Aerieus, a realm in the clouds inhabited by
pacifistic spirit-like beings and animals...Thalassy, a hidden realm
in the depths of the ocean inhabited by mermen and mermaids. . .and
Alveola, a subterranean realm inhabited by a race of gnomes.
Legend states that ______________________________
Nhagardia was once a great | |
world empire, ruled by Emperor | |
Shamarfrom his grand palace at | |
the very center of thc world. The | |
world was at peace, and the five | Fig. 1 |
realms co-existed harmoniously. | |
Magic was the quintessential | |
thread that bound the five realms | |
together, but when the Emperor's | |
magic began to fail, and he fell |______________________________|
ill, he left his Kingdom in search
of an elusive remedy. Without an heir to bequeath his crown to, the
Emperor distributed his power equally to appointed leaders of the
five realms. The Emperor crowned a King in each realm with a
special crown constructed from his own magnificent crown of
power. The five crowns were reminders to all that the Emperor was
still the ruler of the world despite his temporary abdication of power.
For centuries the crowns were passed down from generation to
generation, but the Emperor was never seen or heard from again.
Slowly the portals between the realms closed and contact between
the races ended completely. Today, there are still those who have
claimed to have seen a gnome or mermaid or elf, but for the most
part these pub stories are ridiculed and scoffed at. Now, a millen-
nillm has passed and most people say the legend of the Emperor
is only a myth.

BACKGROUND
----------

Introduction to the Story...

You assume The rule of the young Prince of Alonia. As you sit
reading the book that Shiliko gave you, you watch your father, King
Clesodor, as he's struck down by Grimnoth, a mysterious and evil
sorcerer. Grimnoth's parting words to you were to deliver the Crown
of Alonia to the Castle Thiris on New Year's Day. You have 100 days
to surrender the crown or to find a way to stop Grimnoth's plans.
Meanwhile, the force behind Grimnoth's threat is becoming
apparent. A plague of darkness crawls slowly across the surface of
the world Within, the sun is blotted out and "night" is constant.
Crops are dying, animals are slaughtered, the world is pervaded
with bone-chilling cold, and innocent people are being terrorized
and killed by Grimnoth's Legion: A foul collection of hellish demons
and monsters. Grimnoth says he will only reverse the spell when he
is crowned Emperor. Until then, the world will remain spellbound.
Sifting through your mother's possessions you come across a
decree that bans the sorceress Cagliostra from the Kingdom. You
vaguely recall the witch, whom your mother consulted when you
were a small child. You realize your first step is to find the
banished Cagliostra. You vow to avenge your father's death and
prepare to set off against the evil powers of Grimnoth. And so, your
adventure begins...

BACKGROUND
----------

The Adventure...

Now, you, the Prince, are faced with the epic quest of discov-
ering Grimnoth's weaknesses, then uncovering his secrets to save
the world from the dark plague slowly spreading across, and
destroying, the world. The plague is represented by encroaching
darkness. You have 100 days to stop Grimnoth before the plague
of darkness reaches Castle Thiris, at which point it will instantly
cover the northern hemisphere of the world, destroying all life.
Initially, you must seek the advice of the witch, Cagliostra, who
was banished by your father. She will set the stage for the adventure
and tell you about some critical steps that must be taken for the
adventure to progress
Along the way you will recruit characters to join you on your
quest. As a team, you will battle evil forces with strength, cunning,
and magical power. Command your friends in fierce battles to
protect your homeland. Create and cast powerful spells to vanquish
your enemies. Explore hidden dungeons. Unlock age-old myster-
ies, solve challenging puzzles, and find the clues and components
needed to weaken Grimnoth and break his spell of darkness.
In addition, you will have to tangle with the forces of your cousin,
Duke Gormond! who has usurped your crown and named himself
new ruler of Alonia. The Duke will continually send armies to kill you.
The only way to retrieve your lost crown and finish the adventure is
to eventually defeat Gormond's army on the island of Vinazia. But
before embarking to Vinazia, be sure you have a strong team of
skilled characters with strong combat and magic skills. Gormond
has built a powerful army of knights that will be difficult to defeat.
And in the end you must be the one to discover if the four fabled
realms truly exist. If they do, and you are fortunate enough to
discover them, you will become the first hero in centuries to traverse
the five realms of Nhagardia. Only after you unlock the secrets of the
realms will you discover where Grimnoth dwells. Then you can
confront the evil lord face to face in the final confrontation.

End of Part I.

=============
II. GAME PLAY
=============

Creating your hero

After you view the animated introduction and name your character, the
character genration menu appears. This is where you generate your character
(the Prince) for the adventure. Character generation can occur in two ways;
with Quick Generation or by Manual Generation, which entails answering
a series of questions.
The five options that appear on the Character Generation menu are:

MANUAL GENERATION:
Allows you to generate you hero for the adventure by answering a series of
questions.

QUICK GENERATION:
This method, which was designed for players who want to get right into the adventure
without taking part in the character generation process, randomly produces a character in
the blink of an eye and presents his statistics, attributes, and skills on the screen. There is
also a graphic representation of a character in the upper right hand portion of the character
statistic sheet. On each side of the character's portrait, you'll notice swords pointing left and
right. Clicking on the sword with the mouse or joystick (or pressing the left and right arrow
keys) will revolve the portrait and display a new one. Continue clicking on the sword (or
pressing the left and right arrow keys) until you find ~ portrait of the Prince that ysu wish to
select. If none of the portraits are to your liking, you can create your own face using the Face
Paint Program (SEE APPENDIX). After a character sheet is displayed, and you've h~d time
to review it, click on the scroll icon in the upper right hand corner (or press the enter key).
This returns you to the Character Generation Menu. You can begin the y~me with the
character you just reviewed by selecting Exit to Game or randomly generate another
character by selecting quick generation again.

Quick Generation
Randomly creates a character for you.

Toggle Music - Toggles music on and off.

Exit To Game - Allows you to begin the adventure once you've created or
quick generated a character.

Quit - Exits to DOS.

MANUAL GENERATION
This method allows you have more control in tailoring a hero to
your own likeness. The player is presented with a series of twelve
questions that have multiple choice answers. By placing yourself in
the situations posed by the questions, you will create a character
that is your true alter-ego.
The question appears at the top of the screen. A picture
appears in the middle portion of the screen, and the bottom portion
of the screen shows an answer. To the left of the answer are two
sword icons, one pointing up and the other pointing down. By
clicking on the icons using a mouse or by pressing the up and down
arrow keys, you can scroll through the possible answers. When
you've read through the options and decided which answer you
would like tu choose, click on the scroll icon using the mouse or
press the enter key.
The answers to the first four questions help to determine
whether your character leans toward being a diplomat, a warrior, a
thief, or a wizard. After the first four questions are asked a screen
appears that describes your fighting skills, magic ability, diplo-
macy, and illegal tendencies. After you've reviewed this information
press any key to continue.
Next, a series of eight questions are asked. The questions vary,
according to whether your character leans toward being a warrior,
diplomat, wizard, or thief. Answer these questions in the same
manner as you did the first four questions.
After answering these twelve questions, your character's statis-
tic sheet is assembled.

