1

WRitiNG
Lee Foster, Todd Cash, Jim Myers

iNtERiOR art
Fil Kearney and Jes Cole

COVER art
Eran Fowler

GRAPhiCS
Keith Curtis

EDitiNG
Anita Hager

Angakkuit is published by Abstract Nova Entertainment LLC, 10633 Bent Tree Dr., Fredericksburg, VA
22407. All text and graphics are © 2015 Abstract Nova Entertainment LLC. All artwork is © 2015 Fil Kearney,
Jes Cole or Eran Fowler. All rights reserved under international law. No part of this book may be repro-
duced in part or whole, in any form or by any means, except for purposes of review, without the express
written consent of the copyright holders with the exception of the character sheet.
 table of contents
Introduction
Overview…...................................3
What is Role-playing…...............4
Rules Overview…........................4
Presentation & Breakdown…..... 5
Fighting
Disclaimer…................................. 5
Setting
Environment….............................7
Geography & Demographics…..7
Character Creation
Shadows Across the Snow…......9
Traits……...................................... 9
Attributes….................................. 9
Abilities……............................... 10
Methods……...............................11
Derived Traits…......................... 11
Favor…........................................ 11
Health…...................................... 12
Initiative….................................. 12
Weapons….................................. 12
Monsters
Individual Equipment…...........13
Communal Equipment............. 14
Finishing Touches….................. 14
Character Progression……....... 15
Basic Rules
Declaration…..............................17
Difficulty…................................. 17
Ability…......................................17
Attribute…..................................17
Drawing Cards…....................... 18
Favor…….................................... 19
Drawing the Ace……................ 20
Successive Attempts…….......... 20
Scenes……...................................20
Common Actions……............... 21
Athletics……...............................21
Construction & Repair…....…...22
Dog Handling…….....................22
Folklore and Traditions…......... 22
Healing……................................ 23
Hunting & Tracking……...........23
Navigation…….......................... 25
Observation……........................ 25
Persuasion & Intimidation……25
Visions…..................................... 25
Storytelling…..............................26
Unskilled Actions…...................26
Environmental Risks…..............27
Avalanches…….......................... 27
Crevasses….................................28
Game Mastering
Dehydration & Starvation….....28
Falling…….................................. 29
Frostbite……...............................29
Hypothermia….......................... 29
Regaining Favor……................. 30
Regaining Initiative……........... 30
Order of Action…...................... 31
Declaration…..............................31
Difficulty…................................. 32
Ability…...................................... 32
Attribute….................................. 32
Drawing Cards…....................... 33
Damage…....................................34
Drawing the Ace….................... 35
Spending Initiative…................ 35
Weapon Modifiers…..................35
Evasion….................................... 36
Losing Health…......................... 36
Absorbing Damage…................36
Complications from Injuries….37
Impairment…............................. 37
Fighting Spirits…....................... 38
Traits…........................................ 41
Threat….......................................41
Defense….................................... 41
Attack….......................................41
Tenacity…....................................41
Health…...................................... 42
Initiative….................................. 42
Specialties…................................42
Aasivarluut…............................. 42
Akhla…....................................... 43
Amarurluut….............................43
Amautalik…............................... 44
Anirniq….................................... 45
Anurirjuaq…...............................45
Erqigdliit…................................. 45
Inukpasugjuit…......................... 46
Inuarugligasugjuit…................. 47
Inukturniq…...............................47
Kajjait…....................................... 48
Kayarissat…................................48
Kukilialuit…............................... 49
Mahaha…....................................49
Nanurluk….................................50
Narajat…..................................... 50
Qallupilluk…..............................50
Qittoriat…................................... 51
Tuurngait….................................51
Uurgarjuag…..............................52
Animal & Human Foes…......... 52
Referee…..................................... 53
Author…..................................... 53
Plot…........................................... 53
Ideas & Inspiration…................ 54
Call to Action…..........................54
Scenes….......................................55
Action & Conflict…................... 56
Setting…...................................... 56
NPCs…........................................ 57
Climax…......................................58
Campaigns….............................. 58
Environmental Threats…..........59
Random Encounters….............. 59
Experience…...............................60
Narrator…...................................60
Dreams….....................................61
Character Death…..................... 61
Final Thoughts…........................62
Adventure
Overview..................................... 63
Call to Action..............................63
Arrival......................................... 64
Maggie’s Tavern......................... 65
Jacob Suluk..................................65
Father Alain................................ 66
Katak............................................66
The Shoreline.............................. 68
Conclusion.................................. 69
Experience...................................69
Appendix
Atiq.............................................. 70
Sample Atiq.................................70
Arctic Char.................................. 70
Arctic Fox.................................... 71
Arctic Wolf.................................. 71
Beluga.......................................... 71
Bowhead Whale......................... 71
Polar Bear.................................... 71
Seal............................................... 71
Skin of the Beast......................... 71
Snow.............................................71
Snowy Owl................................. 71
Sun............................................... 71
Walrus..........................................71
Wind.............................................71
 3

introduction Chapter One

In the first days, before Moon and Sun, the Land
was dark and teeming with power. Words and
thoughts could shape creation and no creature was
bound to a single form. The uumajurngautaviniit,
the first animals, lived as they wished, flying across
the sky or running upon the ground or swimming
in the deepest waters.
Over time, the shadows faded from the Land.
Perhaps they went to sleep, tired after many hunts.
Perhaps their bellies were full, so we were left to
multiply like the vole in a warm spring.
Our grandfathers spoke of a day when the shadows
would again fall across the snow.

Our ancestors lived side by side with the first animals
and learned their wisdom. Some say our ancestors
were children of the uumajurngautaviniit. Others
say that they were their own and separate things,
born of the great and eternal breath from which all
creation is drawn. The truth is long forgotten, lost
on winter winds that have surrendered to the Sky.
The first days were filled with joy and wonder,
but those days were not to last. As the seasons
passed, our ancestors forgot the wisdom of the
uumajurngautaviniit and knew only one form and
one way of living. This sadness is still with us.
There were shadows, as dark as midwinter night, in
those days of forgetting. They hunted our ancestors
as one hunts the caribou. Where they came from,
even our wisest do not know. Some say man created
the shadows from his own fearful dreams. They
speak of qallupilluk, who lives beneath the water
and drags away unwary children. Others believe
the shadows were born of broken taboos, such as
inukturniq, he who eats the flesh of his fellow man.
Some whisper that the shadows are the children of
Land and Sky, such as the mighty anurirjuaq and
kayarissat, the great giants who bring snowstorms
and terrible winds.
That day is upon us. Be strong.
overview
In the Canadian Arctic, near the top of the world,
ancient beings are stirring. They are the monsters
spoken of in Inuit folktales. The remoteness of the
region allows them to hunt and kill with little fear
of discovery. They are the shadows that once caused
ancestral humans to huddle together in the night.
They are the shadows that fall across the snow.
Most are oblivious to this waking darkness, but not
all. Ilisaiji is an angakkuq, a great shaman of the
Inuit, wise to the old tales and songs. He knows of
the creeping darkness that has returned to the Land.
Ilisaiji has gathered a handful of men and women
to stand against the shadows. He is training them
to be angakkuit, shamans, and setting them on the
path of power. In them, all hope lies.
Angakkuit is a role-playing game about fighting
monsters in the frozen north. While the game is set
in the modern era, the region is so remote it can
feel like the distant past. Players assume the roles
of fledging angakkuit who are only beginning

The Inuit

The Inuit are the indigenous, aboriginal people of the northern Canadian and Alaskan Arctic.
For millennia, they have called this region home. Although the Inuit live in a remote part of the
world, they reside in permanent communities, many with modern amenities. While the Inuit
once held to animistic principles, such beliefs have largely faded from the culture and modern
Inuit predominately identify as Christian. However, many of the old customs and traditions are
still celebrated, and the old stories live on through oral retellings.

Inuit is the plural form of Inuk.

4
An Oral Tradition
While the Inuit have an oral
language stretching back centuries,
their written language is largely
a modern development. Like the
classic telephone game, details
changed and morphed from one
telling to the next. Game Masters
can use this to their advantage,
deviating from folklore whenever it
suits their purposes, even inventing
their own monsters. The Inuit
seldom stayed consistent with their
stories so Game Masters are under
no obligation to do so either.
Pronunciation Guide
Angakkuit (an-ga-kweet)
Angakkuq (an-ga-cook)
Anurirjuaq (a-new-rear-jo-ark)
Ilisaiji (e-lee-say-yee)
Inukturniq (in-ook-tur-nik)
Kayarissat (ka-ya-rees-sat)
Qallupilluk (kud-loo-pid-look)
Uumajurngautaviniit (oo-ma-yung-
now-ta-vee-neet)
to learn about a world largely hidden from modern society. They are
new to this life and have much to learn. In time, they will become great
angakkuit, but that day is still far away. In the meantime, their chief
focus is dispelling the shadows that fall across the snow.
Supernatural horrors are not the only threat; the environment presents
its own set of challenges. Snowstorms, wild animals, and other obstacles
can be as lethal as any monster.
what is role-playing?
A role-playing game is akin to improvisational theater. Players assume
the roles of characters (referred to as player characters or PCs) who are
the protagonists of the play. In some regards, a role-playing game is like
Radio Theater in that the story is told verbally and not physically acted
out.
Players are the actors and actresses of Angakkuit. They are the ones who
bring the stories to life. Their characters are the principals of the drama.
The players decide who their characters are, what they look like, what
they do, and how they act; they fuel the dynamic that drives the game
via the actions of their characters.
Being a player is, in some ways, more complex than being an actor…
because there is no script. In a play, the script tells the performer what to
do and what to say. In contrast, a role-playing game is wholly freeform
and improvisational. The player must decide on the spot what the
character does and says, and what motivations might be propelling
those choices.
In a role-playing game, one participant assumes the role of Game
Master (GM). He or she acts as the director, establishing the setting,
plot, and mood. The Game Master must set the stage for the story being
told, creating the framework in which the players act. It is the GM’s
responsibility to relate the environment to the players; this person is the
players’ eyes and ears, describing all that they see, hear, or otherwise
experience in the fictional world. The Game Master also assumes the
roles of all the characters with whom the players interact, outside of the
player controlled group of course. These GM controlled characters are
known as non-player characters (NPCs). While the GM must create the
initial framework of the story, the players will determine the ultimate
direction of the plot.
In addition to helping the player characters interact with their
environment, the GM also acts as referee. The GM must interpret the
rules of the game in a fair and impartial manner to facilitate play. Thus,
the Game Master should be familiar with the rules beforehand so that
informed and rational rulings can be made.
rules overview
Angakkuit uses a card-based resolution system. Each player and the GM
have their own deck of cards. To determine success or failure, players
 5

draw cards from their deck and certain cards are
counted as successes, according to the character’s
abilities. Often, the players will be the only ones
who draw cards. However, for more difficult
actions, the GM draws cards to counter the players’
successes.
the players assume within the game’s setting. When
the text is referring to the game’s title, Angakkuit is
capitalized and italicized. When the text is referring
to the role of angakkuit, it is written in lowercase
with no italicization.

disclaimer
presentation & breakdown
The Inuit are not a homogenized group of people.
Angakkuit uses specialized terminology in its Different regions have their own stories, customs,
rules. Any game-specific terms are capitalized and traditions, and beliefs. This game simplifies things
italicized to bring attention to them. Key rule points for the sake of playability, while striving to be
are bolded to make them stand out on the page. respectful of Inuit culture. Angakkuit should not
Examples are presented in blue text. Sidebars and be taken as a work of scholarship. It is simply a
call out boxes provide information that is useful game. Players wanting to dive into the setting more
but not integral to the game. accurately, with their own research, are encouraged
to do so.
The next four chapters are intended for Game
Masters and players alike. They present a brief
overview of the setting, a system for character
generation, the basic mechanics of the game, and
detailed rules for fighting monsters and other
foes. The final three chapters are intended for the
Game Master only. They provide information on
the monsters of the north, game mastering advice,
and a sample adventure to introduce players to the
world of Angakkuit.

Angakkuit is both the title of the game and the role


setting Chapter Two
Angakkuit is defined by its setting. The game
takes place in Nunavut, Canada’s northern most
territory. It is a harsh and unforgiving climate where
only the hardiest survive. Blizzards and sudden
snowstorms impede travel and swallow the unwary.
Hypothermia, dehydration, and frostbite must be
guarded against. Communities and settlements are
few and far between. In Angakkuit, the environment
is as much a threat as any monster the characters
will face.
environment
Arctic tundra covers much of Nunavut. Fierce
winds and snow blast across frozen, desolate
plains. In some areas, particularly in the northern
most parts of Nunavut, the landscape is dotted with
mountains. Glaciers can be found in mountainous
regions and along the shoreline of many islands.
Approaching the summer months of June through
August, daylight gradually takes up more and
more of the nighttime hours. This culminates
with the summer solstice, on June 21st, which has
weak sunshine all hours of the night. During the
height of summer, temperatures typically range
from 30°F to 60°F. Winter lasts from September to
May and temperatures are always below freezing,
getting as low as -40°F. Snow and winds dominate
the landscape throughout the winter season. In
some parts of Nunavut, the sun doesn’t come up
at all in midwinter and the season is marked with
unrelenting gloom. The winter solstice, or shortest
day of the year, takes place in late December.
The ground always has a layer of permafrost, or
frozen subsoil, because the summers are so short.
In the summer, the ground is soggy from melting
snow as the permafrost keeps it from being
absorbed deep into the soil. Shallow ponds and
lakes are formed during the thaw.
In the winter, snowstorms and blizzards make
traveling arduous and lowers visibility as powerful
winds blow the snow from place to place. In
mountainous regions, the strong arctic winds cause
occasional avalanches. Summer poses risks as well,
but they are fewer and less threatening. Marshes
7
form with the arrival of summer and can ensnare
travelers and make movement difficult.
Nunavut is north of the tree line, where the
environment is so harsh that only the most tenacious
of plant life can thrive, and certainly not any trees.
The permafrost, short summers, and strong winds
largely preclude the growth of vegetation. However,
lichen, mosses, grasses, shrubs, and quick growing
wildflowers grow in the warmer months. The
winds are so strong and the ground so frozen that
taller plants cannot exist. Only plant life that hugs
the ground has any chance of survival.
Many animals reside in the arctic year-round.
These include arctic foxes, arctic hares, snowy owls,
arctic wolves, polar bears, and musk oxen, as well
as marine mammals such as walruses and various
types of whales and seals. Lemmings and insects,
especially mosquitoes, awaken during the summer
months and go about their business. Caribou and
birds (geese, ducks, loons and sparrows) migrate
from the south at this time, staying only for the
warm season.
geography & demographics
Nunavut has a population of only 37,000, spread
over an area the size of Western Europe. Manitoba
borders mainland Nunavut to the south and
Quebec lies to the east, across the Hudson Bay. The
Northwest Territories border Nunavut to the west
and southwest.
Nunavut consists of three regions: Qikiqtaaluk,
Kitikmeot, and Kivalliq. Qikiqtaaluk is largely
unconnected to the Canadian mainland, consisting
primarily of the Canadian Archipelago, a collection
of more than 36,000 islands. These islands are spread
across 550,000 square miles. Most are small and
unremarkable. Baffin Island is a notable exception.
The Hudson Strait separates Baffin Island from
northern Quebec. The island is 195,928 square miles
in size and has a population of around 11,000. Most
of Baffin Island’s population resides in Iqualuit,
the island’s largest city and the capital of Nunavut.
Other, smaller communities exist along the coasts,
8

but much of the island is unspoiled by civilization.

Other than Victoria Island and King William Island, which have
populations of around 1,500 each, the other islands in the archipelago are
fairly desolate. Their populations number from zero to a few hundred.

Modern amenities are lacking in the smaller communities; municipal

Language
Inuktitut is the official language of
Nunavut and the primary language
of the Inuit, though nearly all Inuit
speak English and many living in
the eastern parts of Nunavut speak
Quebec French as well. Inuktitut
is traditionally a syllabic writing
system, where symbols stand in for
syllables. However, Inuktitut is just
as often written in Latin script.
services are non-existent and a single satellite phone might serve an entire
town. These settlements will only have a few communal structures, such
as a general store and church. However, each community will at least
have one school due to government requirements. In smaller settlements,
housing might be provided and maintained by the government as well.
Due to the high unemployment rate, it is not uncommon for multiple
generations to live under the same roof. Healthcare is provided by local
health centers and doctors who fly in a few times each year. Supplies are
restocked on an annual basis by airdrop or sealift. However, the high
cost of modern food, notably the cost to import fruits and vegetables,
means that many Inuit supplement their diet by hunting sea and land
animals. This is especially true in more isolated communities.
Larger towns will have Internet service, electricity, municipal water
and other aspects of modern life. A hotel, restaurant, police station, etc.
are not uncommon. More sizeable communities will also have a more
diverse range of ethnicities, but the majority of the population will still
be Inuit.

Playing in the Past

Angakkuit is set in the modern era.

This provides context for the players
as their characters move from the
known world into the unknown,
traversing a land largely untouched
by modernization. Setting the game
in the here and now also means that
players won’t require knowledge
of Inuit folktales to play the game;
they will learn of them as their
characters do. While this can be
helpful,, there is also no reason the
game could not be set in the past,
whether decades ago or centuries
passed. Simply providing players
with a few pages of pre- game Inuit
lore could allow for believable
characters from virtually any time
period.

characters Chapter Three
Role-playing is collaborative storytelling. The
Game Master (GM) creates the framework of the
tale, and each player constructs a protagonist. The
player characters (PCs) shape the manner in which
the story unfolds. They are not a passive audience
to the Game Master’s story, but rather are active
participants. They have no script to follow, instead
reacting to events and situations as they see fit.
shadows across the snow
In the frozen north of the Canadian Arctic, ancient
horrors prowl the tundra. They are the monsters and
bogeymen of Inuit folktales. They prey upon small,
unwary communities isolated from the world-at-
large, the remote and unforgiving environment
providing cover for their activities. Fortunately,
their presence has not gone unnoticed by all.
The player characters stand in opposition to this
threat. In time, the PCs will be great angakkuit,
shamans of the Inuit, but their journey is only
beginning. They have much to learn and do before
their initiation is complete.
The player characters hunt the monsters across the
Arctic wasteland. They track the creatures across
mountain ranges and desolate tundra. They scour
small settlements and cities. Wherever the shadows
fall across the snow, the player characters follow.
The characters’ calling is not an easy one. In addition
to the monsters of the north, they must contend
with the environment. Winter brings the threat of
blizzards and snowstorms as well as hypothermia
and frostbite. Deep snow makes travel difficult and
thin ice, avalanches, and other natural hazards can
Nature and the Supernatural
Traditional Inuit beliefs hold no
distinction between nature and the
supernatural. Monsters are as much a
part of creation as humans, caribou, the
sky, and anything else. They are simply
a more unusual, rare, and less understood
aspect of nature.
9
be as deadly as any monster.
The characters are not alone in their struggle. A
wise and powerful angakkuq (the singular form of
angakkuit) guides their journey. He is known simply
as Ilisaiji, or teacher. It is his sacred duty to pass his
wisdom down to the player characters and prepare
them for the challenges they will face. Sadly, Ilisaiji
is an old man and his time in this world is soon to
end. He has much wisdom to impart and little time
to do so.
traits
Player characters are defined by a series of traits.
Assigning values to these traits showcases a
character’s strengths. There are three categories of
traits: Attributes, Abilities, and Derived Traits.
attributes
Attributes are the innate qualities possessed by every
character in the game. There are four Attributes in
all:
• Awareness: This is the measure of a
character’s perception and wits. This
Attribute reveals how alert a character is to
the surrounding environment, and covers
attention to detail and the ability to think
quickly while under pressure. It is also
used in social situations to read a subject’s
body language in order to persuade or
intimidate.
• Quickness: This is the measure of a
character’s reflexes and nimbleness. This
Attribute also represents a character’s
coordination, reflexes, agility, and manual
dexterity.
• Strength: This is the measure of a character’s
physical wellbeing. This Attribute covers a
character’s brawn, stamina, and fortitude.
• Wisdom: This is the measure of a character’s
intelligence. This Attribute represents a
10
Modern Abilities
The game focuses on Abilities that
are useful in the setting and fit with
Ilisaiji’s traditionalist worldview.
Modern Abilities, those the
character may have learned prior
to heeding the Land’s call, are not
included among the twenty basic
Abilities. However, a player may
assign his character a few modern
Abilities, provided he sacrifices an
equal number of basic Abilities.
Some common modern Abilities
include Mechanics, Firearms, and
Computers, though a player may
assign or invent any talent or skill
that fits the character’s background
(with the Game Master’s consent).
Like the twenty basic Abilities,
modern Abilities are governed by a
specific Attribute. While the Game
Master determines the governing
Attribute, the player decides which
of his basic Abilities he wants to
forfeit as long as it is governed by
the same Attribute. For example,
if a player wants to add a modern
Ability that the GM decides is
governed by Awareness, the player
has to sacrifice a basic Ability
governed by Awareness. At the end
of character creation, each Attribute
must govern exactly five Abilities.
Valuable Abilities
Since Angakkuit is a game about
monster hunting, fighting and
tracking Abilities may seem to
be the most important. This is
far from accurate. Crafts is used
to build shelters and repair
traditional weapons while Influence
and Observation are useful for
conducting investigations. Tales
and Songs provides knowledge
and spiritual insight. Endurance
and Navigation enable characters
to survive the harsh environment.
Players who focus solely on fighting
will find themselves unable to
handle the other obstacles likely to
surface during play.
character’s accrued knowledge as well as the capacity to reason
and draw conclusions.
Each Attribute is linked to a card suit.
• Awareness is linked to diamonds (♦)
• Quickness is linked to spades (♠)
• Strength is linked to clubs (♣)
• Wisdom is linked to hearts (♥)
All Attributes are assigned a numerical rank from 1 to 5, and each
character has 10 points to spread among the four Attributes. When
attempting any action, a player draws a number of cards equal to her
character’s appropriate Attribute. Therefore, the higher the Attribute
rank, the better.
abilities
Abilities are the skills and talents possessed by all characters, taught or
honed by their mentor, Ilisaiji. There are twenty Abilities in all and each
is governed by an Attribute.
Awareness Abilities
• Bow: Using a bow for hunting and fighting.
• Influence: Persuading or intimidating a person.
• Observation: Noting the little details in one’s surroundings.
• Navigation: Moving across the landscape, guided by bird
patterns, the stars, etc.
• Tracking: Following the path of a person, animal, or monster.
Quickness Abilities
• Bola: Using a bola to entangle a target’s legs.
• Evasion: Dodging incoming attacks and environmental
obstacles.
• Knife: Using a knife for hunting and fighting.
• Punch/Kick: Engaging in hand-to-hand fighting
• Tackling: Using one’s weight and momentum to tackle a person,
animal, or monster.
Strength Abilities
• Athletics (Land): Climbing, running, and jumping.
• Athletics (Water): Swimming and boating (including
kayaking).
• Endurance: Resisting fatigue, injury, and the elements.
• Grappling: Placing a target in a wrestling hold.
• Harpoon/Spear: Using a harpoon or spear for hunting and
fighting.
Wisdom Abilities
• Crafts: Building and repairing kayaks, sleds, and weapons from
 11

driftwood and animal parts (such as bones,
sinew, and antlers).
• Dog Handling: Controlling dogs for
hunting, sledding, fighting, etc.
• Healing: Staving off disease, suturing
wounds, etc.
• Tales and Songs: Knowledge of Inuit
legends and the means of interacting with
spirits, including banishing harmful ones
and calling upon helpful spirits for aide.
• Visions: Interpreting dreams to gain special
insight into a problem at hand.
Since every player character has studied under
Ilisaiji, each has the same twenty Abilities.
Differentiation between player characters comes
from the prioritization of these Abilities; different
characters will excel at different Abilities. Players
choose five Abilities to classify as primary and
five as secondary; the remaining ten Abilities are
classified as tertiary. No numbers are assigned to
these traits. Characters are most skilled in their
primary Abilities, followed by their secondary
Abilities and lastly their tertiary Abilities.
When using secondary Abilities, the player counts
any cards matching the Attribute’s linked suit as a
success as well as the two jokers.
For example: A character with a Quickness (spades)
of 2 draws two cards, the Jack of spades (J♠) and the
King of diamonds (K♦). He has earned one success
(for the J♠ but not the K♦).
When using tertiary Abilities, the player only counts
numbered cards (with Aces counted as ones) that
match the Attribute’s linked suit as successes, as
well as the two jokers.
For example: A character with a Quickness (spades)
of 2 draws two cards, the Jack of spades (J♠) and
the King of diamonds (K♦). He has earned no
successes.
When drawing cards to determine an action’s
success or failure, players are only looking at the
suit and rank of the cards. No math is involved.
This moves play along quickly.

