Document Text Contents
Page 2
C
O
N
T
E
N
T
S
1
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
Author
Vincent Darlage
Editor
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
Proofreading
Ron Bedison & Scribendi
Playtesters
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
home.
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
OPEN GAME LICENSE Version 1.0a
The following text is the property
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15. COPYRIGHT NOTICE
Open Game License v 1.0a Copyright
2000, Wizards of the Coast, Inc.
Modern System Reference Document
Copyright 2002, Wizards of the Coast,
Inc.; Authors Bill Slavicsek, Jeff Grubb,
Rich Redman, Charles Ryan, based on
material by Jonathan Tweet, Monte
Cook, Skip Williams, Richard Baker,
Peter Adkison, Bruce R. Cordell, John
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System Reference Document Copyright
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Collins, David Noonan, Rich Redman,
Bruce R. Cordell, based on original
material by E. Gary Gygax and Dave
Arneson.
A Magical Medieval Society: Western
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Retreat Press; Authors Suzi Yee and
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Monster’s Handbook, Copyright 2002,
Fantasy Flight Publishing, Inc; Mike
Mearls
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Path of the Sword, Copyright 2002,
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The Book of the Righteous, Copyright
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Loeb
Conan the Roleplaying Game is (C)
Conan Properties International LLC.
Conan: Argos and Zingara is (C)
2006 Conan Properties International
LLC. CONAN(R), CONAN THE
BARBARIAN(R) and related logos,
character, names, and distinctive
likenesses thereof are trademarks of
Conan Properties International LLC
unless otherwise noted. All Rights
Reserved. Mongoose Publishing Ltd
Authorized User.
C
O
N
T
E
N
T
S
1
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
Author
Vincent Darlage
Editor
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
Proofreading
Ron Bedison & Scribendi
Playtesters
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
home.
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
OPEN GAME LICENSE Version 1.0a
The following text is the property
of Wizards of the Coast, Inc. and is
Copyright 2000 Wizards of the Coast,
Inc (‘Wizards’). All Rights Reserved.
1. Definitions: (a)’Contributors’ means
the copyright and/or trademark owners
who have contributed Open Game
Content; (b)’Derivative Material’ means
copyrighted material including derivative
works and translations (including into
other computer languages), potation,
modification, correction, addition,
extension, upgrade, improvement,
compilation, abridgment or other form
in which an existing work may be recast,
transformed or adapted; (c) ‘Distribute’
means to reproduce, license, rent, lease,
sell, broadcast, publicly display, transmit
or otherwise distribute; (d)’Open Game
Content’ means the game mechanic
and includes the methods, procedures,
processes and routines to the extent such
content does not embody the Product
Identity and is an enhancement over
the prior art and any additional content
clearly identified as Open Game Content
by the Contributor, and means any
work covered by this License, including
translations and derivative works under
copyright law, but specifically excludes
Product Identity. (e) ‘Product Identity’
means product and product line names,
logos and identifying marks including
trade dress; artifacts; creatures characters;
stories, storylines, plots, thematic
elements, dialogue, incidents, language,
artwork, symbols, designs, depictions,
likenesses, formats, poses, concepts,
themes and graphic, photographic and
other visual or audio representations;
names and descriptions of characters,
spells, enchantments, personalities,
teams, personas, likenesses and special
abilities; places, locations, environments,
creatures, equipment, magical or
supernatural abilities or effects, logos,
symbols, or graphic designs; and any
other trademark or registered trademark
clearly identified as Product identity by
the owner of the Product Identity, and
which specifically excludes the Open
Game Content; (f ) ‘Trademark’ means
the logos, names, mark, sign, motto,
designs that are used by a Contributor
to identify itself or its products or the
associated products contributed to the
Open Game License by the Contributor
(g) ‘Use’, ‘Used’ or ‘Using’ means to use,
Distribute, copy, edit, format, modify,
translate and otherwise create Derivative
Material of Open Game Content. (h)
‘You’ or ‘Your’ means the licensee in
terms of this agreement.
2. The License: This License applies
to any Open Game Content that
contains a notice indicating that
the Open Game Content
may only be Used under
and in terms of this
License. You
must affix
such a
notice to any Open Game Content that
you Use. No terms may be added to or
subtracted from this License except as
described by the License itself. No other
terms or conditions may be applied to
any Open Game Content distributed
using this License.