Character's Statistic Sheet

Your character's statistic sheet shovvs a portrait of your charac-
ter as well as his attributes and skills levels. Skill levels range from
0-100. A level of 100 is the maximum a character can have in a given
ability. Your character's skill points are based on how you answered
the twelve questions.
There is also a graphic representation of a character in the
upper right hand portion of the character statistic sheet. On each
side of the character's portrait, you'll notice swords pointing left and
right. clicking on the sword with the mouse or joystick or pressing
the left and right arrow keys) revolves the portrait and displays a new
one. Continue clicking on the sword (or pressing the left and right
arrow keys) until you find a portrait of the Prince that you wish to
select. If none of the portraits are to your liking, you can create your
own face using the Face Paint Program (SEE APPENDlX). After a
character sheet is displayed, and you've had time to review it, click
on the scroll icon in the upper right hand corner (or press the enter
key). This returns you to the Character Ceneration Menu. You can
begin the game with the character you just reviewed by selecting
Exit to Game or manually generate another character by selecting
Manual Generation again.

GAME PLAY

Attributes and Skills

Attributes--Each character has characteristics and skills. A
character has five basic characteristics attributes). Characteris-
tics range from Q-1QQ. The basic characteristics are:
PHYSICAL--The character's ability to handle vigorous athletic
endeavors with skill, ability and precision.
COMBAT--The hand-to-hand combat skills, as well as weap-
ons skills, are encompassed in this attribute.
MENTAL--The ability of the character to solve problems and
apply logic to specific tasks. The mental attribute encompasses all
skills that reflect intelligence to perform.
MAGICAL--The ability of the character to perform magical
feats, such as spell casting and spell creation.
PERSONALITY--The character's personality traits that deter-
mine hi.s oourage, morality, integrity, and honesty. Personality alga
reflects what types of characters you are able to recruit.
Skills Skills let a character perform tasks with better efficiency
or chance of success. A broad range of skills are attached tc
specific tasks. All skills range from 0-100. Skill areas include:

A) Physical * Strength * Agility * Endurance
* Dodge * Ride * Swim
* Fly * Walk

B) Combat * Flsticuffs * Sword * Bludgeons
* Large Blade * Hand Weapons
* Missile Weapons * Shield

C) Mental * Bargaining * Medicinal * Reading
* Translating * Boating * Stealth
* Observation * Persuasion
* Mechanics/Tinker

D) Magical * Magic Aptitude * Spellcasting
* Spell Creation

E) Personality * Courage/Bravery * Leadership * Charisma
* Morality * Bribery * Crime

GAME PLAY

Skill Descriptions

STRENGTH--Refers to the character's muscular power The
higher the strength, the more effective physical tasks can be
accomplished. Strength also determines the amount of weight a
character can carry without becoming encumbered and slowed.
Strength is also a factor in the number of initial hit points a character
begins with, and strength plays a part when threatening.

AGILITY--Agility involves a character's physical Coordination
and ability to quickly perform actions. Agility represents speed and,
is a factor in the basic number of hit points.

ENDURANCE--Endurance refers to a character's physical
stamina and abitity to perform demanding activities over an ex-
tended period of time. Endurance skill is critical in comhat
situations. Enduranoe is also a factor in determining a
character's hit points.

SKILL DESCRIPTIONS

DODGE--Ability to dodge an attack.
RIDE--Ability to ride a horse or other animal.
SWIM--The ability to successfully swim long distances.
FLY--The ability to fly in the air.
WALK--The ability to walk on land.
FISTICUFFS--Ability to fight with fists at close range.
SWORD--The ability to use a range of swords including the
broadsword, cutlass, gladius, greatsword, longsword and rapier.
Use also is based on strength, agility, and endurance.
BLUDGEONS--The ability to use bludgeon weapons like the
club, flail, mace, quarter staff and war hammer. Ability is also based
on strength, ability, and endurance.
LARGE BLADE--Ability to use large blade weapons like the
battle axe, halberd, and scythe. strength, agility and endurance
are also factors.
HAND WEAPONS--Ability to use small, conceaied hand
weapons like the blackjack, cestus, dagger and garrote.
MISSILEWEAPONS--Abilityto use missile weapons including
crossbows, daggers, long bows, short bows, slings and spears.
SHIELD--Ability to use a shield effectively to block attacks.
BARGAINING--The character has negotiating power and
often gets things for less than they are worth.
MEDICINAL The individual has healing ability with natural
herbs and medicines.
READING--The character can read text and runes.
TRANSLATING--The character has an aptitude for under-
standing foreign languages.
BOATING--The character can successfully sail and navigate
a water vessel.
OBSERVATION--Helps the character find hidden objects and
detect covert actions.
PERSUASION--The character can persuade individuals or
groups to take a particular course of action. Plays a part when
threatening .
MECHANICAL/TINKER--The character can use, operate,
build and repair devices.
STEALTH--The individual is able to remain unobserved by
moving quietly and taking maximum advantage of available cover.
MAGIC APTITUDE--The ability of a non-mayic character to
use a spellbound object effectively.
SPELLCASTING--The ability of a magical character to cast a
powerful spell. The level of the skill reflects the power of the spell.
The level of skill also reflects the ability to bind spells in magic
objects. Plays a part when threatening.
SPELL CREATION--The ability for a magician to create a new
spell with spell components.
COURAGE/BRAVERY--The character's ability to face a crisis
with conviction and faith. Courage skill weakens evil opponents.
LEADERSHIP--Ability to persuade other members of the
party. Also helps determine the recruiting ability along with persua-
sion and charisma.
CHARISMA--Charisma reflects a character's eloquence and
charm. High charisma also increases the leadership, bargaining,
and persuasion skills. It also helps determine the success of
successfully recruiting a character to your party.
MORALITY--Determines whether a character is steadfastly
honest or if he tends to distort the truth and even outright lie.
Important for determining what type of characters will
Join your party.
BRIBERY-- skill at successfully bribing an individual for
information or an object of value.
CRIME--The ability to rob and pick locks.

GAME PLAY

Specialized Skills

As the adventure progresses you and your party can increase
your skill levels by performing tasks successfully. A character can
possess up to seven specialized skills (skills that are 100+).

However, of the seven specialization skills, two must relate to a
weapon and a shield. But, you can only specialize (have a skill level
of 100+) in one type of weapon and one type of shield.

GAME PLAY

Improving Your Skills

When your characters successfully perform a given task in the
game, the skill that relates to that task increases between O-5 points.
However, in combat when you successfully strike with a weapon,
your skill only increases between 0-3 points.

The interface is broken down into the following components:

A. REALM OR VILLAGE - Tells you the name of the village or
realm you are adventuring in.

B. DAY - The number of days since the adventure began.
Remember, you have 100 days before the plague reaches the
Castle Thiris and the world is destroyed.

C. NPC WINDOW - When you meet a non-player character
during the course of your adventure, his portrait appears here. His
text can be viewed in dialogue bubbles that overlay the game play
area. The character's name appears directly below his portrait.

D. PLAGUE OF DARKNESS INDICATOR--Alerts you to the
extent that Grimnoth's plague of darkness is nearing Castle Thiris,
or the 100 day limit. The bar becomes progressively darker as the
deadline approaches.

E. PLAYER CHARACTERS--The bottom portion of the screen
shows a portrait of the player characters in your party. The portraits
are active if you click on them the character information sheets are
activated (SEE CHARACTER SHEETS). You'll notice a bar to the
right of the character's portrait. This bar represents the health level
of the character. When the bar diminishes the character's health
decreases. If the bar is cQmpletely diminished the character dies.