While Attributes determine how many cards a derived traits

player draws for an action, the prioritization of
Abilities determines how the cards are interpreted.
When using primary Abilities, the player counts
any cards matching the Attribute’s linked suit as
a success as well as the two jokers and the nine
face cards from the other three suits. Aces count as
ones.
For example: A character with a Quickness (spades)
of 2 draws two cards, the Jack of spades (J♠) and
the King of diamonds (K♦). He has earned two
successes.
Characters possess three Derived Traits, so named
because they are derived from Attribute rankings.
These three traits are: Favor, Health and Initiative.
favor
Favor represents a character’s connection to the
spirits of the Land. In game terms, Favor is a pool of
points spent to retry actions after they have failed.
It’s also used to call upon helpful spirits in times
of need. Favor points are hard to replenish, so they

The Role of Angakkuit

In traditional Inuit culture, the angakkuq was akin to a shaman. Some angakkuit were chosen
to walk this path by another angakkuq who sensed their inherent power. Some were initiated
through dreams or guided by the spirits of their ancestors. Angakkuit were greatly respected
for their wisdom. They served as counselors, healers, and mediators in Inuit communities. They
also acted as intermediaries with the spirits, who they placated when taboos were broken or
called upon when the community was in peril.

As fledgling angakkuit, Ilisaiji expects the player characters to fulfill the traditional duties of
their calling. While their most pressing task is dealing with the monsters that threaten the Land,
the characters must also help any person or community in need, even when the otherworldly is
not involved. The role of angakkuq is not limited to monster hunter.
12
The Chosen
As darkness descends across the
frozen north, the Land calls out
for help. It seeks worthy men and
women to challenge the shadows
that fall across the snow. If power
resides in an individual, everything
else is inconsequential. Therefore,
it is not mandatory that player
characters be Inuit, though that is
the default assumption. Gender
is also unimportant. While most
angakkuit were typically male,
there is no forbiddance of female
angakkuit. If one is chosen to walk
the path of power, race and gender
do not matter. The Land chooses
whom the Land chooses.
Religious Beliefs
In centuries past, the Inuit held
animistic beliefs. They believed
that all things, both animate and
inanimate, were alive. The Land
spoke to the Inuit. This changed
with the coming of Europeans and
the advent of modernization. 90%
of today’s Inuit define themselves as
Christian. Most others practice one
of the world’s other major faiths.
While many Inuit enjoy the old
stories, very few actually believe in
them.
Players should give some thought
to their characters’ religious beliefs.
Does he practice one of the major
world religions or adhere to ancient
Inuit principles? Of course, there
is no reason a character cannot
be agnostic or atheist. She could
rationalize the monsters as lost
species or something else that fits
her worldview. It’s also possible
for a character’s religious outlook
to change over the course of the
game. Confronting monsters can
lead to discovering or rediscovering
faith. As more and more of the
old folktales turn out to be true,
a character may even adopt the
animistic beliefs of her ancestors.
should be spent cautiously. Favor is determined by multiplying a
character’s Wisdom rank by 2. This number represents the character’s
starting and maximum pool of Favor points.
health
Health is the physical wellness of the character, i.e. how much harm she
can endure. Health is determined by multiplying a character’s Strength
rank by 5. Therefore, starting and maximum Health ranges from 5 to 25.
This decreases when a character is hurt or sick and is restored through
rest and healing.
initiative
Initiative determines who acts first in a fight. Initiative is determined
by adding Quickness and Awareness. Initiative is also a pool of points
that characters can spend from to gain an extra attack in the same round.
Initiative is earned back slowly, so characters have to be cautious of
spending too many points in a single fight.
weapons
The monsters of the Arctic are dark aspects of nature, but like all things
they are of the Land. In fact, their connection to the Land runs deep, even
if the bond is cancerous. For this reason, the shadows across the snow
are most greatly harmed by weapons made from the Land’s bounty;
modern weapons do minimal damage. Bows made from driftwood,
antlers, and animal guts inflict more injury than do modern compound
bows. Knives fashioned from bone or ivory are much more effective
than steel. For these reason, the player characters will want to arm
themselves with archaic weapons.
Characters are free to use modern weaponry, though it is largely
ineffectual against the monsters in the game. Modern weapons inflict
no more damage than a punch or kick. Of course, this only applies to the
otherworldly creatures in the game; modern weaponry is as effective on
animals and humans as expected.
Every character carries a knife and a bola. Due to the difficulty of
traversing the Arctic, especially in winter and often by foot, each
character can only carry one large weapon. The choices for large
weapon are bow, spear, or harpoon. From a damage standpoint, there
is no difference between these weapons. The distinction lies only in the
Attribute governing the Abilities tied to each weapon. Of course, if a
player wants his character to travel lighter, she is not obligated to choose
a large weapon. Alternately, she could substitute a rifle or shotgun for
the more traditional weaponry.
Weapons are used for more than fighting monsters. They are tools for
survival. Characters may find themselves far from civilization, and
weapons are necessary for hunting and skinning wild animals as well
as making clothes and tents.
 13

Worldview
A player should decide how his character interacts with the modern world. Is he a traditionalist,
holding onto the old ways and beliefs or a modernist who believes that the old ways are best
left in the past? Perhaps he is a moderate, vacillating between the other two worldviews as best
suits him.

A traditionalist believes the Inuit should only live as their ancestors did. Clothes and tents are
fashioned from caribou hides. Modern housing is anathema. Food is hunted for, not purchased
at a general store. The traditionalist believes that living as the ancients did more deeply connects
him to the Land.

A modern worldview believes that the old ways of living must give way to new and better
advancements. Traditional approaches are only employed when absolutely necessary, e.g. using
traditional weapons instead of modern armaments against the monsters of the north.

Like the traditionalist, the holder of a moderate worldview believes that the old ways are
important. However, she does not believe in absolutes. The moderate adheres to the old ways
when necessary, but also employs modern tools when they are more beneficial. For instance, a
character with a moderate viewpoint sees no reason to carve snow goggles from caribou antlers
when modern goggles offer better protection. Why hunt wild game with a bow made from
driftwood and animal guts when a compound bow does the job better?

While a character’s worldview has no mechanical bearing on the game, it helps provide definition
to a character; it shows how the character perceives the merging of his old and new lives. It also
helps determine the type of equipment a character might carry. For example, a modernist will
wear a store-bought parka while a traditionalist will wear one fashioned from caribou hide that
he likely made with his own hands.

individual Equipment possible.

Characters possess individual equipment beyond
their weapons. Each character will have the
following equipment:
• Parka. Modern parkas typically have a
cotton-nylon shell with polyester or wool
stuffing. Traditional parkas are primarily
sewn from caribou hides, and are made in
two layers. The fur on the inner layer faces
the skin and the fur on the outer layer faces
out.
• Mittens or Gloves. Handmade mittens
are fashioned from sealskin and are often
layered, while modern hand coverings
have varying levels of warmth and
durability. Manual dexterity is impossible
when wearing mittens.
• Snow Pants. Modern snow pants are
constructed similarly to parkas. Traditional
Inuit snow pants are layered garments,
tailored to keep out cool air as much as
• Snow Goggles. Modern snow goggles
provide UV protection. In decades past,
snow goggles were made from caribou
antlers with small slits carved into them to
minimize snow blindness.
• Snow Boots. Traditional Inuit snow boots
consist of three layers including a boot
stocking, a sealskin boot, and a fur slipper.
Modern snow boots are often made to
work with snow pants, and have varying
levels of warmth and cost.
• Crampons. Crampons are spikes attached
to the soles of boots for additional grip
on icy surfaces. Modern crampons are
made from metal while traditional Inuit
crampons are made from animal bone.
• Ceremonial Masks. These masks are made
from whalebone or driftwood and often
decorated with bird feathers. They are
worn during rituals where the spirits are
called upon for assistance.
• Food and other basic supplies. Modern
14
Looking Out of Place
Player characters with a traditional
worldview will dress as their
ancestors did, in animal hides. This
means they will sometimes look
out of place in the modern world,
especially in a large city. All but the
most isolated of Inuit communities
wear reasonably modern apparel.
Traditional clothing is only used
to celebrate certain cultural events.
For players who don’t want to
attract attention to their characters,
a traditional viewpoint is not the
way to go.
Firearm Limitations
Firearms have minimal value in the
game. The damage they inflict on
the monsters is usually negligible,
prolonged exposure to extreme cold
can causes malfunctions, and thick
mittens or gloves add an extra layer
of complication. However, when
it comes to hunting wild game or
defending oneself from a mortal
threat, firearms are extremely
useful.
freeze dried camp food is easy to carry, but there are limitations
on where such supplies can be purchased. Small, isolated
communities that only have yearly food drops will provide
minimal options.
communal equipment
Depending on the places traveled, there may be some communal
equipment. Such equipment can vary from adventure to adventure and
is completly optional.
• Dogs. The characters travel with a pack of five to seven dogs,
most likely Canadian Eskimo Dogs and Northern Inuit Dogs.
They serve as guards, companions, and more. In the winter,
they can pull sleds and help with hunting, namely locating seal
breathing holes in the ice.
• Sled. Sleds are used to travel in winter and are pulled by dogs.
• Row Boat. These are used to travel from island to island.
• Snowmobile. While snowmobiles are faster and more
maneuverable than dogsleds, they can carry less gear and
have to be oiled and refueled, which can be difficult when
traversing the Arctic for long periods of time. Also, strident
traditionalists may have a philosophical objection to traveling
by snowmobile.
finishing touches
Characters are more than a series of Traits and ranks. Each should
have a distinct personality, and players should give some thought to
developing an identity for their characters. Practical details including
a character’s name, gender, age, and physical appearance must also be
considered. Most importantly, a player must decide how her character
came to follow the path of the angakkuq. Did Ilisaiji seek her out after
sensing the power within her? Was she visited by her ancestors and
guided to Ilisaiji and this new life? Was she approached by the spirits of
the Land and made wise to a wider reality? A player can choose any of
the preceding ideas or come up with one of her own.
A player should also give some thought to his character’s previous
life. Did he come from a modern city or a small Inuit community in
Nunavut? Did he hail from another part of Canada or elsewhere in the
world? What was his occupation before dedicating himself to his new
calling? What about family and friends? Who is the character leaving
behind as he embarks on this new life? Does he stay in contact with
family and friends between adventures? A player can also create a few
brief anecdotes for his character. Interesting or amusing stories can really
breathe life into a character. Each anecdote needs only be a paragraph or
two, though players are welcome to craft lengthier biographies.
Character generation is only a starting place and skeleton to build
upon. Over time, the characters will likely take on lives of their own
as the players react to the situations unfolding around them. With this
in mind, there is no requirement to create a detailed background for
 15

Inuit Naming
Traditional Inuit naming was a diverse affair. A newborn could be named after a relative,
an esteemed elder, an animal, a plant, a body part or anything else. Names were often given
to reflect a child’s disposition or appearance at birth. Other times, a poetic choice was made,
naming a child after the moon or a star in the night sky. Many times, a child was named after an
ancestor or other respected community member. This both honored the individual from whom
the name was chosen and invited the spirits to look favorably upon the child. Inuit names were
usually gender neutral.

When European missionaries came to the region, they had difficulty pronouncing Inuit names,
and proceeded to rechristen many individuals. Most often, they would choose a biblical name
for an individual, such as James or John or Ruth. Sometimes, the new name was a Romanized
version of the original Inuit name to make it easier to pronounce. Other Inuit names were
truncated to make pronunciation easier.

With the governmental resettlement of many northern Inuit and the creep of modernization,
surnames became a part of Inuit culture. Traditional names often became surnames as Christian
first names were adopted.

Inuit Names
Among the modern Inuit, Christian first names and European surnames are common. However,
many of the traditional names live on as last names, and some Inuit still maintain a traditional
first name from their native tongue.

Below is a list of Inuit names that can be used as first names or surnames for characters:

Aggaak, Allu, Aniqmiuq, Annogaq, Aputik, Arnaquq, Arvaaluk, Aupaqtuq, Inusiq, Iji, Ipeelee,
Iqaluk, Iyerak, Katak, Kenojuak, Kiguti, Kimalu, Kiujuq, Lutaaq, Maatu, Malittuq, Mamayaook,
Meeka, Malivik, Najjuk, Nirjut, Nulijaut, Olayuk, Palluq, Pauta, Pillataq, Qamaniq, Qaniq,
Qanniqtuq, Qauq, Qiilabaq, Saila, Savik, Singirniq, Suu, Suluk, Tagak, Taliq, Taqqiq, Taqtu,
Tumiit, Ullaaq, Unnuksaq, Uummati, Uvavnuk

A player can choose a modern first and last name for her character, forgoing any traditional
names. Alternately, she could pair a modern name with a traditional Inuit name, or choose two
traditional names.

a character in advance of play. Players are free to
breeze through character creation, and fill in the
background details during play. A character can
be as richly detailed, or as vaguely sketched, as a
player desires.
character progression
Player characters earn Experience Points (XP) for
every successful monster hunt, typically between
2 and 7 XP. These Experience Points are spent to
increase Attributes and Abilities. Players may spend
their XP as they accrue it, or bank it for later use.
Experience Points are spent as follows:
• 5 XP: Improve an Ability from tertiary to
secondary.
• 10 XP: Improve an Ability from secondary
to primary.
• 10 XP: Increase an Attribute by one rank.
Derived Traits increase as Attribute ranks increase.
Raising Wisdom increases Favor, raising Strength
increases Health, and raising Quickness and/or
Awareness increases Initiative.
16

basic rules Chapter Four
Rules are not required for routine situations. A
character can converse with an NPC or drive a
snowmobile without invoking the rules. However,
if she is trying to win an argument with that NPC
or drive a snowmobile through a blizzard, the rules
come into play. When the outcome of a character’s
action is uncertain, the rules are used to determine
success or failure.
Angakkuit uses playing cards to determine an
action’s success or failure. Jokers are kept in the
deck and Aces are counted as ones. Each player
will need his own deck of cards, as will the Game
Master.
During play, characters will undertake a variety of
actions. They might track prey across the tundra,
barter with locals, or build a shelter to survive the
night. Regardless of the action, a single process
determines the success or failure of every action.
This process consists of five steps.
step One: declaration
Players are responsible for relating their characters’
intended actions to the GM. These actions can be
described in the broadest sense or very specifically.
Generally, the more detailed the description,
without going overboard, the better.
For example: A player character finds a crevasse
blocking her path. Rather than take the extra time
to walk around it, the player declares her character
is going to jump over the fissure.
The Game Master determines if there is a chance an
action may fail. If so, the GM sets a Difficulty level
for the action.
step two: difficulty
Some actions are harder to achieve than others.
Paddling a kayak through rough waters is more
difficult than tracking caribou in clear weather.
As the referee, the Game Master determines the
Difficulty of accomplishing any action.
17
There are three levels of Difficulty: Average,
Challenging, and Daunting. Most actions have an
Average Difficulty.
For example: A character is attempting to jump a
crevasse. Since it is only a few feet wide, the Game
Master sets an Average Difficulty.
Advice for setting Difficulty levels is presented
throughout this chapter.
step three: ability
For every attempted action, there is usually an
Ability that can contribute towards success. When
a character is attempting an action, the relevant
Ability must be determined. Doing so is usually
an obvious, straightforward affair.
For example: A character is attempting to jump a
crevasse. Athletics (Land) is the relevant Ability.
Characters may find themselves in situations
where no Ability is relevant. These rare occasions
are covered later in this chapter.
step four: attribute
Whenever an action is attempted, the appropriate
Attribute must be determined. Since each Ability
is linked to a specific Attribute, there is seldom any
guesswork.
For example: A character is attempting to jump a
crevasse. Strength is the appropriate Attribute as it
is linked to Athletics (Land).
There may be instances when a character attempts
an action that she has no Ability in. In such a
scenario, the appropriate Attribute must still be
determined. For actions involving coordination
and agility, Quickness is appropriate. Strength covers
actions related to brawn and endurance. Actions
involving perception are governed by Awareness,
while Wisdom is used for tests of intellect and
knowledge.
18
A Visual Approach
Reading a draw is quick and easy.
Rather than adding card values,
Angakkuit uses a visual approach.
Successes are calculated according
to the Ability’s prioritization; the
higher the prioritization, the more
types of cards counted as successes.
This quick resolution system keeps
the pace lively, as the game doesn’t
get bogged down with math.
Game Master Draws
If a player fails to draw a success
against a Challenging or Daunting
Difficulty, the Game Master still
draws an appropriate number of
cards from his deck. While these
cards have no effect on the action’s
success or failure, not drawing any
cards means the GM’s deck isn’t
decreasing during the scene, as it
should.
A Note on Favor
If a character fails to draw a success,
and the GM draws a card of the
appropriate suit, the player has an
uphill battle when it comes to using
Favor. A player will have to spend
multiple Favor as she will need
two successes, one to counteract
the GM’s draw and another for the
action to succeed.
step five: drawing cards
To determine if an action is successful, a player draws a number of
cards from her deck equal to the rank of the Attribute being used.
For example: A character is attempting to jump a crevasse. Since her
Strength rank is 3, the player draws three cards from her deck.
Each Attribute is linked to a card suit:
• Awareness is linked to diamonds (♦)
• Quickness is linked to spades (♠)
• Strength is linked to clubs (♣)
• Wisdom is linked to hearts (♥)
The prioritization of the Ability being used determines how the drawn
cards are interpreted.
• For primary Abilities, any numbered cards matching the
Attribute’s suit are counted as successes as well as all face
cards, regardless of suit.
• For secondary Abilities, all cards matching the Attribute’s suit
are counted as successes (numbered cards and face cards).
• For tertiary Abilities, only numbered cards matching the
Attribute’s suit are counted as successes.
For example: A character with a Strength of 3 is attempting to jump a
crevasse. The player draws three cards: a 3 of clubs (3♣), a 4 of diamonds
(4♦) and a King of diamonds (K♦). Since Strength is linked to the club’s
suit, and the 3♣ is a numbered card, the character has earned a success.
As the character has Athletics (Land) as a primary Ability, the player also
gets to count all face cards as successes, regardless of suit. Therefore, the
K♦ is also counted as a success. The character has earned two successes
in total, one for the 3♣ and one for the K♦.
When reading a draw, Aces are counted as ones and Jokers are counted
as successes.
Only one success is required for an action to succeed.
The preceding rules are for actions with an Average Difficulty. Higher
Difficulty levels have an extra twist.
• For Challenging Difficulties, the Game Master draws one card
from his deck. If the GM’s card matches the PC’s Attribute suit,
one success is subtracted from the player’s total successes.
• For Daunting Difficulties, the Game Master draws two
cards from his deck. For every card that matches the PC’s
Attribute suit, one success is subtracted from the player’s total
successes.
For the Game Master, it doesn’t matter if the draw is a face card or a
numbered card. All cards matching the Attribute’s suit subtract successes
from a character’s action.

After the GM’s draw is counted against the
player’s successes, the player must have at least
one success remaining or the action has failed.
For example: After jumping over the crevasse, a
character makes her way to the shore, gets in her
kayak, and paddles away from the glacier. Since
the winds are whipping about, and the water
is extremely choppy, the GM sets a Challenging
Difficulty for this action. The player draws three
cards, a total equal to her character’s Strength
rank. The results are 9♣, J♣, and J♠. With Athletics
(Water) as a secondary Ability, the player counts
the 9♣ and J♣ as successes. However, since the
Difficulty is Challenging, the Game Master draws one
card to count against the player’s draw. The GM
draws a 7♣. Since this matches the suit linked to
the character’s Attribute, one success is subtracted
from the player’s total. Since the player scored two
successes, losing one does not cause the action to
fail.
If a player draws a Joker, an action is automatically
successful, regardless of Difficulty; the GM’s draw
does not count against the player’s success total
when a joker is in play. This benefit does not apply
in reverse. A Joker drawn by the Game Master has
no effect and will not count against the player’s
successes.
19
favor
Some actions are more consequential than others.
For example, escaping an avalanche is more
important than winning an argument. In some
cases, failure can be a tremendous setback, if not
outright devastating. When a character’s action
fails, she can spend Favor to draw an extra card.
The decision to spend Favor can be done before or
after the Game Master’s draw.
For example: After dragging her kayak onto land,
the character discovers some damage to the boat.
With Wisdom and Crafts, she attempts a repair.
Unfortunately, the action fails. Since the character
doesn’t want to be stranded, she opts to spend one
point of Favor to draw an extra card.
After spending a point of Favor, and drawing an
extra card, an action may still fail. At this point, a
player can accept defeat or spend another point of
Favor. For any single action, a player can spend a
maximum amount of Favor equal to the character’s
Wisdom rank.
Characters should be judicious with spending Favor,
as it does not replenish easily. Rules for replenishing
Favor are covered later in this chapter.
20
Rules Summary
• The player declares what her
character is attempting to do.
• The Game Master sets the
Difficulty for the action.
• The Attribute and Ability most
appropriate to the action is
determined.
• The player draws a number of
cards equal to his character’s
Attribute.
• The prioritization of the
character’s Ability determines
which cards as counted as
successes.
• If the Difficulty is Challenging
or Daunting, the GM draws one
or two cards to count against
the player’s successes.
• In an action fails, Favor can be
spent to draw additional cards.
Favor has other uses in the game. These will be covered later in this
chapter and the following chapter.
drawing the ace
Characters can succeed at an action but incur an unexpected complication.
If one of the player’s successes is an ace, the action succeeds but
something unexpected happens. The exact nature of the complication
is up to the GM. However, it doesn’t undo the character’s success or
derail the adventure; it merely makes things more interesting.
For example: After snooping for hours, the character finds the missing
diary hidden beneath a loose floorboard. However, at the moment
of success, she hears the unlocking of the front door. The owner has
returned home early.
For example: A falling character grabs a hold of a ledge, saving himself
from certain death. However, he loses the grip on his knife, which
tumbles to the rocks below.
Drawing an ace presents a new story element or unexpected twist. It
doesn’t negate success or overly harm a character. The Game Master
must keep this in mind when inventing a complication.
succesive attempts
When an action fails, with or without spending Favor, characters may be
able to try again. This is entirely at the GM’s discretion with commonsense
as the best guide. If a character has the requisite Ability, and time is
not a factor, he should be allowed another go at it. For example, if a
character fell during a rock climb, the Game Master should allow him
to immediately try again, provided the fall did not inflict serious injury.
Alternately, the GM can allow a second attempt, but declare that some
time must pass before this can happen. For example, if a character is lost
in the mountains, she could try using Navigation again later in the day,
after she has had a chance to regain her bearings. Of course, there are
times when a second attempt cannot be made. If the character is trying
to catch an arctic fox with her bola and misses, she won’t get another
opportunity.
scenes
A scene is a unit or division within the story, occurring at a single
location. It can consist of one action or several. Beyond any narrative
concerns, scenes have an importance to the rules of Angakkuit.
After each action, the cards drawn by a player are put aside rather
than reinserted into the deck. Cards are only reinserted after a scene
concludes. In scenes where each character has no more than one action,
this has little significance. For longer scenes, comprised of multiple
actions, the importance is far greater. If a character undertakes multiple
actions in a scene, the player’s deck dwindles as the scene progresses.

