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TitleArgos and Zingara
TagsSlavery Magic (Paranormal) Apprenticeship Guild Journeyman
File Size21.8 MB
Total Pages98
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Credits Contents

Argos and Zingara

Conan: Argos and Zingara is © 2006 Conan Properties International LLC. CONAN®, CONAN THE BARBARIAN® and
related logos, characters, names and distinctive likenesses thereof are trademarks of Conan Properties International LLC
unless otherwise noted. All Rights Reserved. Mongoose Publishing Ltd Authorised User. Conan the Roleplaying Game
is released under version 1.0 of the Open Game License. Reproduction of non-Open Game Content of this work by
any means without the written permission of the pulisher is expressly forbidden. See page 96 for the text of this
license. With the exception of the character creation rules detailing the mechanics of assigning dice roll results
to abilities and the advancement of character levels, all game mechanics and statistics (including the game
mechanics of all feats, skills, classes, creatures, spells and the combat chapter) are declared open content.
Printed in China.

Introduction 2

Life in Argos 3

The Argossean Breed 11

By Land & Sea 17
Gladiators & Feasts 19
Law of the Ocean 23

Geograohy of Argos 32

Life in Zingara 47

The Zingaran Breed 55

Zingaran Military 60

Zingaran Treachery 63

Geography of Zingara 70

Skills & Feats 81
Pirates & Cutthroats 87
Games Mastering 92

License 96

Vincent Darlage

Richard Ford

Cover Art
Chris Quilliams

Interior Artists
Eric Bergeron, Jim Brady, Slawomir Maniak, Danilo
Morretti, Pascal Quidault, Phil Renne & Chad Sergesketter

Publications Manager
Ian Belcher

Production Director
Alexander Fennell

Ron Bedison & Scribendi

Mark Billanie, Daniel Haslam, Mark Howe, Al Maasberg,
Alan Moore, Daniel Rothman, Daniel Scothorne, Lane
Shutt, Mark Sizer & Michael J Young

Special Thanks

Thommy Wojciechowski & Fredrik Malmberg at
Conan Properties.

Page 49

taken more seriously than any public law. This sometimes
creates problems in society in the form of escalating violent
vendettas as people avenge each other and counter-avenge in
never-ending cycles of blood and war. Allegiances are often
symbolised by making a man’s wife live on the property of
someone he has pledged allegiance toward. This is extremely
common if a man pledges an allegiance to a town or city – he
is expected to move his wife into that town as proof of the
sincerity of his pledge.

Allegiances have become a touchy issue in Zingara in light
of the recent wars. Zingarans are increasingly unhappy
fighting for causes they do not believe in, for lords who
are greedy for land or to avenge a mere slight in protocol.
It seems to the common Zingaran that the lords simply
want to fight and make up fraudulent excuses to fire the
people up, calling upon Mitra or other divinities to show
righteous indignation before sending the people off to die
for their illusory causes. Now Zingaran lords are relying on
mercenary units, increasing the foreign population greatly,
which is not easing the minds of the people, despite their
polyglot and multicultural history as a cultural melting pot.
Conspiracy and treason abound in Zingara due to all these
mixed concerns and internal problems.

Zingarans have become wary, always suspicious of others’
motives. They naturally assume the worst of everyone,
foreign or local. Paranoid of others, the Zingarans suffer a
–1 racial penalty to Diplomacy but gain a +1 racial bonus to
Sense Motive (as detailed in Conan the Roleplaying Game).

Manners and pleasures are elements of Zingaran elegance
and sophistication. Ballet troupes learn the finest dances
in the schools and noblemen learn the fine art of fencing.
Waving scented handkerchiefs, the nobility of Zingara plots
and conspires against fellow nobles even as they talk elegantly
of philosophy and civility. This elegance is one of the
contributing factors behind their racial bonus to Charisma.

Swordsmanship, known as the ‘True Art,’ is a mark of prestige
in Zingara. The fine art of fencing is taught to all noblemen.
The training begins with education in geometry to improve
the noble’s thinking, training him to think logically and

provide an understanding of spatial relationships. They are
taught a coolness and a detachment when sword fighting

so their mind can function with logic and clarity. The
Zingaran fighting stance is taught as a circular model

so that all fighting takes place within an imaginary
and mobile circle. The swordsman is trained

step by step how to move his body and

how to move his sword. In actual combat, the Zingaran
swordsman combines body movements with various sword
movements to create a personal technique. Body position is
as important as sword position. Unlike Aquilonian intricate
swordplay, Zingaran swordsmen do not meet attacks with
counter-attacks. Zingaran swordsmen answer attacks by
moving into a defensive position while controlling their
adversary’s weapon with their own – they move away from an
attack instead of attacking into an attack. The Zingaran will
veer away at an angle, stepping around his antagonist to thrust
his sword into his opponent’s side or back as the opponent
over-thrusts. Zingaran swordsmen fight by attacking and
defending while circling each other, continually stepping
out of each other’s way along the circumference of their
personal imaginary circles. All attacks are made at angles.
The Zingaran swordsman does not attempt to predict the
responses of his antagonist; rather, he tries to command his
opponent’s movements by subtle positioning on his part.
The minds and bodies of the noblemen are trained to size up
a situation instinctively and give the most logical response.