F. GAME ICONS--The entire game is controlled with icons.
After an icon is selected, A parchment with icon options appears.
(SEE GAME ICONS FOR A DETAILED EXPLANATION)

G. THE COLLECTIVE STAMINA BAR--Depending on the
weight that characters are carrying, and their endurance and
stamina levels, your party will periodically have to rest and eat to be
at their maximum strength. The collective stamina level of your party
is represented by a bar at the top of the interface screen. The
collective stamina is based on:

1) The fatigue level of each of your characters. b) The endur-
ance of the charactcr. c) The strength of the character. d) The
hunger level of the character.

2) The amount of rest that your party has had.

Characters must periodically eat to maintain strength. The
members of your party will remind you when they are hungry. Food
needs to be a constant inventory item through the game. Rest can
occur in two ways:

3) By resting your party wherever they are. Rest takes twice as
long in the open areas of a territory and healing does not occur.

4) By resting in a lodge. Rest takes half as long and all
characters are healed after resting.

Where rest is concerned, your party of characters is handled as
one collective identity. The collective stamina bar alerts you when
it is time to rest and eat and as always, your party members speak
up and remind you.

H. OVERHEAD VIEW SCREEN--The overhead view screen
consists of a top-down representation of the village or territory you
are exploring. When you're not exploring a specific area, the world
map appears in the window. During overhead exploration your
entire party is represented by one icon. However, when your party
enters the combat mode, each character will be represented
individually on the screen (SEE COMBAT).

GAME PLAY

Game Icons

The game icons and their options are:

Party--When this icon is selected the following options
can be selected:

Dismiss--Lets you dismiss a member of your party.

Rest--Allows your party to rest and regain their strength and
stamina. Rest takes as long as is necessary to heal and revive
your character(s).

Eat--When this option is selected your party consumes food,
provided they have il in their inventories.

Money--Lets your characters pool money into one fund or
disperse amounts between individual characters.

Game Options

Save--Saves a game in progress.

Restore--Lets you restore a previously saved game.

Quit--Lets you exit to DOS.

Sound--Lets you toggle sound effects on and off.

Music--Lets you toggle music on and off.

Help--The help option offers you useful tips that keep you on
track during the course of the adventure. When the option is
selected, one of the characters in your party offers advice about
what to do next.

Credits--Allows you to view the credits of the team that worked
on Challenge of the Five Realms.

Notes--Lets you take notes and reference them during the
course of the game.

World Icon

Zoom Out--Changes the perspective to an overhead
representation of the entire village or area you're explor-
ing. Your party is represented by a yellow dot. Other NPCs
are represented by red dots. Important buildings are dis-
played in green.

World Map--Lets you see where you are located on the world
map at any given moment. Also allows you to access the world
map so you can pick a new location to travel to.

Search--Allows you to search a given area for hidden objects
or search the bodies of charaGters you have defeated in
combat. Your character's observation skill determines whether
you will successfully uncover hidden objects. The search option
must be used often if you hope to uncover hidden objects.

Look--Gives you a description of what your character can see
around him at any given moment.

Magic Icon

Create Spell--Allows you to create a spell if you have the
necessary spell components and if you have a high
magical aptitude.

Bind Spell--Allows a skilled sorcerer to bind a spell into an
object for others to use.

Cast Spell--Allows you to cast a spell at a designated target
or opponent. (SEE SPELLCASTING AND MAGIC for a more
thorough explanation of the magic system.)

Components--Lets you view the spell components in your
character's inventories.

Combat Icon

When the combat icon is selected you have two choiccs:

Interactive Combat--Lets you battle enemies in an interactive
mode where you personally control the actions of your party.

Quick Combat--In quick combat mode, you do not have to
issue orders to your characters. They fight automatically, based
on their skills and weapons.

After you select the combat mode, the scene changes to the
csmbat screen. (SEE COMBAT for a detailed explanation of the
combat system.)

Communicate Icon

Threaten--Some characters may be unwilling to talk to
your party. If you think that they are holding back
important information, you can threaten them with this option. Of
course, it helps if you have a physically intimidating, strong
character to do the threatening.

Give--When this option is selected you are asked what
character wants to give an item to a character you meet. Select
the character from a list that appears on an overlay window.
After the character has been selected, a list of the objects he has
in his inventory appears. Scroll the highliyhter through the list
and select the object you want to give by clicking on it or
pressing the Enter key. Hail--this option causes all action on
the screen to pause for a few seconds.

(SEE MEETING AND CONVERSING WITH CHARACTERS for a
detailed explanation of how to speak to characters.)

...skill descriptions

Specialized Skills

As the adventure progresses you and your party can increase
your skill levels by performing tasks successfully. A character can
possess up to seven specialized skills (skills that are 100+).

However, of the seven specialization skills, two must relate to a
weapon and a shield. But, you can only specialize (have a skill level
of 100+) in one type of weapon and one type of shield.

Improving Your Skills

The interface is broken down into the following components:

A. REALM OR VILLAGE - Tells you the name of the village or
realm you are adventuring in.

B. DAY - The number of days since the adventure began.
Remember, you have 100 days before the plague reaches the
Castle Thiris and the world is destroyed.

F. GAME ICONS--The entire game is controlled with icons.
After an icon is selected, A parchment with icon options appears.
(SEE GAME ICONS FOR A DETAILED EXPLANATION)

a) The fatigue level of each of your characters. b) The endur-
ance of the charactcr. c) The strength of the character. d) The
hunger level of the character.

e) The amount of rest that your party has had.

characters must periodically eat to maintain strength. The
members of your party will remind you when they are hungry. Food
needs to be a constant inventory item through the game. Rest can
occur in two ways:

a) By resting your party wherever they are. Rest takes twice as
long in the open areas of a territory and healing does not occur.

b) By resting in a lodge. Rest takes half as long and all
characters are healed after resting.

Where rest is cpocerned, your party of characters is handled as
one collective identity. The collective stamina bar alerts you when
it is time to rest and eat and as always, your party members speak
up and remind you.

GAME PLAY

Game Icons

The game icons and their options are:

Party--When this icon is selected the following options
can be selected:

Dismiss--Lets you dismiss a member of your party.

Rest--Allows your party to rest and regain their strength and
stamina. Rest takes as long as is necessary to heal and revive
your character(s).

Eat--When this option is selected your party consumes food,
provided they have il in their inventories.

Money--Lets your characters pool money into one fund or
disperse amounts between individual characters.

Game Options

Save--Saves a game in progress.

Restore--Lets you restore a previously saved game.

Quit--Lets you exit to DOS.

Sound--Lets you toggle sound effects on and off.

Music--Lets you toggle music on and off.

Credits--Allows you to view the credits of the team that worked
on Challenge of the Five Realms.

Notes--Lets you take notes and reference them during the
course of the game.

World Icon

World Map--Lets you see where you are located on the world
map at any given moment. Also allows you to access the world
map so you can pick a new location to travel to.

Look--Gives you a description of what your character can see
around him at any given moment.

Magic Icon

Create Spell--Allows you to create a spell if you have the
necessary spell components and if you have a high
magical aptitude.

Bind Spell--Allows a skilled sorcerer to bind a spell into an
object for others to use.

Cast Spell--Allows you to cast a spell at a designated target
or opponent. (SEE SPELLCASTING AND MAGIC for a more
thorough explanation of the magic system.)

Components--Lets you view the spell components in your
character's inventories.