Obviously, this means the odds of drawing
successes are changing as cards are discarded and
put aside. Players should be cognizant of this. If a
player draws a string of successful cards for his first
two or three actions in a scene, subsequent actions
will become harder as there are fewer cards in the
deck that can be counted as successes. Of course,
the opposite is true if the player has a series of bad
draws to start off the encounter.
In most scenes, each character is likely to undertake
at least one action. If the Difficulties for these actions
are Challenging or Daunting, the Game Master
draws cards against each character’s action. In such
instances, the GM’s deck will shrink at a far greater
rate than the players’ decks.
At anytime during a scene, a player can spend a
Favor to reinsert all the drawn cards into the deck.
As Favor is difficult to earn, this should only be
done when absolutely necessary, i.e. during scenes
of great importance after many individual actions
have whittled down the deck size.
Whenever cards are reinserted into a deck, at a
scene’s conclusion or with the expenditure of Favor,
the deck needs to be reshuffled.
common actions
Characters will attempt a variety of actions. While
it is impossible to provide guidelines for every
situation, the actions most likely to come into play
are detailed over the next few pages, along with
suggestions for setting Difficulties.
athletics
Characters will engage in a number of actions
involving physical prowess. They may have
to outrun a predator or jump from a crashing
snowmobile. They may have to stave off fatigue or
climb a mountainside. For such actions, Athletics is
always the appropriate Ability.
An Average Difficulty covers most actions
involving Athletics. However, when the human
body is pushed further than normal, especially in
a short span of time, the Difficulty can increase to
Challenging.
For example: A character has only seconds to reach
the door and slam it shut before being overtaken by
21
A Running Jump
A running jump is an Athletics action,
and the distance involved determines the
Difficulty. Jumping ten feet or less is an
Average Difficulty, ten to twenty feet is
Challenging, and twenty to twenty-five
feet is Daunting. Jumps beyond twenty-
five feet are not possible. A running jump
assumes the character has at least ten feet
of running room. Otherwise, Difficulties
increase by one rank. Certain surfaces
may offer poor traction, which can also
raise the Difficulty.
the thing chasing her. The Game Master increases
the Difficulty to Challenging.
For example: A character has to swim many miles
between two islands. Due to the strength and
stamina required for such a feat, the Game Master
increases the Difficulty to Challenging.
Environmental conditions can also increase the
Difficulty.
For example: Strong winds are hampering a
character’s climb up a vertical rock face. The Game
Master increases the Difficulty to Challenging.
For example: A recent snowfall has made movement
sluggish. Running through a foot of snow increases
the Difficulty to Challenging.
Daunting Difficulties should be rare and reserved
for the most tasking of physical challenges.
For example: A character is kayaking through a field
of drift ice when a snowstorm strikes from out of
nowhere. Under normal circumstances, navigating
the ice field would be Challenging; doing so during a
snowstorm, with fierce winds and limited visibility,
is Daunting.
Injury and death can result from failed Athletics
actions. Tumbling from a great height or falling into
subzero waters can be catastrophic. Therefore, the
Game Master shouldn’t confront characters with
too many Daunting Difficulties. The idea is to test
the characters and present obstacles for them to
overcome, not to kill them anticlimactically with a
poor card draw.
22
A Note on Crafts
Crafts is used to fashion and repair
any hand-made item. With the ex-
ception of tents and clothing, Crafts
cannot be used to repair modern,
manufactured items. Doing so re-
quires a modern Repair Ability.
Building an Igloo
An igloo can be constructed in a
few hours. If properly built, it can
maintain an interior temperature
of 25°F to 60°F. Proper construction
includes melting the interior walls
to create a thick sheet of ice for
insulation, using snow to mortar
any cracks that might allow cold air
inside, and constructing the igloo
dome over a ditch or hole in the
ground for extra warmth. A window
made of thick ice can be installed,
which will reflect sunlight and help
keep the structure warm and better
lit during the day.
construction and repair
Crafts is used to construct and repair objects using natural materials. This
includes building and repairing sleds, weapons, boats, tents, clothing,
and more. It also includes the construction of igluvijaq, commonly
referred to as igloos.
Characters will need to make use of the supplies available to them,
which are few. Animals provide most of the raw materials; their bones,
ivory, antlers, skin and blubber are used for clothing, tents, weapons,
sleds, and boats. Driftwood is also useful, but its scarcity makes it a less
common Crafts component.
Most actions involving Crafts carry an Average Difficulty. Time
constraints, such as hurriedly building an igloo before a blizzard’s
arrival, can increase the Difficulty to Challenging or Daunting.
dog handling
Dogs can aid characters in many ways. They help with hunting and can
locate seal breathing holes for fishing. They can also pull a sled, guard a
campsite, or help in a fight.
It is assumed that any dogs among the characters are already trained
and loyal. Therefore, basic commands seldom require invoking the rules.
When the Game Master determines that commands or expectations
are beyond the norm, a Difficulty of Average or Challenging may be
appropriate.
For example: A trek between settlements usually takes ten hours by dog
sled. Unfortunately, the characters have to make the journey in only
eight hours. The Game Master sets a Difficulty of Average to do so.
For example: A character is trying to get one of the dogs to turn on a
seemingly friendly NPC. The Game Master decides that commanding
the dog to attack an otherwise friendly face is a Challenging Difficulty.
Daunting Difficulties are extremely rare. They only come into play for
commands contrary to a dog’s nature. Facing certain death, such as
asking a dog to leap off of a high cliff to the rapids below, would indicate
such a Difficulty level.
folklore and traditions
Knowing the folklore and traditions of the Inuit is extremely useful.
Using Tales and Songs, characters can identify the manner of monster
they are facing, will know how to appease the spirits, and will have a
working knowledge of traditional Inuit customs, rituals, and taboos.
The Difficulty for recalling a certain folktale or custom is largely at
the Game Master’s discretion; as a general rule of thumb, the rarer the
information, the higher the Difficulty. For example, knowing how to
conduct a traditional Inuit burial would only carry an Average Difficulty

while being aware of the folklore surrounding a
monster might be Challenging.
healing
Characters can get hurt in a variety of ways. Attacks,
falls, exposure, and other hazards can injury a
character, lowering Health.
Every PC has a Health score ranging from 5 to 25.
When a character suffers bodily harm, the game
reflects this by lowering the character’s Health
rank. Should Health ever drop to 0, the character
is unconscious; subsequent damage kills.
Sometimes rest is all that is required for a character
to heal. Other times, the Healing Ability is the only
way to recover lost Health. In dire situations, Healing
is necessary to stave off death.
For the purposes of Healing, there are two degrees
of injury: Bruised and Battered.
A character is considered Bruised when he has lost
up to 20% of his maximum Health.
For example: A character has lost 1 Health from his
maximum of 5. As this is 20% of his total Health, he
is considered Bruised.
For example: A character has lost 2 Health from his
maximum of 15. As this is less than 20% of his total
Health, he is considered Bruised.
A Bruised character heals all lost Health with one
day of rest. No Healing action is required.
If a character has lost more than 20% of his Health,
he is considered Battered.
For example: A character has lost 7 Health from his
maximum of 10. As this is more than 20% of his
total Health, he is considered Battered.
For example: A character loses 13 Health from his
maximum of 15. Since this loss is more than 20%
of his total Health, the character is considered
Battered.
The road to recovery is tougher for a Battered
character. To regain lost Health, a successful
Healing draw against an Average Difficulty
must be made. The injured character, an NPC, or
another player character can undertake this action.
23
If the action fails, the character regains no Health.
Successive attempts may be made once per day by
each potential healer until the action is successful.
Once the action is successful, the character recovers
Health at a rate determined by her Endurance rank.
For example: A character with an Endurance of 2 has
lost 5 Health. She will recover 1 Health every four
days, and be fully healed in twenty days.
For example: A character with an Endurance of 4 has
lost 15 Health. She will recover 1 Health every two
days and be fully healed in thirty days.
If a character’s Health is reduced to 0, she is
unconscious. If a character with a positive Health
score suffers injury that would result in a negative
number, Health is only reduced to 0; there is no
negative Health rank.
For example: A character with a current Health of 2
loses 5 additional Health. The character’s Health is
reduced to 0, and the character is unconscious.
For a character with 0 Health, the Difficulty for any
Healing action increases to Challenging.
If an unconscious character receives additional
injury, he or she dies. Another character, PC or NPC,
can attempt a Healing action to keep the character
alive, but the Difficulty to do so is Daunting.
However, they only have 15 minutes to act before
the character expires.
hunting and tracking
The Difficulty to track someone or something
is dependent on how old the tracks are and the
surrounding environment. If the subject passed
24
Honoring the Slain
When an animal is hunted and
killed, it must be suitably honored.
To do otherwise invites tragedy. A
ritual is performed and the animal’s
spirit is thanked for its sacrifice.
This is a Tales and Songs action with
an Average Difficulty. If the action
fails, the GM draws a card from
his deck. If the card is a face card
from the hearts suit (the suit linked
to Wisdom), the animal returns as
an anirniq, a vengeful spirit that
brings disease and bad luck. It will
hound its killer until appeased.
Moving Quietly
There are times when characters
will want to move about unseen
or without making any noise. The
Difficulty to do so varies according
to the situation. If the characters
have a lot of cover to operate within,
or there is a lot of background noise,
the Difficulty will be Average. The
Difficulty increases to Challenging
if there are people in the area on
alert or looking for the characters.
Hiding in more open spaces is a
Daunting Difficulty. Evasion is the
applicable Ability for moving about
quietly and unseen.
through the area within the last few hours, the Difficulty is Average. If
the quarry has more than twelve hours head start on the characters, the
Difficulty is Challenging. If the trail is a more than a day old, the Difficulty
is Daunting.
The above is a baseline for the GM to begin from. Environmental
conditions can make tracking easier or harder.
For example: The characters are a day’s journey behind the creature.
Normally, the Difficulty to follow the beast would be Challenging.
However, since it hasn’t snowed for days and there has been no wind
to speak off, the tracks are clearly visible across the snow. With this in
mind, the Game Master lowers the Difficulty to Average.
For example: The characters are tracking a creature that passed through
the area just a few hours ago. Normally, the Difficulty to do so would
be Average. However, since the tracks lead through marshland, they
are harder to follow. The Game Master increases the Difficulty to
Challenging.
Tracking a subject in a small settlement, town, or city is largely the
same as doing so outdoors. However, the environmental conditions
may change. For example, recently shoveled streets will destroy any
tracks the characters are following. Of course, there may be things
that make a subject easier to locate as well. For example, the smell of a
particular perfume or a crushed cigarette butt could provide evidence
that the subject passed though the area and indicate the direction she is
heading.
Hunting is essential to survival, as the characters will likely spend long
periods afar from civilization. Animals are not hunted merely for food.
Their skin, blubber, and bones are used to fashion clothing, weapons,
harpoon lines, and tents. Blubber is also used as fuel for light and heat.
Sea mammals are typically hunted during the winter. Besides meat and
skin, some animals provide additional valuables. Seals have warm fur,
while a walrus can supply precious ivory for knives and other tools.
Whale oil is perfect for lamps or as a source of heat. Musk oxen, arctic
hares, and arctic foxes are hunted throughout the year, and provide all
manner of clothing material. During the summer, caribou and birds
migrate to the north and are hunted as well.
In the summer, fishing is done from kayaks on open waters. In the
winter, fishing is only an option through holes in the ice.
Hunting is an Average Difficulty. However, environmental conditions
can shift the Difficulty higher.
For example: A character is hunting an arctic hare, which is an Average
Difficulty. However, with the snow heavily coming down, the hare’s
white fur is blending in with the surroundings, increasing the Difficulty
to Challenging.
Since fish and game are more abundant in the summer and easier to catch,
Difficulties will seldom be Challenging or Daunting in these months.

navigation
Navigating the Arctic is a challenge, since there
is little to distinguish one area from another. Vast
plains of tundra stretch in all directions and there
are few markers to go by. Decreased visibility from
poor weather conditions often adds an extra layer
of adversity.
The Difficulty to navigate the Arctic depends on
the markers available. On clear nights, the stars
can provide reasonable guidance. Navigating
by the stars is an Average Difficulty. Poor weather
conditions can increase the Difficulty to Challenging
or Daunting.
The migration patterns of caribou and Arctic birds
can also guide characters. Identifying a migratory
route can indicate where the characters are,
particularly if it is a well-known path. Sometimes
these routes will even be marked by inuksuit.
An inuksuk (pl. inuksuit) is a pile of rocks stacked
in a vaguely human shape. They are scattered
throughout the Canadian Arctic, and were used
by ancient Inuit to mark caribou migration routes.
The inuksuit also served as landmarks, helping
nomadic Inuit navigate the plains of seemingly
unending tundra.
observation
Observation covers everything from spotting
concealed objects to noticing minor details. The
Difficulty for actions involving Observation is
based on how well an object is concealed or how
likely a detail is to be overlooked. The more well
hidden an object is, or the slighter the detail, the
higher the Difficulty.
For example: A character is looking for a specific
book shelved amongst dozens of others. This action
has an Average Difficulty.
For example: A character is looking for the
concealed door into the basement. This action has a
Challenging Difficulty.
For example: An NPC quickly turns his head to
make sure he’s not being followed. The Difficulty
for the player character to notice this is Average.
For example: Noticing that a raven’s reappearance
overhead occurs at exactly one hour intervals is a
25
Challenging Difficulty.
Daunting Difficulties are reserved for rare occasions
when a concealed object is almost impossible to
discover or a detail is incredibly unlikely to be
noticed.
For example: Faced with three seemingly identical
objects, the Difficulty to determine the original
object from the forgeries is Daunting.
For example: Noticing a drop of blood on an NPC’s
boot as he walks by is a Daunting Difficulty.
Environmental conditions such as snow, rain, fog
or smoke can increase Observation Difficulties.
persuasion and intimidation
Characters may need to coerce an NPC. Most often
this is done to gather information. However, it can
also be attempted in order to win an argument
or earn support. The Difficulty to intimidate
or persuade an NPC is dependent on his or her
association with the player character and that
individual’s willingness to cooperate. Convincing
a friend to join the character on a dangerous mission
is easier than convincing a stranger to do so, and
a local who is wary of outsiders is less likely to
give up information than the town gossipmonger.
Influence is the relevant Ability for these actions.
Persuasion and intimidation only works on NPCs.
Forcing another player character into an action
or opinion robs that player of freewill and is not
permitted.
visions
For an angakkuq, a dream is not just a dream; it
is the Land providing guidance. Dreams contain
insight that can assist characters in times of need.
However, enlightenment only comes when the
underlying meaning of a dream is made clear, when
the symbolism falls away and only truth remains.
With Visions, characters can interpret the meanings
of their dreams.
The Difficulty for a Visions action is always
Average. There are no Challenging or Daunting
Difficulties.
Players may opt to forgo using Visions, preferring
26
Fighting
Fighting is one of the more common
actions in Angakkuit. However,
rules for this are not included in
this chapter. Fighting is slightly
more complex and has additional
steps not found in other actions.
For this reason, it receives its own
chapter.
Summoning Spirits
There are two types of spirits in
Angakkuit. Tuurngait are spirits
of the Land that can be helpful or
harmful and anirniq are the spirits
of things that once lived, analogous
(in part) to western ideas of ghosts.
Either type can be summoned and
asked information of. Tales and
Songs is the relevant Ability, and
the Difficulty to summon a spirit is
always Daunting. If the draw fails,
the spirit will attack the character
that dared to disturb it. Rules for
fighting spirits are covered in
Chapter Five.
to interpret their dreams without drawing cards. This is perfectly fine
and doing so can be entertaining and rewarding. However, the rules
exist for players uninterested in figuring out riddles themselves or those
that may be stumped as to a dream’s meaning.
storytelling
Storytelling is an Inuit tradition. Tales are passed down from one
generation to the next. As fledgling angakkuit, the player characters
are expected to continue this tradition; they are tasked with sharing the
old tales with others so they are not forgotten. Of course, they can and
should share their own exploits in the form of colorful stories, which a
mundane audience will assume to be mere fiction.
Storytelling can be an excellent vehicle for role-playing, allowing players
to showcase their acting abilities. Players can have PC’s tell their tales
without invoking the rules. However, this approach is not for everyone.
For players who wish it, the rules exist. The Difficulty for storytelling
actions is generally Average. Only the most problematic of audiences
invoke a Challenging Difficulty, and there are no Daunting Difficulties for
storytelling.
With each telling, an old tale is born anew. This pleases the spirits. If
a character succeeds at a Storytelling action, the character earns one
Favor. However, there are three conditions that must be met. Firstly, the
audience must be unfamiliar with the tale. Secondly, the stories must
be Inuit folktales or a recounting of the player characters’ adventures.
Thirdly, Favor is only earned by sharing tales with NPCs; PCs cannot tell
stories amongst themselves to earn Favor.
unskilled actions
The twenty basic Abilities cover most of the common actions characters
will engage in. However, there may be times when a character attempts
an action for which she has no relevant Ability. In these situations,
characters may attempt the action, but success is often harder to
achieve.
There are two types of unskilled actions, simple and expert. A simple
unskilled action is one a character can perform that requires little
specialized training or expertise. An expert action is much harder to
achieve, requiring some modicum of talent. For example, library or
Internet research is a simple unskilled action, while picking a lock is an
expert one.
The Game Master should consider a character’s background when
deciding how to classify an unskilled action. For example, if a character
came from an isolated community lacking modern amenities, research
will likely be an expert unskilled action rather than a simple one. If a
character was a police officer in her prior life, jimmying an old car lock
may only be a simple unskilled action.
Attempting a simple unskilled action is treated the same as using
a tertiary Ability; only numbered cards matching the governing

Attribute’s suit are counted as successes.
For expert unskilled actions, success is difficult
without training, but not impossible. Performing an
expert unskilled action is akin to using a tertiary
Ability, but the Difficulty is always increased by
one rank.
For example: A character is trying to repair a broken
radio. Normally, this would carry an Average
Difficulty, but since it is an expert unskilled action,
the Difficulty is increased to Challenging.
There are times when an action, such as rebuilding
an engine, cannot be performed without a relevant
Ability. This action goes beyond the simple vs.
expert classification. If a person has no idea how an
engine goes together, they can’t just wing it. In these
instances, a character may use Favor. By spending
one point of Favor, a character may attempt an
unskilled action that is normally impossible
without a relevant Ability. The character is calling
upon the spirits for wisdom and guidance in an
attempt to do the impossible.
When spending Favor on an impossible unskilled
action, a character receives the appropriate Ability
at the tertiary level. Typically, this effect lasts for
a single action. However, the GM can declare it to
last for an entire scene, if so desired.
27
environmental risks
The Arctic’s unforgiving environment is often the
characters’ greatest foe. Freezing temperatures, foul
weather, and dangerous terrain means the player
characters must always be alert and prepared.
Otherwise, they could find themselves victims of
the frozen north.
avalanches
In mountainous regions, strong winds and melting
snow can cause an avalanche. This fast-moving flow
is almost impossible to outrun, carrying a Difficulty
of Daunting to do so with Athletics (Land) being the
relevant Ability. Early detection is the best way to
avoid an avalanche. Recognizing the early signs of
an impending avalanche is an Observation draw
with an Average Difficulty. The impact from an
avalanche causes a loss of 20 Health. However, an
Endurance draw against an Average Difficulty may
be made to resist some of the damage. For every
success earned, the character suffers 5 less Health
loss than normal.
For example: A player character earns one success
when resisting the damage from an avalanche.
Therefore she only suffers a Health loss of 15
(instead of 20).
28
Marshes and Bogs
When the snow melts in the
summer months, marshes and bogs
are formed. These pose no major
risk, but can increase Difficulties
for Tracking and actions involving
movement.
Snow Blindness
Snow blindness is mostly a threat
on the tundra, where vast tracts
of ice and snow reflect ultraviolet
rays and can burn retinas. Goggles
provide protection against snow
blindness. After a few hours in
the sun, characters without snow
goggles must make an Endurance
check against an Average Difficulty
to overcome snow blindness. If this
action fails, the Difficulties for all
actions involving Quickness and
Awareness are increased by one
rank until nightfall.
Thin Ice
Noticing thin ice is an Observation
draw against an Average Difficulty.
Failure means the unsuspecting
character steps on the thin ice and
falls into the water below, leading
to hypothermia.
If a character is caught in an avalanche, she will be buried alive and
will most likely suffocate. To avoid this fate, the character must make
an Endurance draw against a Daunting Difficulty to hold her breath and
an Athletics (Land) draw against a Daunting Difficulty to dig free. Both
of these actions occur in the same scene, along with the draw to resist
damage from the avalanche.
crevasses
Crevasses are deep cracks in glaciers. Some are only inches wide and
others are more than twenty feet. Most are easily avoidable. Some,
however, are hidden by snow. Noticing a concealed crevasse is an
Observation draw against an Average Difficulty.
Crevasses are typically fifty to one hundred feet deep, so falling into one
causes Health loss. For every ten feet a character falls, 3 Health is lost.
An Endurance draw against an Average Difficulty can be made to absorb
some of this damage. For every success earned, a character loses 3 less
Health than normal.
For example: A character falls into a crevasse and drops fifty feet.
Normally, he would suffer a loss of 15 Health. Fortunately, his Endurance
draw yields two successes, so he only loses 9 Health (3 less for each
success earned)
Characters can jump over crevasses rather than move around them.
Doing so is an Athletics (Land) action, and the Difficulty varies according
to the width of the fissure. Jumping a crevasse less than five feet wide
is an Average Difficulty, five to ten feet is Challenging, and fifteen
to twenty feet is Daunting. Jumps beyond this distance cannot be
attempted.
Rules for jumping a crevasse are different than those for other running
jumps. Since crevasses occur on glaciers, traction is hard to come by,
shortening the distances a character can jump.
dehydration and starvation
Characters must drink a lot of water, typically around 5 gallons per day,
to fend off dehydration in the Arctic. After one day without water, a
character must make an Endurance draw against an Average Difficulty
to not become dehydrated. After the second day, the Difficulty increases
to Challenging, and after the third day it increases to Daunting.
After a failed Endurance draw (or after the third day, if the character
lasted that long), 6 Health is lost per day. This continues until the
character reaches 0 Health, at which time, she is unconscious. The
following day brings death.
For example: After one day, a character makes an Endurance draw against
an Average Difficulty to resist the effects of dehydration. The player’s
draw yields one success, so there is no Health loss. After the second day,
the character makes another Endurance draw. This draw fails to produce
a success and the character suffers a loss of 6 Health. This Health loss