The Zingaran system of swordplay is a science, yet it is a
science that is combined with art, experience, philosophy
and spirituality in much the same way as Khitan hand-
to-hand techniques combine these elements. Zingaran
swordsmen are taught a frightening command of timing,
distance, space and movement. The Zingaran system of

Page 50

teaching detachment and logical evaluation creates cold
and calculating swordsmen, some of the deadliest the world
has ever seen. Most noblemen take Weapon Focus (arming
sword), Parry, Combat Expertise, Intricate Swordplay, Dodge,
Web of Death and Zingaran Surprise feats, which emulate
the training Zingaran noblemen receive in swordplay.

Although formal training is available only to those enrolled
in the various fencing schools throughout Zingara, swordplay
is also emphasised in the back streets of Zingara, a school no
less strict than the formal schools. This makes all Zingarans
proficient with the arming sword. The Zingaran propensity
for elegant but effective swordplay and training gives
Zingarans a +1 racial bonus to all attack rolls made with the
broadsword and arming sword (as seen in the Zingaran racial
description in Conan the Roleplaying Game).

The woman’s position in Zingara is one of being an idol,
put up on a pedestal. It is improper of men to openly
speak ill of a particular woman, or even women in general.
Those Zingarans who consider themselves particularly
refined kneel in front of women to speak to them. Men are
expected to provide a pile of merits before being admitted
into the company of a woman, including gifts, actions and
praises. Some women are able to command outright quests
before they will consider a man more than just a fleeting
acquaintance. Men do not court women in Zingara, they
pay homage to women.

However, Zingarans do tend to keep their women in
seclusion, believing that non-business conversation between
the sexes is impure and prone to lead a couple into sexual
activities. A Zingaran woman is expected to be known as
chaste and, although in Zingaran literature it appears all
women are cherished, in truth only women believed to be
chaste are so treated.

Zingaran girls are taught how to make themselves precious.
They have to appear chaste if they are to be properly married;
to appear chaste means never looking up or looking someone
straight in the eye. Zingaran women must appear reserved,
an idolised quality in women. The eye is important to
Zingarans. An unknown woman who glances at a Zingaran
man excites that man, for she has dared to look at him at
the risk of seeming unchaste and sinful. This, of course, is
all in appearances. To the Zingarans, that which is not seen
does not exist, so the appearance of chastity in public is all
that is required. In private, matters can take a more amorous
course. Parents are stringent in hiding their daughters. Each
time a young girl leaves her home, she gives herself a place on

people’s minds and, therefore, their tongues – a risky place to
be. Even King Ferdrugo forbade his daughter Chabela from
dressing as a sailor and swarming into the rigging of the royal
yacht with the seamen once she hit puberty and began to
show signs of womanhood.

Openness and public cheekiness does more damage to a
woman’s honour than any failings that are secret. So long as
her public reserve is intact, her reputation is secure. So, from
maidenhood, women are taught to curb their inclinations
in public, to express those inclinations as little as possible.
In order to do this, a woman must live in seclusion prior
to marriage in order to ensure she has a good name, which
is essential for marriage. Thus, young Zingaran women
repress themselves during girlhood, believing marriage will
bring emancipation as the undisputed mistress of a Zingaran

Unfortunately, marriage is not all it is believed to be, especially
if one marries into wealth. Most wealthy Zingaran husbands
are jealous and harsh, rarely letting their wives go out in
public. Chastity implies a loyalty to the husband and wives
soon find out that such appearances are to be maintained
even after marriage. The young girls, enraptured by the
flames of arduous courtship filled with expressive poetry, hot
passion and violent duels, suddenly find themselves reclusive,
expected to become unassuming and virtuous wives who
spend the rest of their lives tending to hearth and home, seen
by few, heard by even fewer. They live the rest of their lives
with the memories of their brief, fiery courtships and little
else. The good name of a wife lies in her seclusion, just as
it did during her maidenhood. Most Zingaran women take
ranks in Perform (chastity) and have a chaste Reputation.
The Perform (chastity) skill shows a girl’s skill at keeping her
Reputation type as chaste and in avoiding negative gossip or
smear other attacks. Noble women suffer the worst of the
loneliness because they have servants to go to the market for
them or to run errands; lesser classed women often perform
such chores for themselves.

Lower- and middle-class women tend to be more practical
in these matters. They spend most of their time running the
household, bearing babies, caring for children and performing
domestic duties. Some Zingaran women, even while trying
to maintain a chaste demeanour, must also work in a family
trade or even in outside occupations, thus mingling with
all manner of people, both citizen and foreigner. This is
becoming more common as the civil wars leave more and
more women as widows who must fend for themselves.
Zingaran women are easily found along local water
courses, where they wash their laundry or their
hair. They also gather in courtyards and houses
for sewing and spinning. Zingaran women
are always familiar with each other’s

Page 97

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