Combat Icon

When the combat icon is selected you have two choiccs:

Interactive Combat--Lets you battle enemies in an interactive
mode where you personally control the actions of your party.

Quick Combat--In quick combat mode, you do not have to
issue orders to your characters. They fight automatically, based
on their skills and weapons.

After you select the combat mode, the scene changes to the
csmbat screen. (SEE COMBAT for a detailed explanation of the
combat system.)

Communicate Icon

(SEE MEETING AND CONVERSING WITH CHARACTERS for a
detailed explanation of how to speak to characters.)

Character Information Sheets

At any time during the game you can access a series of detailed
character sheets for each member of your party by clicking on the
character's portrait or by pressing the F1- F10 keys. After the portrait
is clicked or the key pressed, the first character sheet appears. This
is the CHARACTER STATISTIC SHEET.
The character statistic sheet shows the character's name, his
portrait, his hit points, his fatigue level, his magic points, his
encumbrance value, and a list of all his skills under the attribute
headings. At the right hand portion are buttons that can be clicked.
You can scroll through these buttons with the up/down arrow keys.
This same method is used for all screens below. The buttons are:

Escape--Lets you escape back to the game.

Inventory--Takes you to your character's INVENTORY SCREEN.
A character can carry up to fifteen items on his person.

Spells--Takes you your character's SPELLBOOK, where spell
components are stored and created spells are listed so that you can
view them.

Garb--Takes you to the garb screen that shows the clothes
and accessories that the character is wearing on his body. As well,
objects that he is carrying are shown and armor is displayed if the
character has donned any.

Next Character--Allows you to scroll through the characters in
your party so you can determine who you want to give a selected
item from a sack, backpack, or chest to. After you select an item, you
can drag it to the character you want to give it to.

Bag--When the sack button is clicked you will see an overlay
display of a sack that can hold up to sixteen items. To select an item,
click on it and drag it to the desired location, whether it be in your
hands, on a particular part of your body, or in the inventory of one
of the other characters.

Backpack--When the backpack button is clicked you will see
an overlay display of a backpack that can hold up to twenty items.
To select an item, click on it and drag it to the desired location,
whether it be in your hands, on a particuiar part of your body, or in
the inventory of one of the other characters.

Chest--The chest holds up to 100 items for the entire party.
When an item is selected you must select the character you want
to give it to. The chest holds equipment that all party members have
equal access to, unlike the sack, backpack, and inventory screens.
Due to the cumbersome nature of the chest, its contents are not
accessible during combat. If you retreat during combat, the chest
will be confiscated by your opponent.

On the INVENTORY and GARB screens you see three
additional buttons:

Examine--Lets you get a description of the object that
you selected.
Use--Lets you use an object that you selected.

Drop--Lets you drop an object that you've selected. Once it
is dropped it is removed from your character's inventory.

At times, you may have a squad (five characters) in your party.
For instance, you may recruit a squad of archers or a squad of
knights to aid you in your battles. A squad is handled as one
individual character, but the character sheet for a squad is handled
slightly different.

The World Maps

At any point during the game, clicking on the world map icon
gives you a beautiful rendering of Alonia (or another realm you are
exploring). By aiming the cursor at one end of the screen using the
mouse or the arrow keys, the world map automatically scrolls to the
outermost region of the world. As your mouse or arrow keys take you

(See Razor's FULL COLOR .GIF of the Alonia World Map)

over cities, castles, and landmarks, location names come up on
that area ot the screen. The name of your current location is always
highlighted in blue.
You don't have to physically move your characters on a world
map. To quickly travel from one location to another, click on that
area with the mouse or press the Enter key. A red line, representing
the movement of your party, makes a visual path to the new
location. If your party encounters a conflict along the way, the red
line stops and the scene changes to an overhead perspective
where you are again in control of your characters. You must
overcome the obstacle blocking your path before you and your
party can move on.
To get out of the world map and back into the game, press the
Escape key or position the cursor on an area of the map that is not
named, and click on it or press Enter.

Exploring Areas
from Overhead

After you've selected a village or territory to explore, the view
changes to an overhead map where you control the movement and
action of your hero and his party. While exploring an overhead map
you can zoom out using the option under the World Icon icon.
When you zoom out you will see a representation of the village you
are exploring. All important characters are highlighted in red.
Important buildings to visit are displayed in green by using the
zoom out mode you can see what is important and what is not so
you don't have to waste any time wandering about.
During village and territory exploration your party is repre-
sented by one individual icon--the character you designate as
leader. However, when you enter combat mode, each character
in your party is represented by an individual sprite. Your party can
be moved in any direction with a keyboard, mouse, or joystick.

As you explore villages you will notice a variety of characters to
meet and interact with. There are non-player characters (NPCs). By
clicking on an NPC you can get a narrative description of the
character before a conversation begins. When you click on a
character he/she stops moving so you can walk to them without
them scrambling away. To threaten an NPC or to give him an
important object, use the options under the Communicate Icon.
There may be important objects Iying on the overhead maps. To
take an object, simply click on it and then click on the character's
portrait whom you want to give the object to. The object is instantly
added to his inventory.
While exploring from overhead you may want to use magic
against enemies or to overcome obstacles. Refer to the MAGIC
AND SPELLCASTING section of the manual for instructions.
As well, you may find yourself in a battle against enemies. Refer
to the COMBAT section of the manual for an explanation of the
combat system.

Buildings And Shops

Throughout Alonia, and each of the realms, there are buildings
and shops that your characters can enter. Here, you and your
characters can strengthen the collective power of your group by
purchasing items and gaining valuable information. If you are
fortunate enough to discover the other realms, you will realize that
the different races have very different forms of food, weapons,
armor, etc.

Food Emporium
Locations where you can buy nourishment.

Weapons Shop
Here you can buy weapons and ammunition. Traditional
weapons can be purchased in Alonia.

Armory
Where protective armor is sold. Each realms has its own
distinctive form of armor that must be purchased to fully
protect all members of your party. Armor tailored for a
particular race can only be worn by that race.

Stable
Where horses can be rented in Alonia.

Shipyard
Where boats can be rented on the shores of Alonia.

Alchemist
Here, you can seek the advice of a magician, who can tell
you the strength and components of spells, and sell you
magic items. Information about different spells and levels
of magic can be purchased in each of the realms.

Tavern
Pubs and taverns are locations for good conversation and
for fun and games. Many a good rumor can be overheard
in a tavern hall.

Lodging
In each realm, you and members ot your party can rest in
an inn. Full health is recovered after resting here for an
entire day, sometimes longer, depending on fatigue,
hunger, and the severity of injuries.

Healer
In each realm, characters can be healed here, in ex-
change for a fee or service. Healing is instantaneous,
using a combination of magic and medicine.

Pawn Shop
Where items can be bought or sold. Items for sale or in
demand vary from village to village.

In addition, villages may have castles, homes, huts and barns
where characters may live. Some of the areas may have hidden
caves where characters may be hiding or dwelling in
solitude. And there may be royal castles that you should
explore in certain areas.

Recruiting Characters

During the course of your journey, other characters you
encounter can be recruited into your party. Some may
volunteer. Others may have to be persuaded to join you in
your quest. You must approve or refuse those who ask to
join you by answering yes or no. Those who require con-
vincing may have to be enticed with material goods or a
sum of money.
Your party may have up to ten characters at one time.
Characters that are described as a group (i.e. a group of
archers, a band of swords men) are counted as one
party member--a squad.