will continue each day until the character drinks
enough water or dies from dehydration.
Dehydration hinders focus, reduces strength, and
sometimes spawns delirium. Characters who have
lost Health due to dehydration make all action
draws against a Daunting Difficulty until they are
properly hydrated.
Humans can survive longer without food than
without water. A character can go without food for
a number of days equal to his Strength rank with
no ill effects. After that, a successful Endurance
draw against an Average Difficulty must be made. If
this action fails, the character loses 1 Health per day
until he receives proper nourishment or reaches 0
Health and loses consciousness. Death follows the
next day.
For example: A character with a Strength of 3 lasts
three days before making an Endurance draw. This
first draw is made against an Average Difficulty.
Unfortunately, the player fails to earn a success
and his character loses 1 Health. His character will
continue to lose 1 Health every day until properly
nourished.
If a character succeeds with the first Endurance
draw, she makes another draw the next day but
against a Challenging Difficulty. If this draw is
successful, a third and final draw is made the
following day against a Daunting Difficulty. If this
action is successful, the character proceeds with no
ill effects. However, on the day after this draw, she
automatically begins losing 1 Health per day.
For example: A character with Strength of 4 lasts
four days before making an Endurance draw
against an Average Difficulty. The player earns two
successes and suffers no ill effects. On the following
day, another Endurance draw is made, though the
Difficulty has increased to Challenging. This action
fails to produce a success and the character loses 1
Health. She will continue to lose 1 Health every day
until properly nourished.
If a character loses 80% of her Health to starvation,
she is considered impaired, and all Difficulties
increase by one.
falling
For every 10 feet a character falls, he loses 3 Health.
An Endurance draw against an Average Difficulty can
be made to absorb some of this damage. For every
29
success earned, a character loses 3 less Health than
normal.
For example: A character stumbles on a rooftop,
falling twenty feet to the ground below. Normally,
the character would lose 6 Health. However, since
he earned two successes on his Endurance draw, he
suffers no Health loss.
Short falls pose little risk. Falls from great heights
can kill.
frostbite
Characters must guard against frostbite. Any
exposed flesh is at risk. Frostbite typically occurs
after fifteen to thirty minutes of exposure, depending
on wind and temperature. The extremities are
effected first as the body reroutes blood to the
internal organs to keep them functioning. Frostbite
is extremely painful. Characters must make an
Endurance draw against an Average Difficulty to
take any action after frostbite sets in.
After a few hours of exposure, a character must
make an Endurance draw against a Daunting
Difficulty to avoid losing extremities. As long as
extremities do not turn blue and die, warming the
skin will undo any damage caused by frostbite.
Loss of an extremity is accompanied by a loss of
4 Health. If fingers or toes are lost to frostbite,
characters cannot absorb the Health loss with an
Endurance draw.
Frostbite is easily avoided by dressing appropriately
for the environment.
hypothermia
Hypothermia occurs when the body’s core
temperature drops. This is always a risk in the Arctic
where temperatures are usually below freezing. If
an unprotected character is exposed to freezing
temperatures for more than an hour, she must
make an Endurance draw against a Challenging
Difficulty. If the draw is successful, the character
loses 3 Health every fifteen minutes. If the action
fails, the character loses 5 Health every fifteen
minutes. Frostbite accompanies hypothermia.
For example: A character is caught in the elements
unprotected. After an hour, an Endurance draw is
made against a Challenging Difficulty. The draw fails
to produce any successes and the character begins
30
Storms and Strong Winds
Snowstorms affect visibility and
mobility, increasing Difficulties
for actions involving Quickness
and Awareness. Medium snowfalls
increase Difficulties by one rank and
heavy snows and blizzards increase
Difficulties by two ranks.
Strong winds will raise Difficulties
in a variety of ways. Fierce and
raging winds blow loose snow
about, decreasing visibility. Such
flurries cover tracks, can cause
a character to lose her bearings,
and make hunting more difficult.
Breathing is laborious in the face of
strong winds. Even without snow
blowing about, strong winds make
using bows, spears, and harpoons
far less accurate. Even climbing
amidst fierce winds is dangerous.
A Starting Point
Covering every possible action
and scenario is an impossible task.
Eventually, player characters will
attempt something not detailed
by the rules. In these instances,
the Game Master must decide
how to resolve matters. Logic and
commonsense are the best guides,
and when in doubt, the GM should
err on the side of the players.
losing 5 Health every fifteen minutes.
If a character is properly clothed for the Arctic environment, she makes
an Endurance draw every five hours against an Average Difficulty. The
Difficulty increases to Challenging or Daunting for extreme temperatures
and wind chill.
Symptoms of hypothermia begin with shivering and numbness before
proceeding to hallucinations and sometimes amnesia. Resisting these
effects is an Endurance draw against a Daunting Difficulty.
Immersion in freezing water is the quickest path to hypothermia. After
a single minute in freezing water, a character must make an Endurance
draw against a Daunting Difficulty. If the action fails, the character loses
5 Health for every minute spent in the water. If the draw is successful,
the character loses 5 Health every 2 minutes. Raising a body’s core
temperature reverses the effects of hypothermia.
Characters experiencing hypothermia lose consciousness at 0 Health and
are dead within a few minutes.
regaining favor
Favor is immensely valuable. It enables a second chance after failure,
can reseed a character’s deck, and it allows impossible actions to be
undertaken. Therefore, a player should spend his character’s Favor
judiciously.
Storytelling is the primary means of regaining Favor. If a character
succeeds at a Storytelling draw, he earns one Favor. However, there
are three conditions that must be met. Firstly, the audience must be
unfamiliar with the tale. Secondly, the stories must be Inuit folktales
or a recounting of the player characters’ adventures. Thirdly, Favor is
only earned by sharing tales with NPCs; PCs cannot tell stories amongst
themselves to earn Favor.
Earning Favor through storytelling can only be done once per
adventure.
There is another way characters earn Favor, albeit one that is random
and beyond their control. Every time a player draws a Joker, for any
action, her character earns one Favor. The spirits are looking kindly
upon the character.
regaining initiative
Characters regain one Initiative after every fight they win. It doesn’t
matter if the battle is a clash with an ancient horror from beneath the
frozen waters or a bar fight with an ill-tempered drunk.

fighting Chapter Five
There are monsters in the frozen north, and
the player characters are tasked with defeating
them. Sometimes this can be done through guile
and wisdom. Most often, it requires physical
confrontation.
A fight scene is divided into a series of rounds, and
each participant is allowed one or two actions per
round. Rounds do not last a predetermined length
of time; they take as long as is required to resolve
an action, though three to five seconds is average.
Combat is broken down into seven steps.
step one: order of action
At the start of each round, the order in which all
combatants act must be determined. This includes
the player characters and all opponents controlled
by the Game Master. At the opening of every
round, each player draws one card and adds that
card’s value to his character’s Initiative score;
the GM draws one card for each opponent she
controls. The character with the highest result acts
first, the character with the next highest result acts
second, and so on until all combatants have had
a turn. For the purposes of this draw, face cards
have a value of 0. If a Joker is drawn, that character
automatically acts first. Favor may be spent to
redraw an Initiative card.
For example: Three player characters are facing
down a nanurluk, a giant polar bear. The first
player draws an A♣ and adds its value (1) to his
character’s Initiative score (5), producing a result of
6. The second player draws a 9♦ and adds its value
(9) to his character’s Initiative score (4), producing
a result of 13. The third player draws a Q♣ and
adds its value (0) to her character’s Initiative score
(5), producing a result of 5. For the nanurluk, the
GM draws a 2♠. This value (2) is added to the
nanurluk’s Initiative (5), producing a result of 7. The
acting order for the first round is set. The second
PC acts first (13), the monster acts next (7), the first
PC acts third (6), and the third PC acts last (5).
In the event of a tie, each tying participant draws
an additional card and the highest result wins. This
31
continues until the tie is broken.
If a combatant has the element of surprise on her
side (i.e. she has successfully ambushed her target),
the character automatically acts first. If two or more
characters are ambushing a target, each draws a
card and adds it to her character’s Initiative score.
The highest result acts first, the second highest acts
next, and so on down the line.
step two: declaration
Once the order of action is determined, the fight
begins in earnest. Each combatant declares his or
her action for the round.
For example: A player declares her character is
going to lunge at the nanurluk with her spear.
The Game Master can rule that a player’s intended
action is impossible due to the circumstances at
hand. For example, a character isn’t going to throw
a harpoon one hundred yards and strike his target.
However, if a player’s intent is reasonably probable,
or even borderline realistic, the GM should err on
the side of the player.
While most declarations involve attacks of one
variety or the other, this doesn’t have to be the
case. A player can opt to delay her action, allowing
the next player in line to act, or can declare that
her character is maintaining a strictly defensive
posture, such as running for cover or bracing for
an attack.
Human Opposition
Monsters are the primary antagonists of
the game. However, player characters
can also get into fights with NPCs. These
physical altercations could be the result
of a simple misunderstanding or an
encounter with a belligerent NPC, eager
for a fight. In some instances, a mortal
opponent may be the villain of the story,
such as an angakkuq who traffics with the
shadows across the snow.
32
Weapon Ranges
It’s assumed that characters are
using primitive weapons, since
modern weaponry has little effect
on the monsters of Angakkuit.
These hand-made weapons have
much less range than their modern
counterparts. Bows are only accurate
up to fifty feet. Bolas, spears and
harpoons can be thrown up to
thirty feet. Spears and harpoons
can double as melee weapons and
knives can only be used in close
quarters.
Using any weapon at an unintended
range will increase an opponent’s
Defense, and the GM must determine
if the action is even possible.
Bolas
A traditional Inuit bola is made
from animal bone and sinew. It is
thrown at an opponent to entangle
the legs and keep the enemy from
running or maneuvering. However,
successfully tethering the legs can
only be done on man-sized targets
and smaller. Using a bola for this
purpose increases the Difficulty by
one degree. For example, a Defense
of Average becomes Challenging. If
this action succeeds, the opponent
falls to the ground, forfeiting its
next action as it untangles its legs.
A bola’s damage is done by the
impact it makes when it strikes a
foes’ body. Using a bola to simply
strike an enemy does not incur
the Difficulty increase. However,
since this is not much better than
punching damage, a bola is best
used to inhibit an opponent’s
movement.
step three: difficulty
Every adversary the PCs will face, human or otherwise, has a Defense
score. Defense is the base Difficulty to hit an opponent. Like other
Difficulties in the game, an opponent’s Defense is rated as Average,
Challenging, or Daunting.
Human opponents always have an Average Defense. Monsters are a
more varied affair. Larger or slower moving creatures will have an
Average Defense, while smaller or quicker ones will have a Challenging
or Daunting Defense.
For example: The nanurluk is an enormous beast, more than five times
the size of normal polar bear. Therefore, its Defense is Average.
If a character aims for a specific body part, the opponent’s Defense
increases by one degree. This can be done to inflict additional damage
or for a tactical reason, such as blinding an opponent.
For example: A character lunges at the nanurluk, attempting to gouge
out one of its eyes with a spear. The nanurluk’s Defense is normally
Average, but increases to Challenging since the character is aiming for a
specific body part.
The rules for fighting assume normal environmental conditions and
distance. Attacks made at greater range or under poor conditions will
be made against higher Defense values.
step four: ability
Characters can engage an enemy in hand-to-hand combat or attack
with a weapon. This decision determines the Ability used. Punch/Kick,
Grappling, and Tackling are used for hand-to-hand combat; weapon-
based Abilities include Bola, Bow, Harpoon/Spear, and Knife.
For example: Since the character is attacking the nanurluk with a spear,
Harpoon/Spear is clearly the governing Ability for this action.
Characters will likely fight with whatever weapons they are most skilled
in. However, this doesn’t have to be the case. For example, if the fight
is occurring in close quarters there may not be enough room to use a
bow. If the opponent is out of arms’ reach, a thrown weapon may be
necessary.
If a character is using a makeshift weapon that is utilized in a manner
consistent with one of his Abilities, that Ability may be used for the
attack. For example, a character attacking with a broken shard of glass
can use the Knife Ability for this action.
step five: attribute
There are multiple fighting Abilities in Angakkuit, based on weapon type.
The Ability used dictates the relevant Attribute.

For example: A character is attacking with a spear.
Strength is the appropriate Attribute for this action
as it is linked to Harpoon/Spear.
If a character is using a firearm, Quickness is the
relevant Attribute.
step six: drawing cards
To determine if an action is successful or not, a
player draws a number of cards from her deck
equal to the rank of the Attribute being used.
For example: A character is attacking with a spear.
Since her Strength rank is 3, the player draws three
cards from her deck.
Each Attribute is matched to a card suit:
• Awareness is linked to diamonds (♦)
• Quickness is linked to spades (♠)
• Strength is linked to clubs (♣)
• Wisdom is linked to hearts (♥)
33
An Ability’s prioritization determines how the card
draw is interpreted.
• For primary Abilities, numbered cards
matching the Attribute’s suit are counted
as successes as well as all face cards,
regardless of suit.
• For secondary Abilities, all cards that
match the Attribute’s suit are counted as
successes (numbered and face cards).
• For tertiary Abilities, only the numbered
cards matching the Attribute’s suit are
counted as successes.
For example: A character with a Strength of 3 attacks
with a spear. The player draws three cards: a 5 of
clubs (5♣), a 7 of clubs (7♣) and a 2 of diamonds
(2♦). Since Strength is linked to the club’s suit, and
the character has Harpoon/Spear as a secondary
Ability, the player counts all club cards as successes.
The character has earned two successes, one for the
5♣ and one for the 7♣.
If an opponent has a Challenging Defense, the Game
34
The Deck
Each fight is a single scene. Since
combat can take multiple rounds,
and cards are drawn for Initiative,
attacks, and dodges, decks can
diminish quickly. Any fight that
lasts 5 rounds will typically drain
a deck by at least 25%. Therefore,
players need to pay attention to
which cards are being drawn and
discarded in case they want to spend
Favor to refresh their decks.
Dogs in Battle
If trained dogs are traveling with
the group, a character can command
a dog to attack an opponent. The
normal rules for combat apply, but
the governing Attribute is Wisdom
and Dog Handling is the relevant
Ability. A dog’s bite has a Weapon
Modifier of 3, which is multiplied
by the number of successes earned
on the player’s Wisdom draw to
determine damage.
Master draws one card to potentially offset any player successes. If an
opponent’s Defense is Daunting, the GM draws two cards. All cards
matching the attacking character’s Attribute suit subtract successes
from the character’s action. After the GM’s draw is counted against the
player’s successes, the player must have at least one success remaining
or the attack has failed.
For example: A character is attempting to stab the nanurluk in the eye
with her spear. Normally, the creature’s Defense is Average, but since
the character is aiming for a specific body part, the Defense increases to
Challenging. The player draws three cards, a total equal to her character’s
Strength rank. The results are A♥, J♣, and 8♥. Since Harpoon/Spear is a
secondary Ability, only the J♣ is counted as a success. The nanurluk’s
Defense is Challenging, so the Game Master draws one card to count
against the player’s draw. The GM draws a 4♣. Since the card matches
the suit linked to the character’s Attribute, one success is subtracted
from the player’s total. This reduces the player’s total successes to zero.
The attack has failed.
Favor may be spent after an attack has failed; the player draws another
card, hoping for a success.
For example: A character’s attack has failed. Rather than accept defeat,
the player spends a Favor point and draws an additional card. The result
matches the governing Attribute’s suit, earning the character a success.
If this additional card leaves the result unchanged, the player can accept
defeat or spend additional Favor. For any single action, a player can
spend a maximum amount of Favor equal to the character’s Wisdom
rank.
If a player draws a Joker, an action is automatically successful, regardless
of Difficulty; the GM’s draw does not count against the player’s success
total.
step seven: damage
Once a successful attack has been made, damage is calculated. Damage
is based on the weapon type and the amount of successes scored on
the attack. Each weapon has a Weapon Modifier, and this number is
multiplied by the amount of successes to determine Health loss.
For example: A character’s spear has struck the nanurluk, scoring one
success. Since the Weapon Modifier for a spear is 4, the character has
inflicted four points of damage (4 x1 = 4).
A character can target a specific body part with any attack. He may want
to disarm an opponent or strike the legs to restrict mobility. A blow to
the back of the head could be employed to stun an adversary or an eye
could be gouged to disorient. For these specialized attacks, an opponent’s
Defense is increased by one. If the attack is successful, the Game Master
must devise a suitable hindrance related to the player’s intent.
For example: In an attempt to disorient the nanurluk, a character declares

that she is aiming for one of the creature’s eyes.
After her spear finds its mark, the Game Master
must decide how the action benefits the attacker,
beyond the damage inflicted. Since the player
intended to disorient the beast, the GM declares
that the nanurluk stumbles about in pain, forfeiting
its next action.
The Game Master has final say on the additional
results of any specialized attack. However, if
the player’s intent is clear and plausible, the GM
should grant a result in line with the player’s
expectations.
A body part can also be targeted to inflict additional
damage. If this is the player’s intent, it must be
declared before any cards are drawn, and the
Game Master must determine if additional damage
is possible. If the preceding criteria are met, the
attack does additional damage equal to the Weapon
Modifier.
For example: A character attacks the nanurluk
again, aiming her spear at the creature’s heart. The
character scores two successes. With a generalized
attack, the character would have inflicted damage
equal to the number of successes multiplied by the
Weapon Modifier of 4. However, the GM decides that
this specialized attack warrants additional damage.
The character inflicts additional damage equal to
her spear’s Weapon Modifier of 4.
Any damage inflicted by a PC’s attack is subtracted
from the opponent’s Health.
For example: In her first two attacks, a character
has inflicted 16 points of damage. Therefore, the
nanurluk has suffered a loss of 16 Health.
While humans have a Health score between 5 and
35
25, this is not true of the monsters in the game.
Some of these creatures are extremely hardy with
Health scores as high as 100. A fight is won when
an opponent’s Health is reduced to 0. The character
that delivers the final blow decides if her attack kills
her adversary or merely knocks it unconscious.
The Game Master should describe injuries and
Health loss in a colorful manner, reflective of the
amount of damage done. It’s not enough to simply
say the opponent has lost 12 Health. The GM should
describe the blood spurting forth as the spear finds
its mark, and the creature’s anguished howl as it
stumbles in the snow.
drawing the ace
For most actions, drawing an ace adds an interesting
story complication. This is not so for fighting. The
consequences are more severe. If a character is
attacking with a weapon, and one of the successes
is an ace, the weapon is damaged and cannot be
used for the remainder of the fight. Any damage
inflicted on the opponent is unchanged, but the
weapon is useless until it is repaired. A Crafts
draw against an Average Difficulty is required to
repair a damaged weapon. If a character is using
Grappling, Punch/Kick or Tackling, the force of his
own blow harms him. He loses the same amount of
Health as his attack inflicted on his opponent.
spending initiative
Initiative is not only a score but also a pool of points
to be drawn from. A player can opt to spend one
point of Initiative for a second action in the same
round. The decision to spend Initiative is made after
the character’s first attack has succeeded or failed.
Players can only spend 1 Initiative per round. Since
characters regain 1 Initiative after each victorious
fight, players can usually afford to spend 1 Initiative
per fight.
Spending Initiative early in a fight is a good tactic
when the opposition acts near the bottom of the
round. In this scenario, multiple characters can
spend Initiative and pummel an opponent before it
has a chance to act against them. This is particularly
useful when the characters are overmatched.
However, each time a player spends Initiative,
her score decreases, impacting the next round of
combat.
36
Firearm Damage
Firearms have two Weapon
Modifiers. Against the monsters of
the game the Weapon Modifier is
1, as the shadows across the snow
are largely unhurt by weapons
not directly of the Land. Against
mortal foes, firearms are as deadly
as expected. The Weapon Modifier
for pistols is 5 or 6, depending on
caliber, while rifles consistently
have a Weapon Modifier of 6. The
Weapon Modifier for shotguns and
semi-automatic rifles is 7.
Game Master Draws
The Game Master always draws
cards for Challenging and Daunting
actions, even if a character’s action
fails. This is done so the GM’s deck
diminishes as the fight progresses.
evasion
Combat is deadly. Therefore, dodging an attack is critical. The rules
assume that characters are not passive targets waiting to be hit but rather
are doing everything they can to dodge an incoming blow. When an
opponent attacks a character, the player undertakes an Evasion action.
As the Evasion Ability is linked to Quickness, the player draws a number
of cards equal to the rank of her Quickness Attribute.
For example: A character is dodging the nanurluk’s attack. Since her
Quickness is 2, she draws two cards for this action.
As with other draws, the prioritization of the relevant Ability (in this
case, Evasion) determines how the cards are interpreted.
For example: A character draws two cards to dodge an incoming attack.
Since Evasion is one of her tertiary Abilities, the player only counts
numbered cards from the spade suit as successes. The character draws a
9♣ and a 10♦. Since neither card is a success, the action has failed.
Every opponent has an Attack score of Average, Challenging, or
Daunting; this reflects the Difficulty to dodge the opponent’s attack.
If a character is up against a Challenging Attack, the Game Master draws
a card to potentially counteract one of the player’s successes. For a
Daunting Attack, the GM draws two cards.
Since Evasion is always a Quickness action, spades are the only cards
counted against a player’s draw. Jokers yield no benefit; this perk is
reserved for players only.
losing health
A failed Evasion draw means the opponent has struck the character,
inflicting damage. An antagonist’s attack does not do variable damage
like a character’s; there are no modifiers to multiply against successes.
Every opponent the PCs will face, human or otherwise, has a fixed
Damage score, which is how much Health loss the attack does.
For example: The nanurluk’s claws rake across the character’s chest.
Since the monster’s Damage is 18, the character loses 18 Health from the
attack.
Some opponents will have multiple Damage scores, reflecting multiple
means of attacking and doing harm.
absorbing damage
If an attack causes Health loss, a character can minimize the harm done.
A character absorbs half of the opponent’s Damage with a successful
Endurance draw. The opponent’s Attack score determines the Difficulty
for this action.
For example: A character is trying to minimize the Health loss from