3. Offer and Acceptance: By Using the
Open Game Content You indicate Your
acceptance of the terms of this License.
4. Grant and Consideration: In
consideration for agreeing to use this
License, the Contributors grant You a
perpetual, worldwide, royalty-free, non-
exclusive license with the exact terms
of this License to Use, the Open Game
Content.
5.Representation of Authority to
Contribute: If You are contributing
original material as Open Game Content,
You represent that Your Contributions
are Your original creation and/or You
have sufficient rights to grant the rights
conveyed by this License.
6.Notice of License Copyright: You must
update the COPYRIGHT NOTICE
portion of this License to include the
exact text of the COPYRIGHT NOTICE
of any Open Game Content You are
copying, modifying or distributing, and
You must add the title, the copyright date,
and the copyright holder’s name to the
COPYRIGHT NOTICE of any original
Open Game Content you Distribute.
7. Use of Product Identity: You agree not
to Use any Product Identity, including
as an indication as to compatibility,
except as expressly licensed in another,
independent Agreement with the owner
of each element of that Product Identity.
You agree not to indicate compatibility
or co-adaptability with any Trademark
or Registered Trademark in conjunction
with a work containing Open Game
Content except as expressly licensed
in another, independent Agreement
with the owner of such Trademark or
Registered Trademark. The use of any
Product Identity in Open Game Content
does not constitute a challenge to the
ownership of that Product Identity. The
owner of any Product Identity used in
Open Game Content shall retain all
rights, title and interest in and to that
Product Identity.
8. Identification: If you distribute Open
Game Content You must clearly indicate
which portions of the work that you are
distributing are Open Game Content.
9. Updating the License: Wizards or its
designated Agents may publish updated
versions of this License. You may use any
authorised version of this License to copy,
modify and distribute any Open Game
Content originally distributed under any
version of this License.
10. Copy of this License: You MUST
include a copy of this License with every
copy of the Open Game Content You
Distribute.
11. Use of Contributor Credits: You
may not market or advertise the Open
Game Content using the name of any
Contributor unless You have written
permission from the Contributor to do
so.
12. Inability to Comply: If it is impossible
for You to comply with any of the terms
of this License with respect to some or
all of the Open Game Content due to
statute, judicial order, or governmental
regulation then You may not Use any
Open Game Material so affected.
13. Termination: This License will
terminate automatically if You fail to
comply with all terms herein and fail
to cure such breach within 30 days
of becoming aware of the breach. All
sublicenses shall survive the termination
of this License.
14. Reformation: If any provision of this
License is held to be unenforceable, such
provision shall be reformed only to the
extent necessary to make it enforceable.
15. COPYRIGHT NOTICE
Open Game License v 1.0a Copyright
2000, Wizards of the Coast, Inc.
Modern System Reference Document
Copyright 2002, Wizards of the Coast,
Inc.; Authors Bill Slavicsek, Jeff Grubb,
Rich Redman, Charles Ryan, based on
material by Jonathan Tweet, Monte
Cook, Skip Williams, Richard Baker,
Peter Adkison, Bruce R. Cordell, John
Tynes, Andy Collins, and JD Wiker.
System Reference Document Copyright
2000-2003, Wizards of the Coast,
Inc.; Authors Jonathan Tweet, Monte
Cook, Skip Williams, Rich baker, Andy
Collins, David Noonan, Rich Redman,
Bruce R. Cordell, based on original
material by E. Gary Gygax and Dave
Arneson.
A Magical Medieval Society: Western
Europe, Copyright 2003, Expeditious
Retreat Press; Authors Suzi Yee and
Joseph Browning
Monster’s Handbook, Copyright 2002,
Fantasy Flight Publishing, Inc; Mike
Mearls
Nyambe: African Adventures, Copyright
2002, Trident Inc. d/b/a Atlas Games;
Christopher W. Dolunt
Path of the Sword, Copyright 2002,
Fantasy Flight Publishing, Inc.
The Book of the Righteous, Copyright
2002, Green Ronin Publishing; Aaron
Loeb
Conan the Roleplaying Game is (C)
Conan Properties International LLC.
Conan: Argos and Zingara is (C)
2006 Conan Properties International
LLC. CONAN(R), CONAN THE
BARBARIAN(R) and related logos,
character, names, and distinctive
likenesses thereof are trademarks of
Conan Properties International LLC
unless otherwise noted. All Rights
Reserved. Mongoose Publishing Ltd
Authorized User.