Throughout the game, you have the option to dismiss members
of your party. By selecting the party icon, the dismiss option, and the
name of the party member, you can remove those characters who
are no longer beneficial to your cause.
Some characters may leave the group of their own accord. The
decisions you make as leader will determine who leaves and who
stays; your morality choices will not please all members of your
party. Some may abandon you, and some may even take your
material goods with them.

Meeting and Conversing with Characters

Throughout the game, you will encounter characters who can
provide you with valuable clues, information, or spell components.
Some may be willing to join your party. Some will present contlict.
To meet a character, position the cursor on him and click the
mouse or hit the Enter key. You will view a description of the
character and the exchange will begin. With this system, there is no
need to give specific instruction to approach or talk to a character.
The character you are speaking to appears in the-windQw at the
left of the screen. His di~!Q9ue appears in overlay bubbles.

The PAL System

The PAL system was developed to allow players to avoid the
cumbersome details associated with role-playing. Instead of wait-
ing for specific instruction for the details of every action, characters
under the PAL system speak up and volunteer for the tasks they are
best suited to perform.
Each character in the game has been given a unique person-
ality. Some may be aggresive and confident. Others may be
cynical and dubious. Characters in your party will voice their
opinion and offer you advice during your adventure. Yet, these
unique personalities will sometimes clash, and characters will
bicker amongst themselves.
Whenever your party is faced with a conflict or a task to perform,
PAL messages appear. Characters give hints and volunteer for the
tasks they can do best, based on their skills and attributes. Some
characters may excel at bargaining, persuading, combat,
spell casting, or picking locks. For example, in a bribing situation, a
charactcr with good bribing skills might tell you, "I'll do the bribing.
I've been through this routine hundreds of times."
The PAL system does not rely on characters' skills alone.
Intelligence is an importanttactor in successtully completing a task.
In the bribing situation, a character with low bribing skills but high
intelligence has a good chance of success.
You have the ability to override your characters when they
volunteer. But remember, your characters know their strengths
and weaknesses best. It is usually in your best interest to
listen to them.

Combat

Types of Combat:
There are two basio types of combat that you may engage in;
Descriptive Combat or Quick Combat. Anytime you wish to engage
in combat, you may select one of these two options from the Combat
Icon on the main game interface.

Quick Combat:
With this option, the computer automatically handles all of the
combat decisions and movements. If the PAL mode is turned on,
the member of your group with the highest leadership skill is
designated as the leader. If not, you are asked to select a leader.
After doing this, you can watch the action take place, and may
intervene at any time by hitting the Escape key. If you do this, you
are asked whether you wish to continue in the quick combat
mode, view the status of your group, enter into descriptive
combat, or retreat.

Descriptive Combat:
With this option, you have more control over the actions of your
party. You are allowed to position your troops betore combat
begins, issue general battle orders, use any of your wizards to cast
spells, and completely control the actions of the Prince during every
combat round.

The Combat Map:
When you opt to enter into combat, the game screen changes
in appearance. The interface border is removed, and the game
map expands to cover the entire screen. Your party is likewise
expanded to show all the members of the group. These characters
are represented by white figures. The opponents forces are repre-
sented by black figures (if human) or by the apprspriate monster
figures. Additionally, the map is considered fixed. Any character
leaving the map is considered to have retreated from combat, and
may not re-join the group until combat is completed.

Combat Options:
If you choose to enter the Descriptive Combat model you are
asked to position your forces on the map. After doing so, you are
asked to issue orders to your men before combat commenccs.
At the start of each round, you are given several combat options.
These options are: Continue, Retreat, Use Magic, Change orders,
View Status, Enter Quick Combat, or Move Troops. they are
explained below.

Continue: Whcn you select this option, the next combat round
is entered with no changes.

A Retreat; With this option, you may elect to have any or all
of your men retreat from combat. A selection box appears,
and you can select party members you want to retreat. The
'General Retreat' option causes all party members to
retreat, and combat is termiated. (Keep in mind, how-
ever, that if a General Retreat is called for, there is a chance
that the opponent will be able to cause significant damage
to the backs of the retreating men. Additionally, any time a General
Retreat is called for, there is a chance that some of your men will lose
confidence in your leadership and will desert the party. When you
are finished, select the 'Done' option.

Use Magic: With this option, you can cause any wizard charac-
ter in your party to prepare to cast a spell. First, you select the
character to cast the spell, and then select the spell for him to cast.
This procedure may be followed as many times as you desire, but
if a given wizard receives orders to cast two or more different spells
on the same round, he casts the last one that you requested. After
the 'Continue' option is selected, all wizards who have been
ordered to cast spells attempt to do so. It is important to keep in mind
that the enemy forces may also have wizards who are sure to cast
spells. In this case, it is often a good tactic to leave a wizard 'In
reserve' (don't issue orders for him to cast a spell). In this way, if an
enemy wizard casts a spell, the 'reserve' wizard is free to attempt
to cast a 'Warding' speil (if he has previously learned it). When you
are finished, select the 'Done' option.

Change Orders: This option is used to prepare your characters
for specific combat tasks. When selected, you are asked to click on
the character who is to receive new orders. Then a menu screen
shows the order options. These options are: Defend Position,
Acquire New Target, or Free Combat. With the 'Defend Position'
option the character Maintains his position and attacks any enemy
who moves adjacent to him. With the 'Acquire New Target' option,
you are asked to specify an enemy target. If the character has a
missile weapon in hand, he uses it without moving, as long as he has
a clear line of sight. If the character doesn't have a clear line of sight,
or has a melee weapon, the character moves to attack when the
continue' option is selected. If the 'Free Combat' option is selected,
the character chooses his own enemy target, and attacks with
whatever weapon he has the most skill with. Finally, it is important
to note that a squad will act as a unit with unly one order, which
applies to all members. If two or more members of a given squad
are given different orders, the last order that was issued
is the one that the whole squad follows. When you are
finished, select'Done'.

View Status: With this option, you may view the
character sheets.

Enter Quick Combat: With this option, you can choose to allow
the computer to continue with combat.

Move Troops: With this option, you can reposition any or all of
your men. When this option is selected, the characters that move
do not initiate an attack during the next round, ~ut they do defend
themselves if they are engaged by the enemy. When you are
finished selecting troops to move, select 'Done'.

Spellcasting and Magic

Magic Ability:
Your starting Magic Ability is determined during the Character
Generation phase. Magic Ability is gained by answering questions
from either a wizard's point of view or a diplomat's Point of view. Very
little Magic Ability is gained if all of the questions are answered as
a Warrior or Thief. Magic Ability is useful for determining the nature
of magic items and the ability to properly use them.

Magic Points:
Your initial magic points are equal to your starting Magic Ability.
Magic points are used for casting and resisting magic spells. Each
time you cast a magic spell, your current magic point total is
reduced by an amount that is proportional to the spell's difficulty.
Simple spells cost few points to cast, while very difficult spells cost
significantly more. When you run out of magic points, you are
temporarily unable to cast spells.
Magic points are regenerated naturally at a rate of roughly
1/24th of their total each hour. In other words, if you have used all
your magic points complctely, you can regain them in twenty four
hours. Magic Points are also useful for resisting the effects of spells
that have been cast at one of your characters. The higher the magic
point total, the better the chance that a given spell will be unable to
affect a character. Thus, there is a trade-off between using magic
points for casting spells, and saving them for resisting spells.