a nanurluk’s attack (Damage of 18). Since the
character’s Strength is 3, the player draws three
cards. The result is two successes. The nanurluit’s
Attack is Average, so the GM doesn’t get to draw
any cards against the player’s total. The action is
successful and the character loses 9 Health instead
of 10.
With a successful Endurance draw, a killing blow
can be reduced to a survivable injury.
complications from injuries
If a character suffers at least 80% Health loss from a
single injury, there will be an additional consequence.
A broken bone could impose restrictions on certain
actions and take longer to heal. Blood loss might
continue to drain a character’s Health. An injury
may linger for years to come. In the event of a
serious injury, the player draws a card from her
deck and consults the Serious Wounds chart.
In most cases, serious injuries merely slow
recuperation or burden the character with a short-
37
term limitation. However, in some instances, the
effects can cause long-term problems for a character.
A point of Favor may be spent to redraw the serious
injury card in hopes of a less devastating result.
However, this can only be done once per serious
injury.
impairment
All actions are harder to accomplish when a
character is seriously injured. If a character loses
80% or more Health from cumulative injuries or a
single injury, she is Impaired. Impaired characters
undertake all actions at one Difficulty level higher
than normal.
For example: A character with a maximum Health
of 15 has lost 13 Health in a fall. As this is more than
80% of the character’s maximum Health, all actions
are attempted at one Difficulty level higher than
normal.
Impairment lasts until Healing reduces a character’s
Health loss below 80%.
38
Helpful & Harmful Spirits
Most spirits can be helpful or
harmful, depending on how they are
treated. If an angakkuq is respectful
of the ancient ways, a spirit will
interact positively with the shaman.
This is the nature of Favor; spirits
are rewarding those who show the
proper reverence. Spirits that are
treated poorly will react negatively
with a shaman, such as when a
summoning goes awry. When this
happens, the spirits lashes out at
the angakkuq who has not shown
the proper respect or knowledge of
the ancient ways.
There are some spirits that are
simply evil. They are sought out
and dispatched from the world.
fighting spirits
There is a secret language known to every angakkuq. It is an echo of the
original words that shaped creation from darkness. With the power of
this sacred tongue, an angakkuq can summon and dispatch spirits.
Spirits are incorporeal and immune to physical attacks. Quickness and
Strength cannot defeat them. They have Attack and Defense scores like any
other opponents, as well as Damage and Health. However, their Health
does not track their physical wellbeing; it represents how strongly they
are tethered to the physical world. To defeat a spirit, a character must
sever its connection to the world of man.
Attacking a spirit follows the same process as any physical confrontation.
However, hand-to-hand and weapon Abilities are useless. In the hands
of an angakkuq, words are power. Tales and Songs is used to harm
spirits. Draws are made against a spirit’s Defense.
For example: A character with a Wisdom of 2 attacks a spirit. Since Tales
and Songs is one of the character’s tertiary Abilities, he only counts
numbered cards from the heart’s suit as successes. The character draws
two cards, a 5♥ and a 5♦. He has earned one success (for the 5♥). The
spirit’s Defense is Challenging, so the Game Master draws one card, a
J♠. Since this card is not a heart, no successes are subtracted from the
character’s total. The attack succeeds.
If a character’s attack is successful, damage must be determined. A
character’s Wisdom rank is the Weapon Modifier for harming a spirit.
For example: A character with a Wisdom of 2 attacks a spirit, earning
1 success. The attack inflicts 2 Health loss. This was determined by
multiplying the character’s Wisdom rank (2) by the number of successes
(1).
When a spirit’s Health is reduced to 0, it vanishes from the world.
However, it is not gone for good. The spirit’s connection has only been
temporarily severed. A spirit will bide its time, regaining 1 Health per
day, and eventually return. Some spirits will return a few days later,
even though they are in a weakened state. They know a single attack can
dispel them again, but they are hoping to get in a lucky strike that harms
their foe. Other spirits will wait until their Health is fully recovered
before returning to the world. They want to maximize their potential
for revenge.
A spirit can harm a character in a variety of ways. Sometimes they do
this by physically manifesting and attacking the character. When a
spirit manifests in the physical world, Evasion is used to dodge its
attacks, and a successful Endurance draw halves any Health loss.
Other times, a spirit attacks by bringing disease, bad luck, or inclement
weather. Endurance is used to resist disease brought about by a spirit; the
Difficulty is the spirit’s Attack.
If a spirit is hounding a person or group, there is a reason. Finding out
that reason and setting things right is necessary to permanently banish
a spirit. This is usually done through investigation. However, such
 39

research takes time and sometimes a character must

take a more direct route. Characters can summon a
spirit and force it to explain its motivation. Tales
and Songs is the relevant Ability to summon and
interrogate a spirit, and the Difficulty is Daunting.
If this action succeeds, the character will know
what offended the spirit and can attempt to set
things right.

For example: A summoned spirit reveals itself to be

the ancestor of a recent murder victim. The spirit is
out for vengeance and considers the killer’s entire
family fair game. With this knowledge, the PCs
devise a plan to bring the killer to justice. If they act
quickly enough, they can save the killer’s family,
who had no role in the atrocity.

If the draw fails, the spirit still appears. However,

it is angry and uncontrolled. The spirit manifests
physically and attacks the person who disturbed it.
The Health loss from a failed summoning is twice
the spirit’s Damage score, but only for this one
attack. Normal Evasion and Endurance draws apply
for dodging and absorbing Damage.

For example: A character’s attempt to summon

and interrogate a spirit fails. In retaliation for
this trespass, the spirit lashes out at the character.
A physical attack by the spirit usually inflicts 4
Damage. However, for this attack only, the spirit’s
Damage doubles to 8.

Characters should carefully weigh the benefits of

summoning a spirit against the threat it poses if it
cannot be controlled. A single attack by a powerful
spirit, driven by anger, can lead to death.
 41

monsters Chapter Six

Inuit folklore speaks of a variety of uncanny and
disturbing creatures. Most tend to reflect the harsh
winters and unforgiving landscape of the Arctic.
The scarcity of food is represented by a handful
of cannibalistic or gluttonous monsters. Other
monsters serve as cautionary tales, warnings
from parents to their young to keep them wary
of the dangerous environment. Some monsters
personify aspects of nature while others appear
as unnaturally large or sinister versions of more
mundane animals.
traits
The monsters of Angakkuit are defined by a series
of traits. Some are common to every shadow that
falls across the snow while others are unique to a
particular monster.
threat
Every monster has a Threat rating, which defines
how formidable the creature is. Starting characters
can handle Average Threats, while Challenging
Threats are intended for experienced characters or
larger groups. Daunting Threats are rare and should
only be faced after the characters have significantly
increased their Attributes and Abilities.
When choosing a monster, the Game Master must
consider the creature’s Threat rating. Monsters
should not be easy to overcome, but certain defeat
will frustrate players. If the GM is set on using a
particular monster, but doesn’t think the characters
can handle it, the creatures’ Attack, Defense, or Health
can be lowered to give the PCs a fighting chance.
defense
A monster’s Defense represents the Difficulty for a
character to successfully land an attack. The degree
of Difficulty determines how many cards the Game
Master draws to counter the player’s successes.
If the Difficulty is Average, the GM does not get to
draw any cards. If the Difficulty is Challenging, the
Game Master draws one card to offset any player’s
successes. For Daunting Difficulties, the GM draws
two cards.
attack
Attack represents the Difficulty for a character to
dodge the monster’s strike. The creature’s Attack
Difficulty determines how many cards the Game
Master draws to counteract the player’s successes.
If the Difficulty is Average, the GM does not get to
draw any cards. If the Difficulty is Challenging, the
Game Master draws one card to offset any player’s
successes. For Daunting Difficulties, the GM draws
two cards.
tenacity
The player characters will typically fight only
one monster per scene. Therefore, multiple player
characters will be making attacks against the single
opponent in a fight, and the Game Master’s deck

Origins
The origins of the monsters are left vague by intention. Do they come from the spirit world? Are
they a collection of ancient species that hibernate for a time? Each Game Master should create
whatever explanation best suits his or her stories.

While it has been said that the creatures have been slumbering, this can be viewed literally or
figuratively. The monsters could simply have been hiding and biding their time rather than
truly sleeping beneath the ancient tundra and icy waters of the north. Regardless, they have
returned to the world of men and they are hunting.
42
will shrink at a much quicker rate than the players’
decks. For example, if a monster has a Challenging
Defense, the GM is drawing a card for every PC’s
attack, which leaves the creature at a significant
disadvantage. Tenacity helps balance the scales. A
monster’s Tenacity determines how many times
during a scene the Game Master may reinsert her
drawn cards back into the deck. If a monster’s
Tenacity is Average, the GM’s deck cannot be
reseeded. A Tenacity of Challenging allows the Game
Master to reinsert drawn cards once per scene. For
a Daunting Tenacity, the GM is allow to reseed the
deck twice per scene.
The Game Master is under no obligation to invoke
Tenacity. For example, if the GM’s first few draws
go poorly, she may want to hold off using Tenacity
as there is a strong likelihood of drawing better
over the next few rounds. Alternately, if the Game
Master has already drawn a lot of great cards, she
may want to reseed the deck sooner than later.
It may take the PC’s a significant number of rounds
to defeat a monster with a high Health score. For
such creatures, the GM’s deck will dwindle much
more quickly. In these instances, Tenacity is critical
as it allows the Game Master to continue drawing
cards for the monster. If the GM’s deck has been
used up and cannot be reseeded, all Difficulties
become Average for the player characters, as the
Game Master cannot draw any cards.
health
Health is the amount of damage a creature can
sustain from cumulative attacks. When a monster’s
Health is reduced to 0, the beast is dead.
initiative
The Initiative scores for monsters range from 1 to 10.
A monster with a high Initiative score is more likely
to act before any of the player characters and the
reverse is true for a low score. At the opening of
every round, each player draws one card and adds
the card’s value to his character’s Initiative score;
the GM draws one card and adds the result to
the monster’s Initiative. The attacking order of all
combatants is set according to the results with the
highest total going first, the second highest going
next, and so on. If the Game Master draws a joker,
the monster automatically acts last. The order of
action resets after every round of fighting.
After a monster’s attack has succeeded or failed, the
Game Master can opt to spend a point of Initiative
for the creature to gain a second immediate attack.
This can only be done once per round. If a monster
only has an Initiative of 1, and the GM spends that
point, the monster automatically acts last in each
round for the remainder of the fight.
specialties
Monsters have a range of unique powers and
abilities. Collectively, these are referred to as
Specialties. Specialties also dictate how much damage
a monster’s attack does. Each monster’s Specialties
are included with its write-up.
Aasivarluut (a-see-va-loo)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Average
Health: 30
Initiative: 6
Specialty: Bite (inflicts 8 damage)
Speciality: Venom (induces paralysis; a
Daunting Endurance draw is made each
minute to resit)
An aasivarluut is a monstrous white-haired wolf
spider, as large as a caribou. It will eat almost
any warm-blooded animal, but humans are the
preferred food. During the winter months, an
aasivarluut lurks below ground, in a snow-covered
burrow, awaiting unsuspecting prey. When food is
scarce, it will crawl from its hole and hunt. While
the creature can move as fast as a human runner, it
hunts slowly and deliberately to avoid detection, its
white exoskeleton providing camouflage. During
the summer months, the aasivarluut’s hair turns
brown to allow it to hide in marshes and muddy
burrows.
An aasivarluut will use its front legs to pin down
an opponent. Once the prey is immobilized, the
monster’s fangs inject paralyzing venom that takes
effect within a minute. Once the prey goes limp, the
aasivarluut cocoons its meal and drags it back to
its lair.
 43

Story Hook: On the outskirts of an isolated

community, desiccated human corpses are
discovered. The player characters will have to
ascertain what manner of creature they are dealing
with (a Tales and Songs draw against an Average
Difficulty), discover the monster’s burrow, and
destroy the creature.

Akhla (ak-la)

Threat: Challenging
Defense: Average
Attack: Challenging
Tenacity: Challenging
Health: 40
Initiative: 5

Specialty: Bite (inflicts 16 damage)

Specialty: Weapon (inflicts 16 damage)

The akhla is an imposing creature, half man and

half grizzly bear, standing nearly twelve feet tall. It
has an ursine head and build covered in long brown Amarurluut (a-ma-roo-loot)
fur. The akhla is extremely strong and its jaws
easily rend flesh. The creature’s human-like hands
are capable of using simple tools and weapons, but Threat: Challenging
lack fine motor skills. An akhla typically walks on Defense: Challenging
two legs, but will run on all fours to frighten prey Attack: Challenging
and attack when unarmed. Tenacity: Average
Health: 30
Akhla live together in small families of three to five, Initiative: 7
communicating through growls, body language,
and scent. They prefer to make their lairs in caves Specialty: Bite (inflicts 12 damage in wolf
and abandoned mines, but will fashion igloos and form)
tents for shelter as needed. Like grizzly bears, akhla
are very protective of their homes and families and Specialty: Knife (inflicts 6 damage in
will fight to the death in defense of their young. human form)
Akhla are solitary hunters who prefer to raid
isolated Inuit settlements. They subdue their prey Specialty: Spear (inflicts 10 damage in
without immediate killing, bringing the victim human form)
home to feed the entire family a fresh meal.

Story Hook: In the middle of the night, a child goes
missing from his home. The following morning,
the boy’s sister claims that a monster abducted her
brother, and the player characters are called upon
to investigate. They will need to track the creature
and kill it. If the akhla has a family, the characters
will have additional threats to contend with. Speed
will be of essence if the captured victim has any
possibility of rescue.
Wise and learned Inuit know to be wary of
strange camps or igloos in the wild. Although the
inhabitants may appear human, they could be the
ancient amarurluut, a race of savage wolves that can
assume the shape of humans. While the amarurluut
can speak Inuktitut, their speech is stilted, broken,
and rudimentary. Their demeanor is aggressive
and animalistic. Like wolves, they live and travel in
packs, migrating in search of food. The amarurluut
44
rely on violence and strength rather than wisdom,
experience, or consent to determine leadership.
The amarurluut will offer shelter and hospitality to
any traveler, waiting until the guest is asleep before
slaughtering them. Sometimes they will play with
their food, stealing the traveler’s belongings then
giving them a chance to flee into the wild before
pursuing them. When human prey is unavailable,
they live off the same animals that wolf packs do,
though they will also skin kills for clothing and
keep antlers and skulls as trophies. If no wild game
is available, the amarurluut will cannibalize their
own.
While in human shape, they are capable of using
tools, and will ferociously fight with knives and
spears. In wolf form, they are truly terrifying, using
their powerful jaws and sharp claws.
Story Hook: The player characters become aware
of a roving pack of amarurluut. To deal with the
threat, they will have to track the pack across the
tundra, surviving multiple environmental hazards
before confronting the monsters.
Amautalik (a-mow-ta-lik)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Average
Health: 50
Initiative: 3
Specialty: Hypnosis (resisting requires
a succesful unskilled Awareness draw
against an Average Difficulty; failure
means the amautalik automatically acts
first that round)
Specialty: Grapple (inflicts 6 damage;
Challenging Difficulty to break free)
Specialty: Lice (character must make an
Average Endurance draw each day until
treatment or go permanently insane)
Inuit parents scare naughty children with tales
of the amautalik. These obese and unkempt hags
stand around fifteen feet tall and move silently
across the snow and ice. Swarms of lice live in
their heavy parkas, which cover pale leathery skin.
The amautalik’s fish-like eyes have a hypnotizing
effect.
An amautalik is a solitary creature who keeps her
home far from prying eyes, prefering hidden caves
and abandoned outposts. Such locations allow
the amautalik to go about her work... snatching
unsuspecting children. She carries her victims on
her back in a basket made from antlers and bone.
Capricious and cruel, the amautalik puts her child
slaves to work in demeaning and demanding (but
ultimately fruitless) tasks such as plowing fallow
permafrost soil or herding old and emaciated
animals. The amautalik is an abusive taskmaster,
whipping and beating her slaves on a whim. She
forces the children to patch her parka or hunt and
forage for her. The amautalik prefers raw, steaming
meat and will devour the choice parts of the carcass
first before throwing the leavings to her slaves to
fight over.
The amautalik is particularly cruel to girl slaves,
working them relentlessly and beating them for
the slightest infraction. She verbally abuses them,
calling the girls ugly and unloved, and tells them
that their families have abandoned them. In time,
some of these girls develop a taste for raw meat and
their skin takes on a pale cast and leathery texture.
They become cruel and lazy, shunning bathing and
wearing the same clothing for weeks on end. Many
run away after puberty. These children become one
of the amautalik soon afterwards.
During a fight, an amautalik will attempt to
hypnotize her opponent. If successful, the character
is not enthralled or incapable of defense, but his
reaction time is slowed. This makes the amautalik’s
grappling attack more effective. If the grapple is
successful, the hag will hold the victim tight for as
long as possible. This gives the hag’s aggressive,
fast-moving lice a chance to spread to a fresh host.
The lice cause immediate and intense itching. In a
few days time, the itching becomes so maddening
that the victim goes irrevocably insane.
Story Hook: An amautalik captures a child. After
several long days of tracking, the PCs find the hag’s
lair and the missing child. More so, they discover
other missing children. One young girl is on the
verge of becoming an amautalik (knowing this is a
Tales and Songs draw against a Challenging Difficulty).
Once the amautalik is defeated and rescued, the
characters will have to find a way to save the young
girl before her transformation is complete.

Anirniq (a-near-nik)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Challenging
Health: 50
Initiative: 5
Specialty: Torment (bad luck and poor
weather are visited on an area; no
mechanics involved)
Specialty: Possession (Tales and Songs
draw against an Average Difficulty to
resist possession)
The Inuit word for breath also means spirit.
Normally, when an animal or person dies, its breath
rejoins the air, referred to as Sila. However, if proper
funeral rituals are not observed, the anirniq of a
human or animal can return seeking vengeance.
An anirniq is usually invisible and incorporeal but
can materialize into a physical form if so desired,
appearing as a twisted shadow of its former earthly
self.
Being nothing more than breath, an anirniq can
pass through any barrier that is not airtight. The
first sign of the spirit’s presence is bad luck: tools
break, shelters collapse, and animals spook. As they
linger, storms rise without warning and animals
turn on their masters. Powerful anirniq can even
possess the bodies of other people and animals in
their quest for vengeance. The possessed take on
an otherworldly air and adopt the mannerisms
of the anirniq in life. Careful examination of the
eyes of the victim (a Tales and Songs draw against
an Average Difficulty) will identify the person or
animal as possessed. An angakkuq can banish an
anirniq from this world, but the spirit will continue
to return until the wrong done to them in life is
corrected.
Story Hook: An anirniq is plaguing a small
community. Upon investigation, the player
characters learn that it is the spirit of a person who
was murdered. However, the murderer is someone
powerful or important, such as the mayor or sheriff.
How do the PCs set the spirit to rest? Will exposing
the killer be sufficient? Will they have to get the
killer to confess? Is the death of the murderer the
only thing that will satisfy the anirniq?
45
Anurirjuaq (a-new-rear-jo-ak)
Threat: Daunting
Defense: Average
Attack: Average
Tenacity: Challenging
Health: 80
Initiative: 5
Specialty: Stomp (inflicts 40 damage)
Specialty: Great Winds (inflicts 30
damage)
The anurirjuaq are the great wind giants of Inuit
folklore. These solitary beings summon storm winds
that can decimate an area for miles around. They
are large enough to catch whales in their hands,
which they use for food, oil, and skins. Aside from
their incredible size, the anurirjuaq appear much
as humans do, and even use the same tools and
clothing, but on a larger scale. Although they have
their own language, some speak Inuktitut.
Story Hook: The player characters speak with
the sole survivor of an American hunting party.
According to the terrified American, his group
was hunting on a small island in the Canadian
Archipelago when they discovered a giant human
footprint in the snow. Startled, the group quickly
packed up and prepared to leave. However, before
they could finish breaking camp, a fierce wind
pummeled the area, tossing bodies and gear around
as if they were nothing. The storm lasted less than
a minute, but killed everyone else in the hunting
party. The player characters will need to find the
island in question and slay the wind giant.
Erqigdliit (eer-kik-d-leet)
Threat: Average
Defense: Challenging
Attack: Average
Tenacity: Average
Health: 30
Initiative: 8
Specialty: Dog Bite or Claw (inflicts 8
damage)
Tracking (automatically track prey over
any distance)
46
The erqigdliit are most commonly found on Baffin
Island and the northeastern islands of the Canadian
Archipelago. These feral monsters are half-man and
half dog and no two look alike. One might be a dog
with a human face while another might be a human
with multiple canine features. Another might have
a human torso and the hindquarters of a dog. The
combinations are endless and disturbing. Many of
the erqigdliit are humanoid dog monsters with an
appearance similar to the werewolves of western
folklore, albeit with canine features.
The erqigdliit are creatures of instinct, possessing
no more intelligence than a clever dog, regardless of
appearance. They are incapable of human speech,
even those with fully human faces and throats. The
erqigdliit express themselves by barking, yipping,
whining, and howling.
Erqigdliit will eat almost anything. They will dig
through garbage for food and hunt animals and
humans alike. Most erqigdliit are solitary creatures,
but on occasion they will gather in small packs.
Erqigdliit attack their prey in a variety of ways.
The more bestial monsters rend their victims with
their claws and bite. Those with human hands will
pummel their opponents with makeshift weapons
(e.g. a large animal bone, a glass bottle, etc.). They
have a fantastic sense of smell and the ability to
tirelessly track prey by scent alone.
Story Hook: The player characters become
suspicious of a series of wild dog attacks in Iqualuit.
Suspecting that something inhuman is behind the
attacks, the characters investigate and discover
one of the erqigdliit is responsible. The attacks are
all occurring around the city’s landfill, which the
monster has made its lair.
Inukpasugjuit (in-ook-pa-su-gweet)
Threat: Daunting
Defense: Average
Attack: Average
Tenacity: Daunting
Health: 100
Initiative: 5
Specialty: Stomp (inflicts 60 damage)
These legendary giants sleep beneath the ice and
mountains in the uttermost north. The inukpasugjuit
are truly massive and their very footsteps can
trigger avalanches and earthquakes. A human
caught beneath their boots would be crushed like

an insect. Luckily, inukpasugjuit are so large that
they have trouble fighting humans with anything
other than their feet. Inukpasugjuit can be male or
female and wear traditional Inuit clothing. They
will usually ignore wandering humans, considering
them a non-threat. However, this changes if a giant
is attacked or hungry.
Inukpasugjuit have a fierce hatred of their own
kind. Should two such giants ever stumble upon
one another, they will fight to the death. According
to some myths, the titanic clashes of ancient
inukpasugjuit shattered the far north into thousands
of pieces, forming the Canadian Archipelago.
Story Hook: Recent stories of earthquakes in the
far north confirm something Ilisaiji fears: one of the
inukpasugjiut has awakened. Defeating the giant is
the greatest task the characters will ever undertake.
In fact, the PCs may be unable to physically best
the monster. Their only recourse may be to stir
another one of the inukpasugjuit from its slumber
and pit the two giants against each other. Such a
plan is risky, but the two inukpasugjuit could very
well destroy one another in battle, though the cost
to the surrounding landscape may be considerable.
If one of the giants does survive, it should be weak
enough for the characters to defeat.
Inuarugligasugjuit
(in-oo-a-ru-glee-ga-juk)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Average
Health: 30
Initiative: 6
Specialty: Knife (inflicts 10 damage)
The inuarugligasugjuit are a race of lesser giants
inhabiting the Canadian Arctic. The largest stand
about twenty feet tall, but some stunted specimens
are barely ten feet in height. Of all the giants, the
inuarugligasugjuit most closely resemble humans.
Some are solitary beings and others gather in small
groups or families. The inuarugligasugjuit speak
a primitive language that resembles Inuktitut
(communicating with one of these giants is a simple
unskilled action for Inuit characters and an expert
unskilled action for others). However, these lesser
47
giants are seldom in the mood to talk, often attacking
without provocation. To the inuarugligasugjuit,
humans are a threat vying for the same limited
resources in a harsh and unforgiving environment.
Unlike many of the shadows that fall across the
snow, the inuarugligasugjuit have no taste for
human flesh.
The inuarugligasugjuit use tools, but scaled for their
oversized bodies. In battle, their skinning knives
can pierce flesh like a spear. The inuarugligasugjuit
are not particularly skilled warriors; they rely on
their size and brawn to win a fight.
Story Hook: As winter draws near, the caribou
begin migrating southward. Inuit hunters from a
small settlement are hunting the caribou to stock
up on meat for the coming months. Unfortunately,
a group of inuarugligasugjuit is hunting the
same herd. The Inuit are outclassed and easily
killed. The PCs are called upon to end the threat
of the inuarugligasugjuit before the entire herd is
slaughtered. Should the characters fail, the human
community is unlikely to survive the coming
winter.
Inukturniq (in-ook-tur-nik)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Challenging
Health: 20
Initiative: 5
The act of cannibalism corrupts the spirit, creating
an inukturniq. Once an Inuk has turned to this path,
he is forever lost. The hunger becomes insatiable,
and he finds that he cannot abide anything but the
taste of his fellow humans.
An inukturniq retains all the traits he had as a
normal person. Most terrifying, their outward
appearance does not change. The most cunning can
feed in a large community and remain undetected
for months or even years until clever angakkuit are
able to root them out. An inukturniq may live alone
on the outskirts of a small settlement, periodically
striking when his or her food supply draws low.
However, if too many victims go missing over too
short a period of time, the inukturniq’s activities
may quickly come to light.
48
Story Hook: The player characters notice a pattern
of missing persons in a small Inuit community.
Something sinister is clearly at play, as nearly
a dozen people in a hamlet of only one hundred
have gone missing in less than a year. In time, and
after considerable investigation, the characters
discover an inukturniq living in an abandoned
military outpost a few miles outside of town. Every
month or so, once he has finished his last victim,
the inukturniq treks into the settlement and grabs
another. The PCs will have to put an end to the
cannibal’s feeding habits after a dangerous game of
cat-and-mouse at the abandoned outpost.
Kajjait (kay-jay-t)
Threat: Challenging
Defense: Average
Attack: Challenging
Tenacity: Daunting
Health: 70
Initiative: 4
Specialty: Bite (inflicts 12 damage)
The Kajjait are fought as a pack, and the
statistics are for the entire pack not an
individual cursed wolf.
Kajjait are a pack of wolves cursed with an
insatiable hunger. Emaciated and mangy, these
creatures prowl the tundra in search of sustenance,
occasionally wandering into small settlements.
Their sole means of attack is their bite, which
can break human bone. Kajjait are intelligent and
will use hit-and-run attacks against small groups.
If confronted with overwhelming numbers, the
wolves will not turn away. Their hunger is so all
consuming that the kajjait will attack anything
living, no matter the risk.
Story Hook: Communication has been lost with a
small mining community. Anticipating the worst,
the player characters go to investigate. Once there,
they find a town devoid of life. Hidden by recent
snow, the characters discover human remains
scattered throughout the area. After some additional
investigation, the PCs find a survivor, a young girl
hiding for her life. Earning the child’s trust is an
Influence draw against a Challenging Difficulty. Once
accomplished, the girl recounts the massacre that
occurred at the jaws of the kajjait. In the distance,
the characters hear the howling of wolves.
Kayarissat (ka-ya-rees-sat)
Threat: Daunting
Defense: Average
Attack: Average
Tenacity: Average
Health: 80
Initiative: 4
Specialty: Weather Control (there are no
mechanics involved to summon weather
phenomenon; rules for various weather
conditions can be found in Chapter Four)
Specialty: Harpoon (inflicts 40 damage)
The kayarissat are rarely seen giants that kayak
through the ocean, hunting whales. They are
equal to the anurirjuaq in size, and can control the
winds in similar fashion. However, the kayarissat
can also generate other weather phenomenon,
from blizzards and fog to rain and hail storms.
Fortunately, the kayarissat tend to fish deep in the
oceans, so encounters with these giants are few and
far between.
The kayarissat use tools, including massive fishing
nets and harpoons, and dress in thick furred
clothes to keep themselves warm on the ocean.
No kayarissat has ever been spotted outside of its
massive kayak, which is large enough to smash any
boat that gets in its way. The kayarissat will attack
human vessels on sight. However, they will seldom
engage in physical conflict with their harpoons and
nets, instead relying on their ability to manipulate
the weather.
Story Hook: An oil platform in the Arctic Ocean
is under attack by one of the kayarissat. Getting
to the oil rig is a challenge in and of itself, and the
PCs will need a good explanation for why they are
there. Once on the scene, the characters will have
to survive all manner of weather-based attacks and
formulate a plan to defeat the giant. Time is a factor
as the monster’s attacks are slowly weakening the
platform’s structural integrity; it is only a matter
of days before the rig collapses into the ocean. Not
only will lives be lost, but also gushing oil will do
untold damage to the Land.
 49

Kukilialuit (koo-kee-lee-a-loo-eet) Story Hook: The characters are transporting a

sick child across the tundra when a blizzard hits.
Before the characters can begin to make an igloo
Threat: Average for shelter (a Crafts draw against a Challenging
Defense: Average Difficulty due to the time constraint) they notice
Attack: Average another snow house nearby. Should the characters
Tenacity: Challenging venture there, the monster that dwells within will
Health: 40 attack. If the characters focus on crafting their own
Initiative: 6 shelter instead, the monster will stir from its igloo,
attacking under the cover of the blizzard.
Specialty: Claws (inflict 20 damage)

Mahaha (ma-ha-ha)
The kukilialuit are only found on the tundra, far
inland and away from the coast. They appear
human except for their long razor-sharp claws. Threat: Challenging
The kukilialuit are ravenous monsters that only eat Defense: Challenging
human flesh. They will use their claws to rip and Attack: Challenging
tear the meat from the bones of their victims. Their Tenacity: Average
hunger is so great that the kukilialuit will leave Health: 40
only shards of bone, the marrow licked clean, when Initiative: 8
they are done.
Specialty: Tickle (immobilizes victim and
The kukilialuit are savage and bestial, with no drains 10 Health per minute; Daunting
semblance of humanity. They are silent and never Difficulty to resist)
speak, save for the occasional grunt or growl. The
kukilialuit are solitary hunters who seldom venture Specialty: Tracking (automatically track
far from their lairs. This makes encounters with the prey over any distance)
kukilialuit extremely rare.
Specialty: Strength (punch inflicts 10
damage)

All Inuit fear the sound of giggling faintly heard

through the howling night winds. It means that
mahaha is out hunting. This monster has human
proportions, but is thin and wiry with snow-white
eyes, corpse-pale skin, and long, stringy black hair.
The cold does not bother the mahaha, who wears
only a fur loincloth. Always giggling, the monster’s
mouth is twisted into a rictus grin filled with sharp,
glistening teeth.

Once the mahaha has chosen its prey, it will sneak

into the person’s home and attack. Even if the target
escapes, the mahaha will give chase, traveling
across hundreds of miles and through any sort of
terrain until it has made its kill. Despite its build,
the mahaha is incredible strong. These creatures
have long fingernails, as cold as icicles, which they
use to tickle their prey to death. The painful tickling
steals the target’s breath, which the Inuit consider
to be a person’s spirit. It is the spirit that the mahaha
draws sustenance from.
50
Story Hook: A friend of the player characters has
been targeted by a mahaha. The NPC is afraid to
stop running for fear the monster will catch him.
The characters become aware of this through a
prescient dream and quickly race to intercept their
friend. They must convince him to stop running
and await the mahaha’s arrival. After preparations
are made and a few hours pass, the monster makes
his appearance and the battle begins.
Nanurluk (na-nor-look)
Threat: Challenging
Defense: Average
Attack: Average
Tenacity: Challenging
Health: 80
Initiative: 5
Specialty: Bite and/or Claw (inflicts 18
damage)
A nanurluk is an enormous polar bear large enough
to fit a man in its mammoth jaws. The creature is a
powerful swimmer that spends as much time in the
water as it does on land. The nanurluk is vicious
and territorial and will attack humans on sight,
whether on land or on an ice shelf. The monster will
even lash out at boats that intrude on its territory,
smashing the hull with a swipe and devouring the
crew and any edible cargo.
Story Hook: A wildlife photographer runs afoul of
an extremely vicious nanurluk. Enraptured with
the thought of capturing an image of an unknown
species of bear, the photographer remains in the
area in an attempt to get the perfect shot. The PCs
must intervene to protect the photographer from
himself as well as take down the monster before it
can harm anyone.
Narajat (nar-a-jat)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Average
Health: 50
Initiative: 7
Specialty: Strength (inflicts 12 damage)
Known as the “ogres of the north,” the narajat are
degenerate giants that stand ten feet tall. Narajat
are morbidly obese, so much so that they must bind
their distended bellies with animal gut thongs to
keep them in place when hunting. Gluttonous to
the extreme, they will eat whatever they kill and
will kill whatever they can. When fresh humans
or animals are unavailable, narajat will venture to
gravesites to dig up rotten meat to fill their bellies.
Despite their size, narajat are fast and agile hunters.
Unlike other giants, they disdain tools and weapons,
preferring to take down their prey with their bare
hands. A narajat can consume an entire caribou in
a single sitting.
Story Hook: Ilisaiji sends the PCs to investigate a
narajat that has taken up residence in an abandoned
mine. Being unusually clever, the creature has
constructed crude traps from the abandoned
equipment. The characters must navigate the ogre’s
gauntlet, find where the monster is hiding and
dispatch the creature before it turns its hungry eyes
to nearby settlements.
Qallupilluk (kud-loo-pid-luk)
Threat: Average
Defense: Average
Attack: Average
Tenacity: Average
Health: 40
Initiative: 9
Specialty: Scales (inflicts 12 damage)
Specialty: Slippery (Daunting Difficulty
to grab hold of a qallupilluk)
Inuit children are warned not to wander too close
to the ocean shore or thin ice, lest a qallupilluk
see them. This monster emerges from the water
clad in an oversized amauti (a parka with a pouch
for carrying an infant) and kidnaps unsuspecting
children. A qallupilluk has hollow eyes, sharp
teeth, and reeks of sulfur. The slimy, grey-skinned
monster stuffs its victim into its pouch and takes
the child out to sea to meet an unknown fate.
Standing between four and five feet tall, a
qallupilluk weighs around two hundred and fifty
pounds with insulating blubber to protect it from

the cold waters. The creature prefers to come ashore
at night because their eyes are better adjusted to the
dark briny depths of the ocean.
If cornered on land, a qallupilluk will strike their
attackers with webbed hands. The scales of their
skin are abrasive like a shark’s, cutting those
they slap to ribbons. The abrasive skin and slime
covering their bodies also help them escape from
most conventional bonds.
Story Hook: Over the course of a few months, three
children go missing from a small coastal community.
Most of the townsfolk suspect a pedophile but some
elders think a qallupilluk is responsible. Fearing the
worst, the elders reach out to Ilisaiji, who dispatches
the player characters to investigate.
Qittoriat (keet-too-ree-at)
Threat: Daunting
Defense: Average
Attack: Daunting
Tenacity: Average
Health: 40
Initiative: 9
Specialty: Blood Drain (10 Health every
attack)
51
During the brief summers in Nunavut, insects breed
in pools of stagnant water left by melting snow and
permafrost. Among them are the qittoriat, swarms
of gigantic mosquitoes, each as large as a human
head. These monsters move quickly and can drain
a human of all blood in under a minute.
Like mosquitoes, the qittoriat are sensitive to
temperature and require water to breed. While
qittoriat are only seen in the weeks of summer, they
are deadly threats for those short periods. They can
decimate herds of wild game or devastate smaller
villages in a matter of hours. If given the full length
of summer to rampage, the damage a swarm can
do is incalculable.
The qittoriat are fought as a swarm and the statistics
are for the entire swarm, which is treated as a single
monster.
Story Hook: A swarm of qittoriat is ravaging the
countryside, moving from settlement to settlement,
draining the blood of every living thing in its path.
The player characters are in pursuit. However,
tracking and confronting the qittoriat is one thing;
surviving the swarm is an entirely different matter.
Tuurngait (turn-guy-t)
Threat: Challenging
Defense: Challenging
Attack: Challenging
Tenacity: Challenging
Health: 60
Initiative: 9
Specialty: Sickness (invokes a variety of
illnesses in a small area; Endurance draw
against a Challenging Difficulty to resist)
Spirits, benevolent or foul, fill the land. With the
darkening of the world, the spirits are becoming
increasingly malevolent and dangerous. A skilled
angakkuq can call upon the charitable spirits for
blessings. However, far too often the darker kind
will answer the call and bring misfortune.
The most evil of the tuurngait inflict madness
and sickness. Less monstrous spirits prefer subtle
mischief such as breaking tools, damaging buildings,
and spooking animals. In larger communities,
tuurngait will often damage electronics and
52

infrastructure, being particularly fond of cutting all
lines of communication before beginning deadlier
torments. Some have power over weather and other
natural phenomenon. The most powerful tuurngait
can cause blizzards in the summer or thaw in mid-
winter.
Tuurngait are incorporeal and invisible but can
assume the form of any animal. When doing so,
the spirit will always have something unnatural
about its appearance or demeanor, an otherworldly
quality that perceptive angakkuit can spot.
Spirits are usually brought to the material world by
an angakkuq. Most often, a well-meaning shaman
simply lost control of the spirit. However, there are
angakkuit who willingly traffic with dark spirits.
Only the shaman who summoned the spirit can
banish it, though the death of the angakkuq will
accomplish the same end.
then eat the crew once they are in the water. The
uurgarjuag can alter its coloration, allowing it to
ambush prey despite its colossal size.
Story Hook: Reports of a lake monster draws the
PC’s interest. Investigating these claims involves
spending time on a fishing boat. After a few days,
the characters finally come face to face with the
uurgarjuag.
Animal and human foes
No traits are given for arctic animals. Most can
be killed or subdued with simple Hunting draws.
Wild animals will generally steer clear of humans,
provided they are not attacked and their personal
space is not violated.

In some cases, tuurngait act as crusaders for the

Land, visiting tragedy upon those who despoil it.
Addressing the slight against the Land is the only
way of permanently banishing these tuurngait.

Story Hook: While traveling, the characters find

themselves in a small town. However, there is
something off about the village and within a short
time the characters find that their transportation
and ability to contact others has been cut off.
Trapped in the town, they soon discover that one
of the tuurngait has taken it over. The PCs must
discover how the spirit came to the mortal world in
order to permanently banish it.

Uurgarjuag (oo-gar-jew-ak)

Threat: Average
Defense: Average
Attack: Average
Tenacity: Average
Health: 80 Traits for mortal human foes are a more varied
Initiative: 2 affair. For the most part, Difficulties are Average, but
noteworthy foes, ones that serve as a climax to a
Specialty: Bite (inflicts 12 damage; can grueling adventure or campaign, should be assigned
target two victims at once) higher Attack, Defense, Tenacity, and Initiative ranks.
Health scores will fall in the typical human range of
5 to 25, though corrupted angakkuit, empowered by
The uurgarjuag is a giant, carnivorous fish found dark spirits, may have superhuman Health levels.
in deep Arctic lakes. It is a solitary hunter large
enough to swallow a kayaker whole. The monster
will slam into fishing boats to capsize them and

game master Chapter Seven
The Game Master’s responsibility is three-
fold. She oversees implementation of the rules,
authors the basic plot, and relates the world to
the players. This chapter provides advice on these
three responsibilities with an emphasis on story
construction. The ideas presented are intended to
aid the Game Master. They are not gospel. They
should be followed, ignored, or altered to the taste
of each GM.
referee
Players may have questions, or argue over how a
rule works, or debate whether a certain action is
possible. It is the GM’s job to handle these matters
and interpret the rules in a fair and impartial
manner. Therefore, the Game Master should be
familiar with the rules beforehand, so that in the
event of a conflict an informed decision can be
made. The GM’s ruling is final in all matters.
The rules are the ultimate determiner if an action
is successful or not, allowing the Game Master to
remain impartial. However, the GM must determine
when the rules come into play. Sometimes,
there is no need to draw cards; success might be
inevitable or an action could be impossible. If the
GM determines that a draw is called for, it is up
to him to set the Difficulty. Guidelines for setting
Difficulties are provided in Chapter Four.
author
The Game Master must create engaging stories
that interest the players. When the plot captures
the attention of the players, they will advance from
scene to scene with minimal coercion from the
Game Master. If every location and NPC is unique
and memorable, players will more easily immerse
themselves in the narrative. Creating a vibrant and
dynamic setting is one of the GM’s most important
roles.
plot
The plot is the overall architecture of the story. It is a
53
series of scenes that build upon one another, leading
the characters from beginning to end. However,
since role-playing is an interactive narrative jointly
crafted by the players and the GM, the Game Master
creates a rough outline rather than a detailed script.
While the GM makes the initial hook that draws
the characters into the action, it is the players who
determine the outcome of events and forge the plot
through their decisions. Since players will often
react to a situation in an unanticipated fashion, or
approach a problem in a way that never occurred
to the GM, the Game Master must be able to think
quickly on his feet, adapting to the changing
narrative.
Monster hunting is the basic, default plot for most
stories in Angakkuit. However, from this premise, a
variety of options are possible. The hunt could be a
sprawling chase across the tundra or a dangerous
trek through the mountains. In these scenarios, the
environment can be as great a threat as the monster.
The characters will have to survive outdoors for
days and overcome all manner of environmental
obstacles. An urban hunt will have a completely
different flavor, as the characters pursue their
prey through darkened alleys and abandoned
structures. Town based adventures might also
be more investigative in nature with characters
gathering clues and speaking to eyewitnesses in
order to locate their prey.
The choice of antagonist obviously has great
influence on the plot of a game. A vengeful spirit
can spawn a tale of mystery or inspire a ghost
story. A deranged angakkuq, spilling innocent
blood for some twisted purpose, lends itself to a
psychological thriller. A wolf that shapeshifts into a
local villager casts a pall of paranoia and mistrust,
as the characters hunt for a monster that hides in
human form.
Plots do not have to be limited to monster hunting.
As fledgling angakkuit, the characters are expected
to help people and communities in need. Their
mentor, Ilisaiji, may task them with transporting
medicine to a remote settlement by dogsled.
They may be called upon to mediate a dispute or
investigate a theft or murder. Plots are only limited
by the GM’s imagination.
54
Habitat and Lairs
The Game Master should consider
a monster’s habitat when creating
her plot. Does the creature roam the
tundra, dwell on an isolated island
or live beneath the water? Perhaps
it keeps to the back alleys and less
traveled avenues of a small city?
Does the monster live amongst a
community, disguised as a friendly
local? Perhaps it sleeps in a cavern
or a burrow beneath the earth?
A few of the monsters mimic the
traditional lifestyle of the Inuit.
They live in tents or igloos far from
civilization. Abandoned towns
and military outposts also make
excellent lairs. Such settings add
a feeling of dread to an adventure
and provide multiple places for a
creature to hide.
An inuksuk (plural inuksuit) is
a pile of rocks assembled into a
vaguely human shape. Ancient Inuit
used these cairns for navigation
and to mark the migration routes
of caribou that came north for the
summer. In the world of Angakkuit,
they can also be the resting place
of the dark spirit the characters are
hunting, making for a different type
of lair altogether.
ideas and inspiration
Some Game Masters are brimming with inspiration and imagination.
Others need some assistance to get the creative juices flowing. For those
needing a kick-start, the easiest method is to begin with the antagonist
of the story. Most often, this is a monster that the characters need to
vanquish. There are twenty creatures presented in Angakkuit, and each
implies a certain type of adventure. An ogress can inspire a tale of daring
rescue in which the PCs storm the monster’s lair to save her young
captives. A cannibal preying on a city’s unsuspecting populace lends
itself to an investigative story, as the PCs will need to gather clues to
identify the killer. A pack of monstrous wolves roaming the countryside
can inspire an outdoor adventure, in which the PCs track the beasts across
the tundra while dealing with the harsh and unforgiving environment.
Deciding on the monster at the center of the story will often cause the
plot to fall right into place.
A location can also serve as inspiration. An abandoned town can
naturally lead to a ghost story or present a mystery to be solved. An
isolated island, engulfed in fog, could be home to an ancient horror (and
who knows what lurks within the mist).
The plot of a film, novel, or television show can serve as the basis for
an adventure. In the movie Aliens, communication is lost with a distant
colony and a team is sent in to investigate. They discover an empty
settlement, save for a single survivor, a traumatized young girl. Soon
after, the threat that eradicated the colonists makes itself known, and the
team finds itself locked in a deadly game of cat and mouse. This same
plot structure can be employed in Angakkuit. Communication is lost with
a small mining community, and the player characters investigate. They
find the location devoid of life except for a little girl hiding in the mine.
Over and over again, she mutters under her breath, “the wolves are still
hungry” and very soon the players learn the horrible truth behind the
child’s warning.
call to action
The standard adventure begins with a call to action. This is the hook that
propels the characters into the plot. A variety of options are available
to the Game Master, some more involved than others. An assignment
from Ilisaiji is the simplest call to action. In this example, the PC’s
mentor knows of a threat and dispatches the characters to handle it.
The GM uses Ilisaiji to brief the player characters and get the adventure
underway with minimal prologue.
There are other calls to action that can get an adventure started quickly.
The characters might be monitoring media reports for signs of inhuman
activity when something catches their interest. A local legend or
folktale might spawn an investigation. A friend or relative’s run-in with
something monstrous can draw the characters’ attention. Happenstance
can also play a role. With this call to action, the player characters are
simply in the right place at the right time when something occurs. Using
this approach too often stretches credibility, but a clever GM can work
around this.