Learning Spells:
In order to learn a new spell, you must first acquire all of the
necessary components. After doing this, you can select the Magic
icon from the main game interface. From here, select the 'Learn
Spell' option. When this option is selected, a list of all the spells you
can learn (given the components your characters have in their
possession, and omitting those spells they already know) is shown.
Spells are listed in order of difficulty, with the most difficult spells
listed in red, the moderately difficult spells listed in blue, and the
simple spells listed in brown. When you select a spell to learn, a
random percentage number is generated and checked against his
'Learn Spell' skill level. This number is modified by the spell's
difficulty. Simple spells receive a bonus to the 'Learn spell' skill,
moderately difficult spells simply use the standard ability score, and
very difficult spells receive a penalty. If the skill check is successful,
the spell is inserted into your character's spell book. If you are
unsuccessful, not only does your character fail to learn the spell, but
there is a good chance that he will destroy one or more of the spell's
components in the attempt. Thus, it is probably a good idea for you
to start by learning the simpler spells first, and try to increase your
characters' 'Learn Spell' skill level before attempting to learn the
more difficult spells.

Casting Spells:
Having learned a given spell, your character can cast it as often
as he wishes, so long as the necessary components are in his
possession and he has enough magic points to do so. Each time
you attempt to cast the spell, a check is made against his 'Cast
Spell' skill. Whether you are succesful or not, the magic points
needed to power the spell are used. As with the 'Learn Spell'
procedure, the skill check is modified by the difficulty of the spell.
However, the 'Cast Spell' procedure differs for 'Learn Spell' in that,
if your skill check is unsuccessful, there is NO CHANCE for the
spell's components to be destroyed.

Binding Spells:
'Spell Binding' is a powerful procedure where a wizard can cast
a spell into an object, rather than direct it against a target. By doing
this, the wizard is able to store the spell for later use. In order to
perform this procedure, the wizard must meet three requirements:
First, he must acquire all of the spell's components, then he must
successfully learn the spell, and finally, he must be wearing a
Binding Ring. A Binding Ring is a special magical object that is
capable of holding as many spells as the player wishes to store in
it. A wizard may never wear more than one of these at a time
(there is no need, since a Binding Ring can hold a limitless
number of spells).
If the wizard meets all three conditions, then he may attempt to
bind the spell into his ring. As with the other magical procedures,
a check against the 'Spell Binding' skill is made with the appropriate
modifiers. Whether it is successful or not, the magic points required
to bind the spell into the ring are used (the magic point cost to bind
a spell is roughly twice that needed to simply cast it). If the binding
is successful, the spell is bound into the Binding Ring, and may be
discharged at any time without sacrificing any further magic points.
However, if the ring ever leaves the spell caster's hand, all the spells
will be lost.
Though this seems far superior to casting the spell, there are
three disadvantages. First, whether the attempt to bind the spell
succeeds or not, all components are destroyed in the process.
Second, once the spell is bound into the ring, there is a limit to the
number of times it may be cast, determined by the wizard's 'Spell
Binding' skill level when the spell was bound. The higher his ability,
the more 'charges' he stores in the Binding Ring for that spell.
Finally, the 'Spell Binding' procedure may not be performed during
combat (although previously bound spells MAY be discharged).
spell casting and magic...

Spell Components:
At any time, you can view the spell components a wizard in your
party has in his inventory. This can either be done through the
character sheet, or through the Magic icon in the main game
interface. When the player chooses to view his components, a
scroll able list, listing the number and name of each component, is
shown. It is worthy to note that spell components are considered to
be community property for the group. That means that all wizards
in the group have equal access to all of the spell components at all
times. For this reason, spell components are not cQnsidered to
be in the possession ~f any particular character, but are
instead listed separately.

SEE SECTION III--REFERENCE--SPELLS for detailed de-
scriptions of all the spells in the game.
==============
III. REFERENCE
==============

Currency

Currency is comprised of:

a) copper pieces
b) silver pieces
c) gold pieces
d) gems

10 copper pieces = 1 piece of silver
10 pieccs of silver = 1 piece of gold
100 pieces of gold = 1 gem

Weapons

WEAPON: COST WEIGHT
1. SWORDS

a) BROADSWORD 20GP 15
A heavy sword, over 3 feet long, with a
straight, wide, flat blade.

b) CUTLASS 15GP 4
A short, heavy, slightly curved sword
with a single cutting edge.

c) GLADIUS 1OGP 3
A short 2-foot long sword with a wide,
flat blade.

d) GREATSWORD 55GP 25
A6-foot long, two-handed, heavy sword
for the strong warrior.

e) LONGSWORD 14GP 5
A light, 4-foot long sword with a
narrow blade.

f) RAPIER 10GP 2
A light, 3-foot long fencing sword with a
narrow flexible blade.

2. BLUDGEONS

a) CLUB 5CP 3
A heavy tapered stick, with sharp spikes
at the thicker end.

b) FLAIL 5GP 15
A heavy club with a chain attached at
one end, holding a free-swinging 20-
pound iron-studded ball.

c) MACE 10GP 13
A short club-like armor-breaking
weapon with a spiked metal head.

d) QUARTERSTAFF 5CP 8
A stout pole, 6-8 feet long, tipped
with iron.

e) WARHAMMER 3GP 7
A shafted weapon with a spiked
hammer head.

3. LARGE BLADED WEAPONS

a) BATTLE AXE 8GP 8
A short, broad double-bladed axe.

b) HALBERD 12GP 15
A six-foot long weapon with an axe-like
blade, beak, and an apical, armor-
plerclng Spike.

c) SCYTHE 2GP 8
An agricultural implement consisting of
a pole with a long, curving blade Fas
tened at an angle.

4. HAND WEAPONS

a) BLACKJACK 6SP
A thick leather bag filled with hundreds
of iron pellets.

b) CESTUS 10GP
An iron glove Govered with spikes Or
metal studs.

c) DAGGER 2GP
A short weapon with a sharp, pointed
blade fastened to a handle.

d) GARROTE 1SP 1/2
A thin leather cord, or piano wire, used
to strangle an opponent.

5. MISSILE WEAPONS

a) CROSSBOW 60GP 1
A bow fixed transversely on a stock,
with a trigger mechanism to release the
bowstring.

b) THROWING DAGGER 2GP
A dagger that is specially balanced to
throw at a target with precision.

c) LONG BOW 1 Gem 3
A large 5-6 foot long bow that can firc
arrows 210 meters.

d) SHORT BOW 35GP 2
A small 3-4 foot long bow that can fire
arrows 150 meters.

e) SLING 5CP 1/2
A short strap with a long string attached
~t both ends, used to hurl stones or
other missiles.

f) SPEAR 9SP 3
A long, stabbing weapon for thrusting
or throwing, consisting of a sharp-
pointed iron tip attached to
wooden shaft.

Armor

1. SOFT LEATHER ARMOR 9SP 12
A stiff, cumbersome armor made from the
hide of an animal or creature.

2. CURED LEATHER ARMOR 2GP 15 1
Made of leather hardened in burning oil and
shaped into a breastplate and shoulder pro-
tectors. The remainder of the suit is fashioned
from soft, flexible leather.

3. BRIGANDINE ARMOR 1 Gem 2GP 35
Made from small metal plates sewn or riv-
eted to a layer of leather. Stiff and cumber-
some, It does not provide protection at the
joints which are widely spaced for free
movement.