A prescient dream is a more creative and involved
call to action. In this example, one or more player
characters experience an unnerving or foreboding
dream that serves as the entry point into the
adventure. It can hint at avenues of investigation
or provide clues as to what is happening, but it
should not deliver definitive answers. Symbolism
obfuscates the truth. In some cases, the dreams’ true
meaning may be hiding in plain sight, but without
context the players won’t understand the message.
Clarity should only come during the adventure, as
elements of the dream begin to make sense.
The Game Master can invent any call to action that
suits his taste and style. Ideally, he should mix
and match various techniques, avoiding repetition
when possible.
scenes
A plot is a collection of scenes with a causal
relationship to one another. The events in one scene
lead to another scene, which in turn leads to a third,
and so forth. Since the players control the direction
of the story, the order of the scenes should be as
fluid as possible. The Game Master will often need
to adapt on the fly, as an unplanned scene could
arise from the players’ decisions. For example,
the player characters discover that the creature
55
they’ve been hunting is gorging itself inside the
general store. The GM expects the characters to
sneak inside, or charge in after the beast, or wait in
ambush. Instead, the characters decide to burn the
structure to the ground while the monster is inside.
The creature survives the conflagration and runs
off into the night, trailing smoke and fire. Before
the characters can give chase, angry townsfolk,
enraged at losing their store, surround them. The
players’ actions have created at least one new and
unplanned scene.
An adventure should contain multiple types of
scenes. While fight scenes and investigative scenes
are the most common, many more are possible. For
example, a social gathering or a physical challenge
could be the focus of a scene. Varying the types of
scenes helps with pacing and gives every character
a chance to shine. Players prioritize their characters’
Abilities according to what interests them; designing
scenes that feature those Abilities only makes good
sense. Since most groups are not a homogenous
collection of players, a mix of scene types is ideal.
Every story will have a few key scenes that are
critical to moving the plot forward. They provide
crucial information or feature pivot points where
the plot can be guided in one direction or the other.
Key scenes should be among the most memorable
in a story. If a scene features a momentous event
56
Starting Point
The Game Master and players need
to determine where the characters
are before the story begins. Do they
all live in the same small community,
studying with Ilisaiji? Are they
engaged in personal affairs, living
ordinary lives until duty calls?
Are they nomads wandering the
Arctic, traveling from settlement to
settlement, hunting monsters and
helping those in need? The decision
is up to each group.
Refocusing Players
Sometimes characters will drift too
far from the main plot. They may
latch onto a minor story detail,
thinking it more important than
it actually is, or follow a dead-end
lead longer than anticipated. The
Game Master should give players
ample room to explore and act
within the narrative structure, but
when the pace suffers too much or
the players become directionless,
the GM must get them refocused on
the main plot.
A helpful NPC is often the easiest
way to steer the characters in the right
direction. The NPC can point out a
critical detail that the PCs missed
or suggest a path forward. The
GM can also have the Land speak
directly to the characters though
dreams or intermediary spirits.
Dreams should be clear enough
to get the characters back on track
but remain mysterious and cloaked
in symbolism. A spirit’s words
should be cryptic but hold enough
guidance to redirect the characters.
The helpful spirit can appear in
a variety of forms, from human to
animal to even an inanimate object
such as a flickering flame.
or encounter, this is easy to accomplish. Quieter scenes require more
work. A vivid description of the characters’ surroundings is one way to
do this. Another option is to populate a scene with an interesting NPC
or two.
There is always the risk that players might bypass a key scene altogether.
With this in mind, the Game Master shouldn’t make the resolution of the
story reliant on one particular scene. Sometimes, however, this cannot
be avoided. Therefore, if the players skip a key scene or fail to resolve
the conflict in that scene, the Game Master should offer a guiding hand
here and there while carefully avoiding too much interference.
action and conflict
Plots require action and conflict. Without them, the story stagnates.
Actions are not limited to fights and other feats of physical prowess.
Following tracks through the marsh, speaking with the local bartender,
and building an igloo are actions too. Action is anything the characters
actively engage in that enriches the narrative and drives the plot
forward.
Conflict is the dynamic aspect of the scene, creating tension and enticing
the characters to movement. Without conflict, there is nothing for the
characters to strive against, no reason to persevere, and no direction to
guide the plot.
Physical and environmental conflicts are the backbone of Angakkuit;
social conflicts have their place but are less common. A physical conflict
challenges the body. Fights and chases fall under this category. An
environmental conflict pits the characters against nature. Surviving a
blizzard, evading wild animals, and navigating the Arctic are examples
of environmental conflict. A social conflict is a challenge of an ideological
nature, such as an argument with another player character or an NPC.
A scene can have more than one conflict. In these cases, each scene needs
a primary conflict that drives the action, with secondary conflicts existing
to complicate the matter. For example, a scene’s primary conflict might
be a physical struggle against a towering giant, while the secondary
conflict could be a concurrent snowstorm that reduces visibility and
impedes movement.
setting
Every scene has a setting. This is the location where the action and
conflict occurs. It might be outdoors (a marsh or a city street) or indoors
(a house or a general store). The setting can be a wide-open area (a stretch
of tundra) or a confined space (a bedroom). The nature of the action and
conflict often dictates the setting. For example, if the characters want to
talk to the local bartender, the scene will likely occur at the community
bar. However, this isn’t always the case. They could approach the
bartender in the streets or at church or visit him at his home.
There is no infinite list of setting archetypes for the GM to draw from.
 57

More often than not, players will visit the same
types of structures and vistas every adventure or so.
This means the Game Master must do everything
she can to add differentiation. Every bar and
every home should not be described in the same
manner. Including a unique or interesting detail
at every location will make it stand out. This is
trickier with an outdoors setting, where one stretch
of frozen wasteland looks the same as any other.
However, adding distinctiveness to such locations
isn’t impossible to do. A bizarre rock formation or
an unusually jagged shoreline can make a location
more memorable.
If a story takes place in a community, the Game
Master must decide on the size of the town. A hamlet
with a few dozen residents has a different feel than
a city of a few thousand. Small communities will
have minimal modern amenities, while larger ones
will have quite a few. Cities, such as Iqualuit, will
be similar to other North American cities, albeit
on a much smaller scale. Larger communities
are more likely to have an airport, though a few
private airports can also be found in smaller, more
remote towns. Internet service, radios, televisions,
municipal water and other aspects of modern life
are less likely to be found in tiny communities.

When considering the setting for individual scenes,
the GM should keep in mind the overall setting of
her story. Does the action occur on the mainland or
an island? Does it take place in a small community
or in the city of Iqualuit, which has a population
near 7,000? If the story takes place outdoors, what
environments will be featured? Tundra, mountains,
hills, and open water are common options. What
about NPCs? In an outdoor setting, characters
may not encounter another living soul for months.
When they do meet other people, they are likely to
be small groups of fishermen, hunters, or whalers.
The characters may come across isolated camps
of Inuit, living off the land as their ancestors did.
However, such random encounters are rare; most
modern Inuit live in permanent settlements that
can be found on a map.
Time of year is an important setting detail. Summers
are reasonably safe, but winters are deadly.
Blizzards, subzero temperatures, and other hazards
will complicate any action the characters undertake.
The approach of the cold season could even be used
to add a sense of urgency to a mission.
NPCs
While each player controls a single character,
the Game Master is responsible for creating
and role-playing all the NPCs with whom the
player characters interact. The GM defines their
personalities and motivations, what they say and
what they do. Some NPCs will have marginal roles
in the story while others will have prominent ones.

Threat Rating
Every monster has a Threat rating of Average, Challenging, or Daunting. Starting characters can
handle Average Threats, and Challenging Threats are intended for experienced characters or
larger groups. Daunting Threats are rare and should only be faced after the characters have
significantly increased their Attributes and Abilities.

When choosing a monster, the Game Master must consider the creature’s Threat rating. Monsters
should not be easy to overcome, but certain defeat will frustrate players. If the GM is set on
using a particular monster, but doesn’t think the characters can handle it, the creatures’ Attack,
Defense, or Health can be lowered to give the PCs a fighting chance.

Teasing the Monster

The Game Master should never be direct as to the appearance of the monster the characters are
pursuing. A grisly murder scene or unusual tracks can provide hints as to what the characters
are up against. An NPC can offer a description of the creature. The characters could catch a
glimpse of the beast during a snowstorm or under the cover of night. The monster may even
engage in a hit-and-run attack, quickly disappearing into darkness before the characters can
respond. No matter the approach, the GM should tease the characters with the identity of the
monster, leaving the final reveal for the climatic showdown with the beast.
58
The Military
The Canadian military has had a
presence in the Arctic since before
the Cold War. There are a few bases
in the far north, but they have
relatively small staffs. They focus
on research and signals intelligence
gathering. Training exercises
are sometimes conducted in the
Arctic, often making use of the
abandoned communities that dot
the landscape.
While the Canadian Arctic is large
enough that the PCs are unlikely
to ever run into the military, it is
possible. If the Game Master is
interested in introducing a more
conspiratorial element to her game,
she could have certain military
officials aware of the monsters
roaming the north. The military
could be an additional antagonist
or a potential ally. The leadership
could be maintaining secrecy to not
spook the local population, or could
have a more nefarious plan to use
the newfound monsters as weapons
of war. Alternately, the GM could
have a monster prey upon a small
military outpost. In this scenario,
the player characters must consider
how to go about their business. Do
they conduct their work unseen or
reveal themselves to the few soldiers
in harms way?
NPCs are best viewed as aspects of the setting who are there to help
bring the narrative to life; they should never usurp the PCs’ role of
driving the drama.
Most NPCs will be specific to a single story. Therefore, the Game Master
needs to decide how much detail and background to apply to them. She
may prefer three-dimensional characters or quick stereotypes. Each NPC
should be given a unique characteristic to personalize the individual.
This could be a mannerism, a physical trait, a speech pattern, or anything
else that makes the NPC noteworthy and easily identifiable.
climax
The plot culminates at the climax. This should be a tension-filled scene,
where success or failure is at stake. In most adventures, the climax is
the final confrontation with the monster. The characters have concluded
their investigation and tracked their prey to its home or lair. The only
thing left to do is vanquish the enemy.
An interesting location can make the climatic scene more memorable.
A dilapidated cabin, far from civilization, is a more interesting place
for a final showdown than a house in the city. Of course, the same
house decorated with human remains is a different story. Location can
also increase tension. The final showdown with the monster is more
affecting if the characters have to hunt the beast through the darkness of
an abandoned mine, and a struggle near the edge of a cliff adds an extra
layer of anxiety.
campaigns
A campaign is a collection of individual adventures featuring the player
characters. An ongoing narrative, comprised of multiple stories, gives
players ample time to develop their characters’ personalities and flesh
out their backgrounds. The limited time frame of a single adventure is
not conducive to character growth; a campaign is.
The Game Master may want linkage between his stories, something that
connects one adventure to the other. The easiest means of doing this is
to create a single cause behind the return of the monsters. This also sets
up endgame conditions for a campaign, if so desired.
The monsters of the north can be servants of the uumajurngautaviniit.
The first animals are dismayed that creation is no longer a fluid thing.
They long for the days when a single word or thought could reshape
reality. The uumajurngautaviniit hold humanity accountable for this
stagnancy and will see the stain of man removed from all things. Since
the first animals are ancient and ageless, they act according to their own
timetable. What might seem like a long-range plan to mortal thinking
is not so to the uumajurngautaviniit. Physical confrontation with the
uumajurngautaviniit is impossible. They are too powerful to be bested.
The characters will need to convince the uumajurngautaviniit that man
is worth sparing.

A powerful angakkuq could be responsible for
the monsters of the north. For personal gain, he
bartered with dark spirits. Enslaved to madness,
he unleashed ancient horrors from their slumber
beneath the ice and freezing waters. Finding and
killing the angakkuq will dispel the shadows that
fall across the snow. However, the shaman is well
hidden and extremely powerful, having received
boons and inhuman abilities from the spirits he has
trafficked with.
The Land itself could be responsible. In this scenario,
the Land is contemplating the extermination of
mankind. It has chosen the player characters to
represent humanity. Every adventure is a test for
not just the characters, but for their entire species. If
the young angakkuit win their struggle against the
monsters of the north, mankind is spared. If not,
the Land will pass final judgment on humanity.
A campaign doesn’t have to be a collection of
connected adventures. Each story can stand alone,
unrelated to what has gone before or will come after.
The players and their characters simply accept that
monsters have returned to the world and that they
need to be vanquished. The PCs move from threat
to threat without the concerns of a bigger picture.
Environmental threats
During the course of an adventure or campaign,
59
the GM can introduce environmental threats. In
the winter this includes weather-based phenomena
such as snowstorms, blizzards, and strong winds.
Avalanches, thin ice, and crevasses can serve
as obstacles. Wild animals might threaten the
characters, though this is rare. Most wildlife will
steer clear of humans, only acting if their personal
space is intruded upon.
Characters who spend too much time outdoors
or lack proper clothing for the Arctic will suffer
frostbite and hypothermia. Rules for various
environmental threats can be found in Chapter
Four.
random encounters
To enliven treks across the Arctic, the Game Master
can introduce a random encounter by drawing a
card and comparing it to the Random Encounters
Chart.
Some entries on the Random Encounter Chart
provide multiple options and the Game Master
can chose whichever one catches her interest. For
example, if the characters encounter a wild animal,
the Game Master chooses the animal in question,
which will affect the flavor of the interaction. For
example, stumbling into the personal space of a
polar bear will present a different challenge than
encountering a herd of musk oxen. The Random
60
Ghost Towns
A fair number of small communities
within the Canadian Arctic lie
abandoned. Inuit who moved
southward for better economic
prospects are responsible for some
of them. Others were abandoned
as mining in the surrounding area
dried up. Some were trading posts
or Cold War outposts that are no
longer of value. Each of these
communities is small, with only a
few permanent structures in place.
Some will be ruins in various stages
of collapse while others will be
fairly intact.
Abandoned settlements can serve
as a temporary refuge during
snowstorms when characters are
wandering the north. The few
building left intact can be explored,
providing a brief diversion from
the main plot. Ghost towns are
also ideal lairs for monsters. In an
abandoned community, a creature
can eat and rest with little fear of
interruption. Or so it thinks.
Encounter Chart should only be used once during any prolonged
journey.
experience
Campaigns allow for character advancement. Attributes and Abilities can
be improved by spending Experience Points (XP), which are earned after
each adventure. Conducting a successful monster hunt or investigation
earns each character 1 to 3 XP. A simple hunt, one that is solved by
following a monster’s tracks or investigating a single area, is worth 1
XP. A more involved hunt, featuring a few locations and more detailed
investigation, is worth 2 XP. A sprawling story, with multiple locations
and dozens of leads, is worth 3 XP.
Characters earn 1 to 3 XP for defeating a monster. The creature’s Threat
Level determines the amount of XP earned. An Average Threat Level is
worth 1 XP, a Challenging Threat Level is worth 2 XP, and a Daunting
Threat Level is worth 3 XP.
During a fight, the character that delivers the coup de grace receives 1
additional XP.
Experience Points are spent as follows:
• 5 XP: Improve an Ability from tertiary to secondary.
• 10 XP: Improve an Ability from secondary to primary.
• 10 XP: Increase an Attribute by one rank.
Derived Traits increase as Attribute ranks increase. Raising Wisdom
increases Favor, raising Strength increases Health, and raising Quickness
and/or Awareness increases Initiative.
Experience Points can be spent immediately or saved for the future.
narrator
The Game Master’s role is more than author and arbiter. He is responsible
for narrating events and describing each scene to the players. He decides
what a location looks like, what sounds permeate the air. However, the
GM shouldn’t limit himself to two senses. Smell, touch, and taste can
also be utilized. The feel of cold, biting air and the smell emanating from
the monster’s lair can help bring a scene to life. The GM also relates the
appearance and demeanor of every NPC. He defines their motivations
and personalities and determines how they respond to the player
characters. The more vivid the Game Master’s descriptions, the easier it
is for players to immerse themselves in the story.
The GM is also responsible for maintaining the pace of the adventure.
If the players become bored or dither too much, the Game Master must
react. Establishing a deadline for success can motivate players to action.
An unexpected complication can be introduced to stir the players from
their doldrums. The GM is free to use whatever techniques he feels the
players will respond to. The key is to get them moving.

dreams
Dreams are a storytelling device for imparting
information to the characters in a mysterious,
symbolic manner. The imagery can give insight into
a current problem or a glimpse of a future event.
Dreams can be handled with role-playing alone. In
other words, players are left to decode the dream
without invoking the rules. However, this may not
work for all players. A character can interpret the
meaning of a dream with a Visions draw against
an Average Difficulty. Success does not provide
instant answers; it only points out clues that a
player may have missed or explains the meaning
behind a symbol. Players will have to determine
how the dream’s meaning relates to the adventure
at hand.
The Game Master must decide how much influence
the characters have on the dream. They may be a
passive audience, unable to act in the dreamscape,
as the GM describes what the characters are
experiencing. Alternately, the Game Master can
allow the players some control over their characters’
dreamselves. They may be able to interact with their
environment in a limited fashion, such as touching
an object or conversing with a person or animal.
In Angakkuit, dreams are far more than expressions
of the subconscious mind. Dreams are the secret
61
language of the Land, echoes of the original words
of power that shaped creation. This gives the Game
Master license to go over the top a bit. For example,
a player might converse with a snowy owl in his
dream and awaken with a white feather in his
hand. The GM can have all the PCs experience
the same dream simultaneously. Doing so sends a
clear message that the dream is far from ordinary
and has deeper significance. It also has the added
advantage of involving all the player characters.
Prescient dreams should be rare and special.
Overuse will blunt their effectiveness. The Game
Master should restrict this storytelling device to a
maximum of once per adventure.
character death
The potential for death makes for thrilling role-
playing, and a player should understand that her
character’s life is on the line. However, death should
not be a random event. It should be reserved for
critical moments in the adventure. Dying during
the climatic battle with the monster is one thing;
dying from an accidental fall into freezing water,
while on a simple hike, is another.
In dangerous situations, poor card draws can lead
to character death. However, the GM can override
this. For example, if a fall would normally kill
a character, the Game Master can instead opt to
severely wound the unfortunate victim. To keep the
sense of danger for characters, there must always
be a serious consequence for failure. For example, if
the GM spares a character from a falling death, that
character should be Impaired, making future draws
at one Difficulty higher than normal.
The Game Master shouldn’t help players who
are unwilling to help their own characters. For
example, if a character’s fall would normally result
in death, and the player refuses to spend any Favor,
he or she should not receive a bailout. Players must
avail themselves of all resources. If not, the Game
Master shouldn’t intervene and spare the character
from certain death.
Another method to handle unexpected character
death is to allow the player to role-play her
character’s spirit after expiration. With this
approach, the character remains with the group
as an incorporeal being, interacting with the other
player characters. Once the adventure is complete,
the spirit’s work is done, and the spirit departs
62

forever. While this approach to character death is interesting, it has a few

drawbacks for campaigns. First and foremost, the character is still dead.
While the player remained involved in the immediate narrative, he or
she has to create a new character before the next adventure. Secondly,
this approach can only be used in rare occasions. The uniqueness wears
thin if numerous characters return as spirits.

After a death, a new character can be introduced at the start of the

subsequent adventure. The same events that drove the other player
characters to this unusual life apply. Ilisaiji could seek out the new
recruit or a helpful spirit could drive the character to join the group.
Between Adventures Any explanation the player and GM can agree on is acceptable.

The Game Master and players

must decide how to handle the final thoughts
time between adventures. Some
players prefer to summarize their This chapter is merely advice. The Game Master should only use the
character’s downtime in a few concepts and ideas he feels will work with his group. Rules should be
sentences. Others want to role- tweaked or ignored. Each Game Master should take the material and
play the space between adventures. make it his own.
Role-playing downtime must be
a unanimous decision among the
players. If even one player decides
that downtime is best handled
without role-playing, this approach
should be taken for the entire group.
Players uninterested in role-playing
the moments between adventures
will be bored watching others do
so or frustrated if they are forced to
participate.

Reconnecting with loved ones and

training with Ilisaiji are common
downtime activities. Traversing
the Arctic is also common, as many
adventures take place in distant and
remote locales. Returning home can
make for an interesting story in
itself, as characters are confronted
with a series of potential challenges.
They may have to navigate an
unfamiliar landscape, survive a
blizzard, or hunt for their food.
 63

adventure Chapter Eight

It Started with a Dream is an introductory adventure
showcasing many of the basic elements of Angakkuit.
It features a prescient dream as a call to action and
nearly every Ability comes into play. There is a
mystery to be solved, a monster to be vanquished,
and a spirit to appease. It Started with a Dream is
designed as a first adventure for new characters,
but there is no reason it can’t be used with seasoned
PCs.
The player characters will pursue multiple lines
of investigation as they work their way through
the adventure. This means that the order of
many scenes can vary, depending on the players’
decisions, and two very different scenes can serve
as the adventure’s conclusion. More so, the players
will have some freewill in determining the exact
manner in which the adventure’s primary threat is
dispatched.
Blue text is to be read aloud to the players, though
the GM is free to paraphrase as she sees fit.
Applications of the rules are bolded to make them
stand out on the page.
things will only get worse.
The adventure is set during the winter months,
creating additional complications for the player
characters.
call to action: the dream
Each of the player characters share the same
dream:
You are on a field of ice. Everything you hear—
gusts of winds, your breathing, blood rushing
to your ears—feels maddening with time. You
see movement ahead, a snowy owl. Also, in your
peripheral, you sense others, but cannot see them
directly. You begin moving towards the owl when
a new sound, this time tapping, comes from your
feet. You look down to see a parka-clad boy beneath
the ice, yelling, but his words are indecipherable.
Suddenly, from the darkness beneath him, an
inhuman hand clutches the boy’s throat and drags
him down into the void.

overview
An anirniq is plaguing the small community of
Qisik, and the player characters must find a way
to appease the vengeful spirit. They must uncover
the nature of the threat and deal with the ancillary
complications born of the spirit’s actions.

The town of Qisik hasn’t practiced the traditional

rituals of the Inuit in decades. This has angered
the anirniq of a recently killed whale, which is
tormenting the town for not honoring its sacrifice.
The townsfolk do not believe in the old tales and
have no idea that there is more to their recent spate
of bad luck than meets the eye.

The anirniq’s curse has taken multiple forms. The

local Catholic church burned to the ground just days
before and the town’s dogs have turned randomly
violent. Most troubling is the disappearance
of a young boy. The spirit’s curse has drawn a
qallupilluk to the area, which is responsible for the
missing child. If the spirit is not appeased soon,
64
Maggie’s Patrons
Maggie Unnuk (the owner): Maggie
is a smart, funny redhead of Irish
decent. She has lived in Qisik for
over twenty years, staying even
after her husband passed away. She
still enjoys making drinks when the
tavern is crowded.
Franklin Unnuk (Maggie’s adult son
and the tavern manager): Franklin
is more serious than his mother.
He is a friend of Jacob Suluk, so his
demeanor is a bit more restrained
than usual. He inherited his father’s
Inuit features and bears no physical
likeness to his mother.
Lyssa Potter (bartender): Lyssa is an
attractive local girl who loves talking
to those passing through.
Nasak, Natar, and Tootoo: These
are the whalers who brought down
doom upon Qisik. All three of them
have had pretty horrible weeks and
are slightly drunk. They are unaware
of the consequences they have
wrought.
Samuel Tug (mayor): He is weary
and a bit drunk himself. The missing
child weighs heavily on Samuel.
He is at a loss for what to do and is
grateful for the PC’s help.
You jerk your head up and spy a weathered sign: Qisik (pop: 56).
The baleful sound of a whale’s song fills the air as you approach a
small community. Smoke rises from the center of the town and you
find yourself standing by the charred remains of a building. The snowy
owl lands on the outstretched hand of a man wearing a long parka and
driftwood mask, which is adorned with feathers and markings.
You snap awake.
The players will immediately realize that this is no ordinary dream; it
is a call to action from the Land. The only concrete fact they have to go
on is the town’s name. A quick on-line search will prove Qisik exists
and provides its location. If the player characters are all traditionalists,
the GM can simply have one of them be familiar with the town and its
location. No card draws are required for locating Qisik.
While the characters cannot know the true nature of the dream without
traveling to Qisik and investigating, there are things they can determine
at the outset. A successful Visions draw against an Average Difficulty
reveals the snowy owl to be a helpful spirit leading them into the
heart of the mystery. It also identifies the young boy as the subject
of foul play, likely through an inhuman agency. This same successful
Visions draw points to the whale song and the charred building as being
important clues, though this is likely obvious to the players.
There are two aspects of the dream that can call for Tales and Songs draws.
The players may do so to identify the mask the stranger is wearing and
to inquire about monsters that live below the ice and prey on children.
A successful Tales and Songs draw against an Average Difficulty
identifies the masked man as an angakkuq (according to the markings
on his mask). While a successful draw will not identify the stranger as
friend or foe, the snowy owl’s acceptance of his outstretched arm implies
an ally rather than an enemy. A second successful Tales and Songs draw
against an Average Difficulty will yield background information on
qallupilluk, a creature associated with water and child abductions
(see Chapter Six for information on the qallupilluk).
arrival
After arriving in Qisik, the PC’s first order of business should be lodging.
As there is no hotel in Qisik, only two options are available. The first
possibility is to rent a room at the community’s tavern, which has a
single spare bedroom on the second floor. As all the player characters
will be squeezed into one room with a single bed, some will have to
sleep on the floor. The second option is for the characters to sleep in a
tent or igloo outside of town. However, this will strike the townsfolk as
odd and increase any Difficulties for Influence draws.
Building an outdoor shelter is a Crafts draw against a Challenging
Difficulty due to the anirniq’s curse. Tools slip or break, minor pieces
of equipment are misplaced, and other nuanced bits of bad luck plague
the characters.
 65

being “off.” For example, the bartender

maggie’s tavern
The tavern is a reasonable starting place for the
characters to begin their investigation. It is one
of the few community buildings in Qisik and it is
frequented by most of the townsfolk on a regular
basis. This scene will primarily feature Influence
draws (Average Difficulty for those staying at
the tavern; Challenging for those choosing to
camp) and perhaps some Observation draws. The
players should devise a reason for their presence
in town, e.g. a hunting trip, as some townsfolk will
be skeptical of inquiring outsiders. The easiest way
for players to get information is to simply strike up
casual conversations and steer the discussions to
their benefit. The inebriation of the tavern’s patrons
will make this fairly easy to do.
Some of the things that can be learned at Maggie’s
are:
• The town’s Catholic church recently
burned to the ground. The priest, Father
Alain, suspects foul play.
• The town has no law enforcement and no
means of investigating the cause of the fire.
Most assume faulty wiring or an accident
of some kind, though some support Father
Alain’s assertions of foul play.
• A ten year-old boy named Benjamin
“Benjy” Suluk disappeared a few days ago.
His father, Jacob, has grown withdrawn.
This tragedy only compounds the passing
of his wife Irina earlier in the year.
• A crazed shaman named Katak made a
fuss about “the old ways” the last time he
came through Qisik. He lives in an igloo six
hours outside of town.
• Last week, many of the town’s dogs
began acting violently. Fearing rabies or
some other disease, the canines have been
quarantined in kennels owned by David
Irniq.
• There are several complaints of little things
will complain that she has been breaking
glasses all week long and is worried that
she will have to start paying for them.
The scene at Maggie’s will put the PCs on two
clear paths for their investigation: speaking to
Jacob Suluk and visiting Katak. Other investigative
paths will also likely be pursued, but will either
dead end or route the characters back to these two
individuals.
jacob suluk
The players may choose to investigate the missing
child first since the church has already been
destroyed. With the child, there remains a chance
to save something. Players will find Jacob Suluk at
his home, the location of which can be provided by
any NPC. He is the accountant for the community,
but hasn’t worked since his son vanished. Influence
draws with Jacob have a Challenging Difficulty
because he doesn’t fully trust the outsiders or
their motivations. If they gain entrance to Jacob’s
house, they can also make Observation draws
against an Average Difficulty to spot pictures of
Benjy. There is no mistaking him as the boy from
the dream.
Jacob Suluk is a damaged man. He may be played
as dangerous, but he truthfully is just depressed,
exhausted, and lost. Benjy is his only son so this
loss, coupled with his wife’s passing, has crippled
him emotionally.
If the PCs enter Benjy’s bedroom, they can find a
child’s rendering of a monster with a successful
Observation draw against an Average Difficulty.
The crude drawing shows a qallupilluk with a
small child stuffed into its amauti. If they ask Jacob
about this, he will tell them that he shared with
Benjy a “silly little story that people have passed
down for generations.” Jacob, along with most of

Pulling the Rug: Maggie’s

There were no eyewitnesses to Benjy’s disappearance or the moment the church caught fire.
However, this doesn’t mean people won’t come forward to claim they were there. For example,
someone who has overheard Father Alain complain about Katak’s possible involvement might
try to help out the priest by claiming she saw him there. The Game Master must decide if
someone is misinformed or merely lying. If they are the former, their information is simply
bad. If they are the latter, the GM needs to prepare motivations for why they are lying and
repercussions for when their lies collapse.
66
Pulling the Rug: Irina
The player characters may very well
latch onto the idea that Jacob’s wife
Irina is haunting her son. They may
also make an erroneous connection
between her and the church. While
neither is true, players should be
allowed to pursue these dead ends.
Part of the fun with any mystery
is a good red herring, and the
deceased Irina Suluk makes for
an excellent one. Why? Because,
even though she is not the correct
answer to the mystery, she can still
lead the players towards the final,
correct conclusion. The suspected
involvement of Irina’s spirit can
help draw the characters to the
shoreline.
Qisik
Qisik is a tiny community in
northeastern Nunavut. Its exact
location is up to the Game
Master, but has little bearing on
the adventure. As long as it is a
mainland town, near the shoreline,
its location is irrelevant.
Qisik is a collection of small
homes and a few basic community
buildings. They receive supplies
once per year by sealift. The village
residents supplement these supplies
with hunting and whaling.
The town’s population fluctuates,
but has never exceeded seventy
residents.
the townsfolk, knows about the myth of the qallupilluk, but doesn’t
remotely believe in it. He simply told Benjy the tale to keep him wary
of the shoreline. Jacob explains how Benjy and his mother used to
walk the water’s edge for hours, but after she passed away, Benjy quit
walking the path. For some reason, in the days immediately preceding
his disappearance, Benjy resumed the old activity again.
Once the PCs convince Jacob they want to help, he will attempt to assist
them. Jacob will direct the characters to the section of shoreline Benjy
frequented, but will refuse any invitation to come along.
father alain
When the characters investigate the burnt church, they instantly know
this is the building from their dreams. The only difference is that now
they can examine the rubble and see religious artifacts mixed in with the
ruined structure.
This is where they meet Father Alain, a Québécois who came here over
a decade ago. He is in his fifties with graying brown hair. He speaks
Inuktitut and English fluently, albeit with a French Quebec accent. He
feels compelled to push against the myths of the area and isn’t concerned
about hurting feelings. Father Alain lives next to the church in a building
that remained largely unscathed by the fire. Influence draws with Father
Alain carry an Average Difficulty unless the characters are openly
negative about his religious beliefs; if this happens, Difficulties
increase to Daunting.
The characters can learn the following from Father Alain:
• He believes the fire was the result of foul play.
• He saw nothing that night, as he was asleep in bed at the time.
• He recently had an argument with Katak, a shaman (his words)
who lives about six hours from Qisik. Katak used to live in the
hamlet, but kept butting heads with Alain, Samuel Tug, and
others.
• He does not believe Katak ever had any issues with the Suluk
family.
• The Suluk family attended church here and Father Alain is
deeply saddened for Jacob’s loss.
• He believes Katak might have started the fire to “prove” Inuit
spirits were upset with Qisik.
Father Alain isn’t an antagonist by any means, but his beliefs make
his information horribly biased. In his mind, Katak lurks at the heart
of the problem. He isn’t as convinced that Katak is behind Benjy’s
disappearance, but whole-heartedly believes Katak burnt down the
church.
katak
Getting from Qisik to Katak’s igloo is a six-hour jaunt. The PCs can travel
by snowmobile or sled, depending on the transportation they used to
 67

get to town, but the trip will take roughly the same
amount of time. On their way to find Katak, the
players will encounter a freak snowstorm.
The snowstorm will slam into the PCs a few hours
into their journey. Controlling any dogs during
the storm requires Dog Handling draws against
a Challenging Difficulty. A Crafts draw against
a Challenging Difficulty is required to make an
impromptu shelter due to the sudden onset of the
storm. Should the characters fail to make adequate
shelter in time, they will be forced to make Endurance
draws to stave off hypothermia and frostbite.
Once the storm passes, the characters are still not
out of the woods. Navigation draws against an
Average Difficulty are needed to get back on track
towards Katak. Healing draws may be required if
shelter wasn’t finished before the storm was well
under way.
Once the PCs reach Katak’s igloo, they will find
him to be quite different than the man described
in town. The biggest truth is that he is indeed
reclusive. He has cut himself off from the world.
Despite these truths, Katak isn’t antisocial. He
will make his home available to his guests while
offering them food, advice, and supplies. Dealing
with Katak can be handled strictly through role-
playing. No Influence draws are required as Katak
will be forthcoming with any information.
Katak will explain his story:
I was orphaned when I was six. My father died of
disease and my mother fared poorly in the elements
without him. She tried to get us to a place like Qisik,
but died along the way. A man found me, took me
in, and trained me in the ways of the Land and its
spirits. He became like a father to me, and now it
seems the roles have changed.
I know why you came here. I want to help.
Conversation with Katak will garner these results:
• He is an angakkuq.
• He is steeped in traditional Inuit customs
and follows them vigorously.
• He believes the modernistic trappings of
Qisik have angered the spirits of the Land.
• The inhabitants of Qisik are not obeying the
proper funeral rites and paying due respect
to the whales that give their lives to sustain
the town. Angered by this disrespect, an
anirniq is visiting its vengeance on Qisik.
• He has never been associated with the
snowy owl, but knows the owl is a symbol
of wisdom and a powerful spirit guide.
Snooping around Katak’s place can lead to other
revelations:
• He has a small arctic fox inside his igloo. It
has been domesticated and named Willie.
Katak explains it is his helper spirit, one of
the tuurngait.
• Katak’s ceremonial mask, the one from the
characters’ dream, can be found inside the
igloo.

The Dogs of Qisik

The PCs may decide to visit the kennels and consult with David Irniq. If they do so, there is
nothing noteworthy to discover. David can speak of the dogs’ erratic and violent behavior prior
to his taking them in but has no useful insight. The canines will be quiet and docile unless their
cages are approached. If anyone gets too close, all the dogs suddenly spring to life and begin
growling and barking ferociously.

If the player characters are getting fidgety from the lack of physical action up to this point in the
adventure, the GM can use the dogs of Qisik to liven things up. Some of the dogs in the kennels
can break free of their cages, posing a challenge/fight for the PCs. Alternately, some of the other
dogs in town, those that have yet to turn violent, can attack the characters.

If the player characters came to Qisik by dogsled, their dogs are unaffected by the anirniq’s
curse. This can reinforce the townsfolk’s belief that some disease is affecting Qisik’s dogs, since
the PC’s canines are acting normally. Of course, should the characters stay in Qisik too long
before banishing the anirniq, their dogs may very well turn on them.
68
Pulling the Rug: Katak
First and foremost, Katak is an ally.
There is no reason to craft him as
a villain. While he is interested in
helping the player characters, he is
no friend of Qisik. He feels the town
has betrayed his culture and him.
While Katak doesn’t want people
to die, he possibly would allow the
town to suffer more shortcomings,
be it a missed food/supply drop,
more damage to buildings, and so
forth. Unfortunately, as the anirniq
gets angrier, Qisik’s citizens will
seek out a scapegoat. The most
likely candidates are outsiders such
as Katak and the player characters.
Playing Katak a little “dirty” can
heighten It Started with a Dream as
it creates a subplot of saving the lost
souls of a man and a community.
The roles of angakkuit surely cover
these domains and makes for a
stronger adventure.
Environmental Woes
Almost everything is harder in the
frigid wastes of Angakkuit. Keeping
your balance on ice is difficult.
Falling down is ridiculously easy,
yet getting back up is sometimes
Herculean. Getting cold is simple.
Getting warm… not so much.
Even the basics of seeing and
breathing prove more difficult.
The game demands a nod to these
environmental factors, and they
should be omnipresent. Fighting
the qallupilluk is hard enough;
fighting it while keeping the boat
afloat and not falling into the icy
waters should make for an epic
conflict.
If Katak is asked about the late Mrs. Suluk, he will dismiss ideas that her
spirit haunts the hamlet. He suggests finding out what the anirniq wants
and appeasing its desire. He also believes the boy yet lives, but nobody
trusted him enough to let him help. Katak is certain that whatever is
responsible for the boy’s disappearance is a byproduct of the anirniq’s
curse.
Katak can help summon the anirniq. Summoning the spirit with Katak’s
assistance is a Tales and Songs draw against a Challenging Difficulty;
doing so without his aid increases the Difficulty to Daunting. The
method the anirniq communicates through should be frightening, as it
is not pleased with Qisik’s disrespect. If the PCs compound the respect
issue, they may earn its ire. The anirniq explains what offended it but
gives no clues towards appeasement. It only says:
Qisik must pay its respects.
It will not say where the boy is or his role in things. The PCs will have
to find Benjy on their own.
the shoreline
Investigating the shoreline may occur prior to meeting Katak, and the
order doesn’t affect game play. As the PCs check out the paths Benjy
walked with his mother, they can make Observation draws against
an Average Difficulty to notice something moving in the water a
few hundred feet from the coast. The characters can rent a rowboat
to investigate the disturbance. Maneuvering the boat requires an
Athletics (Water) draw against an Average Difficulty. It isn’t long before
something starts ramming the boat from beneath. It is the qallupilluk
toying with the characters in hopes of deterring them. The PCs may
wish to make attacks using their Bow or Harpoon/Spear Abilities, but
doing so is a Daunting Difficulty as the creature is deeply submerged
and agile in the water. The creature cannot be reasoned with, as it
doesn’t understand language.
When the qallupilluk is hit, it immediately flees towards its home,
where it is keeping Benjy prisoner. The players should follow and will
find a tiny island with a cave. Benjy, filthy and scared, can be glimpsed
near the cave’s mouth. Saving Benjy at this point simply boils down to
defeating the qallupilluk (see page 50 for information on the monster).
The creature will remain in the water, ramming the boat or even leaping
aboard to grab a character with the intention of dragging the victim
down into the waves. Dodging this attack is an Evasion draw against
an Average Difficulty. If the creature’s attack succeeds, the character
only has one minute to get back onto the boat before hypothermia sets
in (see Chapter Four). Even then, the character must warm up quickly
or face death.
Once the qallupilluk is defeated, Benjy can be rescued. On the ride home,
the boy will explain that he was walking the shoreline when he heard
something in the water. When he got close to the edge, the qallupilluk
snatched him and took him to the cave. He says the creature fed him fish
and held him close at nights to fight the cold. He says it seemed lonely.
 69

conclusion father serves as the adventure’s conclusion. This

should be a joyous occasion as father and son are
There are two potential conclusions to the reunited.
adventure, depending on the order of the characters’
investigation. The adventure can conclude with
appeasing the anirniq. There is no right or wrong experience
way to do so, as long as the key components
of respect and remembrance are utilized. Any It Started with a Dream has a moderate degree of
reasonable solution the players come up with investigation, so each character earns 2 XP for
should be permitted. This allows the players to finishing the adventure. Defeating the qallupilluk
have a greater role in the adventure rather than be earns each character 1 XP and banishing the anirniq
railroaded to a predetermined conclusion. Some yields 1 XP. The character talented or lucky enough
general possibilities are: to land the final blow that kills the qallupilluk earns
1 additional XP.
• Violent characters may opt to turn the three
whalers over to the anirniq.
• The characters can convince the mayor and
other leading townsfolk to rename Qisik in
honor of the whale. Convincing the town
to do so is a Daunting Difficulty.
• Holding a festival in remembrance of the
whale’s contribution to Qisik. Convincing
the townsfolk to do so is a Challenging
Difficulty, but lowers to Average after
Benjy is rescued since the characters will
be viewed as heroes.

If the anirniq is banished prior to Benjy’s rescue,

defeating the qallupilluk and returning Benjy to his
70

appendix
Inuit folktales speak of angakkuit able to perform
impossible feats. The most learned could fly, control
the weather, and assume the shape of animals.
While these fantastic talents are left absent from
the main text of Angakkuit, this appendix provides
rules for their inclusion. Introducing these powers
can alter the feel of the game, so each Game Master
is encouraged to permit or disallow them as he or
she sees fit.
atiq
As angakkuit grow in prowess, they are able to
borrow power from the spirits of the Land. These
gifts are called Atiq and are costly to employ.
Utilizing Atiq requires expenditure of both Favor
and Experience Points (XP). There are also two
prerequisites to accessing these powers:
• A character’s Wisdom rank must be 5.
• Tales and Songs must be a primary Ability.
Wisdom is always the governing Attribute for
Atiq and Tales and Songs is always the relevant
Ability; XP and Favor costs vary as do Difficulty
levels. Calling upon a spirit’s power involves a
ritual that typically lasts an hour or two. However,
Atiq can be called on immediately, albeit at one
Difficulty level higher than normal. When calling
upon the spirits of the Land, failure is always a
possibility. The spirits are fickle and do not always
grant power to an angakkuq. When drawing cards
to access Atiq, a failure still costs the appropriate
amount of Favor; Experience Points are only spent
if the action is successful. For Atiq, there are no
successive attempts. If a character’s draw fails, the
action may not be attempted again. However, other
spirits may still be called upon.
sample atiq
The knowledge of Atiq has been passed down from
generation to generation. This means there is a
common body of lore among angakkuit, a collection
of often-accessed gifts. However, the Game Master
is free to invent his own Atiq or allow creative
players to do so.
XP and Favor costs are listed for each Atiq, as well
as the effects and Difficulties. A spirit’s boon lasts
for an entire scene. As previously mentioned, Favor
is spent whether the action succeeds or fails while
Experience Points are only spent for a successful
draw. Normal rules for spending Favor still apply,
but Aces present no complications. Calling upon
the spirits is a request and not a demand. Therefore,
there is no backlash from a spirit should the action
fail. Invoking Atiq is not the same as fighting spirits
(see Chapter Five).
Some Atiq grant fantastic powers such as flight,
resistance to the cold, the ability to breath
underwater, etc. However, many Atiq merely boost
a character’s characteristics. For these boons, a
character’s Attribute rank increases by one rank and
one of the character’s Abilities is boosted to primary
status. Both of these advantages last for an entire
scene.
Animal spirits are called upon most often, though
other aspects of the Land grant power as well. It is
possible to call upon the power of various spirits
at the same time, but it is an extremely draining
gamble.
Arctic Char: This fish allows a character to ignore
the effects of hypothermia, breath underwater and
grants Athletics (Water) as a primary Ability for

Calling Upon Spirits in Advance

During a ritual, when a character calls upon a spirit, the boons do not occur at that precise
moment, unless that is the character’s desire. Instead, the character is asking for assistance for
a future scene. For example, if a character is preparing to descend into an abandoned mine to
confront a monster, the ritual is performed in advance of the confrontation. The character asks
for assistance and, if successful, the boon kicks in when the fight begins.
 71

swimming. The cost for this boon is 2 Favor and 2
XP. The Difficulty to access this Atiq is Challenging.
Arctic Fox: The fox simultaneously grants an
extra rank of Quickness while temporarily making
Evasion a primary Ability. The cost for this boon is
2 Favor and 1 XP. The Difficulty to access this Atiq is
Average.
Difficulty to access this Atiq is Challenging.
Sun: Earning the aid of Sun can cause temporary
snow blindness in an opponent. The enemy’s Attack
and Defense Difficulties are decreased by one level
each, though they cannot drop below Average. The
cost for this boon is 3 Favor and 4 XP. The Difficulty
to access this Atiq is Challenging.

Arctic Wolf: This predator grants an extra rank
of Awareness while temporarily making Tracking a
primary Ability. The cost for this boon is 2 Favor and
1 XP. The Difficulty to access this Atiq is Average.
Beluga: Calling upon this underwater spirit allows
a character to ignore the effects of hypothermia
while granting Athletics (Water) as a primary Ability
for swimming. The cost for this boon is 2 Favor and 1
XP. The Difficulty to access this Atiq is Challenging.
Bowhead Whale: This whale’s bony skull can
make for a surprising fight. It grants an extra rank
of Strength while temporarily making Punch/Kick a
primary Ability. However, the characters must head
butt her opponent for the Punch/Kick advantage. The
cost for this boon is 1 Favor and 1 XP. The Difficulty
to access this Atiq is Average.
Walrus: The walrus’s thick skin provides extra
protection from attacks during a fight scene.
Successful Endurance draws allow a character to
absorb all damage instead of just half the damage
for an attack. The cost for this boon is 3 Favor and 3
XP. The Difficulty to access this Atiq is Challenging.
Wind: The character calls upon the Land to
summon or dispel a windstorm. The cost for this
boon is 2 Favor and 2 XP. Regular windstorms carry
an Average Difficulty while fierce windstorms are
Challenging.

Polar Bear: This recognizable staple of the Arctic

grants an extra rank of Strength while temporarily
making Athletics (Water) a primary Ability. The cost
for this boon is 2 Favor and 1 XP. The Difficulty to
access this Atiq is Average.

Seal: The seal grants immunity from hypothermia

and frostbite. The cost for this boon is 2 Favor and 1
XP. The Difficulty to access this Atiq is Average.

Skin of the Beast: An angakkuq can assume the

form of any animal. While in animal form, the
character has all the natural traits of the animal
while maintaining her intellect. Clothing and
gear must be stashed or otherwise handled prior
to the transformation. The cost for this boon is 4
Favor and 5 XP. The Difficulty to access this Atiq is
Challenging.

Snow: The character calls upon the Land to

summon or dispel a snowstorm. The cost for this
boon is 3 Favor and 2 XP. Regular storms carry an
Average Difficulty while blizzards carry a Challenging
Difficulty.

Snowy Owl: This owl grants flight to an angakkuq.

The cost for this boon is 2 Favor and 3 XP. The