4. CHAIN MAIL 85GP 40
Made of interlocking metal rings. always
worn with a layer of fabric, padding under-
neath to prevent chafing and cushion the
impact of blows. Too heavy and uncomfort-
able to wear for extended periods.

5.SPLINT MAIL 90GP 40Armor made from narrow vertical strips of
metal riveted to a backing of leather and
cloth padding. Normally worn under
splint mail.

6. PLATE MAIL 15 Gems 55
A combination of chain or brigandine
with metal plates covering vital,
unprotected areas.

7. FULL PLATE ARMOR 50 Gems, 75 GP
Impressive, gothic-style armor perfectly
forged and custom fitted. All plates are inter-
Iocking and carefully angled to deflect blows.
The surface often has ornate etchings and
inlaid precious metals. The armor is hot, slow
to don, and very expensive, but an excellent
form of protection.

Shields:

COST: WEIGHT:

1. BUCKLER 2GP 3
A small shield that fastens to the
forearm.

2. MEDIUM SHIELD 8GP 10
A shield carried on the forearm and
gripped with the hand.

3. GREATSHIELD 12GP 15
A massive, heavy shield nearly reach-
ing from chin to toe, offering the most
protection of any shield available. It is
fastened to the forearm. The shield
hand must grip it at all times.

Spells

Magic and spell casting have been an integral part of life in
Nhagardia throughout the ages. Though its powers are not entirely
understood, its uses are familiar to many inhabitants of this land, for
here the art of sorcery is not limited to the soroerer. Many spells can
be bound into objects by a skilled spell caster. Anyone in posses-
sion of a spellbound object has the power to perform its magic. Yet,
those who are able to master the craft themselves have the
advantage of countless powers at their disposal.
This refgrgnce will guide the novice spell caster through
spells for combat, for performing technical functions,
and for counteracting owner spells. Trying one's hand at the
simplerspellsbeforeventuring into complex and difficult
spell casting will lead to early successes and, in turn,
increased knowledge and efficiency.
For the Master Sorcerer (Very Difficult Spells)

DISARM
The weapons of the enemy will vanish.
Components--two lode stones, fire thorn, scalding water,
snake fang

TELEPORT
A convenient means of travel, yet difficult to master. Traverse
space instantaneously to any destination.
Components--grasshopper, fly, homing pigeon, black rose

EXPLODE
Create a fiery blast.
Components--sulfur, flint, ruby, fireily

OPEN GROUND
With this powerful spell, the ground beneath one's enemies will
open up and swallow them whole.
Components--mole, volcanic rock, diamond, quartz

RAIN OF FIRE
Bring a wall of flame down upon the enemy.
Components--fire thorn, firefly, ruby

EVOKE DRAGON
Summon the most feared of all beasts. A very difficult spell, yet
worth the effort to conjure up this classic.
Components--The Kilty Emerald, dragon ashes, dragon egg,
dragon bayne

RESURRECTION
For the veteran sorcerer. This spell will restore breath to a I
lifeless form.
Components: The Gharis Diamond, death shroud, garlic

INVISIBILITY
The recipient of this spell will enjoy traveling unseen and
undetected.
Components--a Cyclops' eye, blindfold, quartz prism

Difficult Spells

DECREASE SPEED
In combat, slowing down an enemy's reaction time with this spell
will give the spell caster the upper hand.
Components--the empty shell of a tortoise [washed ashore],
molasses [from a merchant who has frequent need for
the ingredient]

INCREASE SPEED
A quickening of the senses will sharpen a warrior's skills.
Components--rabbit's foot [see a trapper after a good day],
grease [a staple of the blacksmith]

CREATE DARKNESS
Shroud the enemy in shadow.
Components--blindfold [of a prisoner], amethyst [in its natural
state, or as precious jewelry]

CREATE LIGHT
Invoke the light of day.
components--diamond [in the rough, or refined], flint [along
a forest path]

INNER NOISE
Those who are distracted from within will lack the concentration
needed for skilled combat.
Components--conch shell [washed up On the beach], shark
tooth [see a seafaring man]

INNER QUIET
Clear the mind from all distractions and sharpen all skills.
Components--cotton [in its natural state], orchid [from the
outskirts of the forest]

CURE
Heal even the most critically wounded in your party.
Components--pearl of an oyster, a hair of the elusive
Fraywood unicorn

HEAT METAL
Heat armor to a scorching temperature.
Components--pepper [common in many households], coal
[from its sourcc]

FEAR
Invoke terror in the hearts of one's opponents. There is perhaps
no grgater obstacle to victory as lack of courage.
Components--amethyst [cut or uncut], feather, ivory horn
[from a Snow Beast]

COURAGE
Summon the bravery of an epic hero for use in your noble quest.
Compsnents--heart of a desert lion, ruby [uncut or as a holy
relic's ornamentation]

CREATE RAINSTORM
Open the heavens.
Components--ice [from the Polar regions, moss [from the
forest floor]

PIERCING SIGHT
Create the power to see through objects; the enemy
cannot hide.
components--quartz [find its source], falcon eyes [see the
apothecary for unpleasant ingredients]

YOUTH
Restore a being to its younger state.
Components--ginseng [see the "medicine man"], chicken
egg, pearl of an oyster

CREATE FOOD
This important spell will create nourishment for you and
your party.
Components--yeast [from a merchant who specializes in its
use], seeds

TRUTH
Those under this spell have no choice but to speak honestly.
Components - salt [in its rudimentary form], holy book
of Eqqus.

Simple Spells

FRIENDSHIP
Befriend the unwilling.
Components--theater mask, tulip [plucked from a flower
garden]

OPEN LOCK
All doors are open to the sorcerer wielding this simple spell.
Components--mineral oil [a staple of the alchemist], skeleton
key [a staple tar a member of the Robber's Guild]

PASSION
This simple spell will leave a less-than-interested subject be-
witched, bothered and bewildered.
Components--a rose [worthy of a royal garden], a box of candy
worth the expense], silk stookings [basic equipment in a house
of ill repute]

BREATHE AIR/WATER
Breathe comfortably on dry land or at the bottom of the sea.
Components--vial of air, vial of water [from anywhere through-
out the realms]

FLIGHT
Gain the power of flight.
Component - bat wing [found in their cave]

SWIM/WALK
The user of this spell will become amphibious, able to traverse
Thalassy, as well as the terrestrial realms.
Component--fin of a fish [fresh or from the market], shoe [from
someone who can no longer use it.

LIGHTNING BOLT
Strike down an opponent. An old standard, but still effective.
Components - piece of fur, glass rod [see the
resident alchemist]

FIND
These spells will lead you in the right direction when in search
of traps and hidden objects.
Components--candle, magnifyiny glass [to some skilled
craftsmen, detail is everything], divining rod [found where water
is a precious resource]

REVISIBILITY
This simple yet crucial spell will give the user the power to see
the portals to the enchanted realms, otherwise unrecognizable
to the mortal eye.
Components--quartz [find its source], bat eyes [see the
alchemist]

WARDING SPELL
This spell counteracts attacks and spells from others. Use it
to counterattack a combat spell or stop a technical spell from
performing its function. When cast, it will actually track
the opposing spell and clash with it, until only the
stronger spell survives.
A warding spell may also act as a protector to the user and the
party. If cast when there is no other spell to oppose it, it will act
as a defensive shield around the group, keeping it safe from the
effects of a future spell.
Component--dragon scale [find an abandoned lair]

Through the course of the adventure you will discover two
special spells that you'll need to create and use to weaken Grimnoth
and eventually destroy his threat. As you meet characters along
the way you will learn about the components to these two very
important spells.

Potions

Several potions can be purchased or discovered during the
course of the game. They have no names, but a character with a
very high magic ability will be able to deduce their purpose. An
educated guess can be made by a character with only an average
magic ability. In any case, use caution when dealing with these
powerful elixirs--they are dangerous in the hands of someone
unfamiliar with their powers. Many arc poisons, antidotes, healing
medicines, or potions to increase skills. All are potentially harmful
if not handled properly.
The task set he fore you is great. And your skills as a sorcerer
will be crucial to your success. Use your knowledge ot
magic wisely.

========
APPENDIX
========

The Face Paint Program

If you want to create a face for your
hero, or use a scanned image of
yourself, you can do so using the
face paint program that comes with the
game. The face paint and construction
program is a separate program in and of
itself. However, after the face paint and
construction program is installed, the
faces you create and save can be auto-
matically accessed in the character gen-
eration program. You will even be able to
scan PCX images into the program so
you can use your own likeness for your
game hero.

The face paint program has a simple interface. There's an actual gamc sizc of the
character portrait in the upper left hand corner of the screen. Facial features appear in the
long, narrow window at the left ~f the screen. The center of the screer~ is dominated by a
zoomed-in view of the character portrait. To the right are the five icons that operate the
program, and in the bottom right corner is the color palette. Colors can be scrolled through
and selected by clicking on the arrow keys.
The face paint and construction program has complete on-screen documentation,
instruction, and help options. The program is very simple to use and runs from five icons.
They are:

Offers on-screen documentation, instructions, and help on the
following areas:

General--Select instructions on the following sub-items: A) about the face paint
program; ~) specific keystrokes to use; C) view credits

File--Select instructions on the following sub-items: A) loading faces; B) saving faces;
C) deleting faces; D) importing PCX files; E) quitting the program

Library--Select instructiuns on accessing the following facial features: heads, ears,,
eyes, noses, mouths, hair, shoulders, and gear (helmets, crowns, hats, etc.)

Edit--Select instructions on: A) saving bits (hand drawn pixels on the portraits); B)
clearing a picturc that you want to start ovcr on; C) pulling farcial features forward without
having to start over; D) removing facial features from your face; E) dragging facial features
to a new position on a Face; F) deleting bits (hand drawn pixels) from your portrait; G)
determining whether your hand drawn bits should be layered below or above your tacial
features; and H) rubbing out certain hand drawn bits from your portrait.

Color--Select instructions on the following sub-items: A) iden-
tifying the specific color of a pixel in your character portrait in the on-
screen color palette; Switching between brushes; and C) instruc-
tions on translating a specific color in a portrait to another desig-
nated color on the palette.

__
COMPUTER
Lets you do the following:

Load Face--Load a previously saved face so you can
make changes.

Save Face--Saves a face that you've completed to the charac-
ter generation system.
Delete Face Deletes a face you no longer want to work on.

Import Face Imports a PCX file of a digitized likeness.

Quit--Quits the program.

FACE
The face icon is the heart of the face paint and
construction program. The icon lets you load the
following facial features: heads, ears, eyes, noses.
mouths, hair, shoulders, and miscellaneous head gear. By select-
ing particular features from each categQry you san begin to
construct a full face scroll through the various features that appear
for the category on the left side of the screen. When you select a
feature it appears in both portrait windows--the small one in the
upper left corner and the large one in the center. Remember that its
best to construct a face by selecting the shoulders first and
the head second.

PENCIL ERASER
Lets you edit character portraits by:
Save Bits--After you've constructed a face, you
may decide to touch up portions of it by using the brush and the
color palette. If you have touched up the face, remember to save the
bits you've painted after you're finished.

Clear--Clears a face and lets you start over from scratch.

Pull rorward--Lets you pull a facial component ahead oi a
previously selected facial feature. For example, if you've selected
a head and then decided to add shoulders to it, you don't have to
start over. You can lay the shoulders over the head and then pull the
head forward over the shoulders.

Remove--Lets you remove a facial component from a face
you're building.

Drag--Lets you drag a facial component to a different position
on the face.

Delete Bits--Lets you clear all of the bits that you've painted on
a face with the brush and palette.

Bit Layer--Lets you determine whether you want the bits you've
painted to be below the facial components you laid on the face
or above them.

Rub Out--Lets you rub out specific bits without erasing
II of them.

COLOR ICON
The color icon lets you:

Identify--Lets you select any pixel in a characters
portrait and have it identified in the color palette.

Brush 2--Lets you change to a different brush.

Translate--Lets you identify a particular color shade in the
portrait and translate all instances of that color to a new color that
you designate in the color palette.

It is recommended that you use a mouse to operate the face
paint and construction program. However, a joystick and keyboard
can be used as well. The joystiek acts jn the same manner as the
mouse. You can move the brush with the keyboard using the up and
down car row keys cLS well. The F1-F5 keys activate the five
respective icons.

=======
CREDITS
=======

Challenge of the Five Realms

Story by F.J. Lennon, Rick Hall, Marc Miller
Based on an Original Concept by Marc Miller

Game Design by F.J. Lennon, Rick Hall, Marc Miller

Written and Directed by F.J. Lennon

Additional Writing by John Antinori, Laura Kampo

Programmed by Rick Hall, Frank Kern

Art Direction by Quinno Martin

Graphics by
Thomas Howell - Overhead Maps, Overhead, Characters,
Cinematic Scenes and Manual Art
Bill Petras- World Maps, Face Portraits, Cinematic
Scenes, and Manual Art
Kelly Trout - Character Sheet, Armor, Character
Generator, Object Sprites, Cinematic
Scenes, Manual Art and Introduction
Wendy Jobe - Introduction, Cinematic Scenes
Kelly Vadas - Introduction, Cinematic Scenes
Quinno Martin - Introduction, Cinematic Scenes
Matt Milanek - Introduction

Musical Score by Michael Bross

Sound Effects by Paul M. Conklin

Speech Direction by noug Kaufman

Manual by F.J. Lennon, Laura Kampo, Rick Hall

Director of Publication Design Iris Idokogi

Manual Design and Layout by Ed Chrystal
Macrocosm Communications

Package Design by Moshe Milich

Box Cover Illustration by Mark Strutzman

llustrations by Thomas Howell, Bill Petras, Kelly Trout

Playing with a Keyboard.

IN THE MAIN GAME INTERFACE:

ESC:
Lets you activate the icons Use the arrow keys
to move
the highlighter to the desired icon and press
for option. Use the arrow keys to scroi
through the icon opt inns
F1-F10:
View the character sheel ol any party member

Z Toggles the Zoom In/Zoom Out feature
H Allows you to hail NPCs
S Allows you to speak with an NPC
F Allows you to find hidden objects (if present)
L Gives description of what you see in this area
M Toggles Music and sound on and off
Q Quit
P Pause game
W Swap Party member pictures
Allows you to position the cursor over an object

Allows you to scroll through menu icons

CHARACTER SHEETS
S View Spell List
G View Garb Sheet
N View next character
B View contents of bag
P View contents of pack
C View contents of chest
K View skills sheet
I View Inventory
E Examine Object
U Use Object
D Drop Object

This concludes the massive Razor DOX file for Challenge of the Five
Realms.. We hope you enjoy them!