Software required:
Campaign Cartographer 3 Plus (CC3+) with the City Designer 3 (CD3) add-on
A bitmap editor (The GIMP v 2.10 is used in this tutorial, but any editor will suffice)

You can download a zip folder of the three files that comprise the template for this tutorial called
“House Builder (basic)” used in this tutorial from here.

Download part 1 of “Making New Houses in CC3+” in pdf-format.

How CD3 house symbols work

Whenever we paste a house symbol into a map what we are actually pasting is a very flat image that probably looks a lot like this one.

CD3 symbols do not have roof shading. There are no ‘dark sides’ or ‘light sides’ in these flat-packed roof images, yet they appear on the map fully shaded the instant the symbol is pasted in the CC3 environment. So how is this happening?

CC3+ obtains information about the pitch and facing direction for each part of the roof by reading the colour coded message in a second file stored in the same location as the image, but which is never shown in the CC3+ environment. This second file has the same name as the image file, but with a “_map” suffix.

We need to make both types of file for our new house symbol, so to distinguish between them I will call them the image file and the map file respectively.

And here (below) is the symbol House 01 arranged in CC3 to show how the shading changes with the rotation of the building – all calculated by CC3 using the information contained in the map file, and adjusted to take account of the global sun setting and the rotation of the symbol.

Continue reading »

Usually we make a map in CC3+, and when done, we export it to an image or print it, turning it into a static thing. This is required when we wish to use the map outside of CC3+, but it also takes away many fun things we can do with the map.
CC3+ does allow us to make really dynamic maps however, maps that change based on triggers in the map. I’ve already talked about a simple version of this in the article on Showing and Hiding Map Features, but let us take this much further and make a map with a large selection of interactive elements.

Now, before reading any further, I strongly suggest that you download the example map and give it a good try before reading further (requires DD3). Another much simpler example shows moving lights (Works without DD3).

Continue reading »

The Town of Corvallen has gone through a number of iterations in its role as a model for the “Isometric Town” style of the February Annual issue.

In addition to seeing the final version in the now-available Annual, you can now read up on Sue Daniel’s method of constructing the map, as well as all the small adjustments she did to make the map the work of art it is.

Check out the article “The Making of Corvallen” in pdf format.

Part III: The Warlock’s Castle and the Crater of Ghorm

Before I come to the next two symbols I need to explain a bit about the background story of RdW, especially about why its name is ‘Call of the Warlock’:

In the beginning of the world of Tanaris the eight gods didn’t interfere into the things of the humans, elves etc., but one day the god Thongmor started playing around in the world and the other gods had to react. As they didn’t want to counter Thongmor’s action personally, they created the Warlock. This is a person with godlike abilities, immortal and invulnerable, his task was to fight against Thongmor. Over the years, with changing Warlocks and with the beginning of the war of the gods, the initial task of the Warlock was forgotten and now he is an independent entity.

But as the gods didn’t want to create another god, they gave him one ‘weakness’. They created the Swordmasters, a group of people with outstanding abilities in swordfighting, who always know where the Warlock is, they always hear the ‘call of the Warlock’. If one of them fights the Warlock and defeats him in a duel (this is the only situation where a warlock can die), the winning Swordmaster will become the next Warlock.

The Swordmaster is a Player Class, which means a player can become Warlock. Unfortunately the requirements for playing a Swordmaster are so hard (while creating a character you have to role dice epic…), no one in my group ever played one.

The home of the Warlock is the castle ‘Sign of the times’, which is settled on a mountain range overarching the ‘black lake of buried hopes’ (in the night you can hear the screams of the dead souls of all the Swordmasters who lost their fight against the Warlock). The feature with this castle, mountains and lakes is, that the warlock can teleport this ensemble anywhere he likes. When the map is done, I will see where exactly I will place it:
Continue reading »

We’re continuing Jay Johnson’s City Mapping article with the third and final part.

Adding Details

Little details add a great deal to a map. Look at these two images. The first is with trees and pathways in the courtyards. The second is without them. How much difference do these details make in your opinion? In my opinion, they make a big difference.

Shadows

Another detail you can work on is your shadows. I adjusted the shadow settings on my buildings so they intrude more into the streets. The places where the streets are covered in shadow creates a sense of danger and mystery, don’t you think.

The City’s History

Think about your city’s history and include details that suggest a city that has evolved. Your city should have a nucleus (the original settlement) from which it expanded. Consider how this expansion took place and the different phases through which it occurred. Think about how your city has grown. If there were old walls, roads that ran beside them most likely now mark where they once were. Maybe sections of these walls still stand or roads pass beneath old gates that are located far from what is now the city’s perimeter. What other changes may have occurred as your city grew?

Some More Advanced Techniques

Let’s take a minute to talk about some more advanced techniques I have used. Some that require using other programs in conjunction with CC3+ and its add-ons. Continue reading »

Did you know that CC3+ (including all addons) contains over 1000 commands in total? And that new ones gets added with just about every update?

Today, we’ll have a quick look at two of the somewhat more recent commands; Select nearby symbols and Delete nearby symbols. Both these commands are intended to help you manipulate symbols that are near another entity. This can for example help you clean up symbols that are too near a river, or help you select all the houses along your main street, for example so you can change their varicolor.

Below is an example of a forest with a river running through it. On the left image, the trees are obstructing the river, while on the left one, Delete nearby symbols have been run to automatically delete the trees near the river.

Continue reading »

In CC3+, drawing tools are great timesavers. The basic functionality of a drawing tool is that it works as a preset that contains all the various settings required, such as line style, fill style, line width, color, sheet and layer so that when you draw using a drawing tool you don’t have to go around setting all of these manually like we did in the good old days. Drawing tools also have some built-in nice features like being able to draw two separate entities at once, being able to stay within the map border, and the option to easily edit an existing shape.

However, there is another very important feature that exists for drawing tools, and that is to attach macros to them. A drawing tool can contain an embedded macro which follow the tool and isn’t dependent on your main CC3+ macro file and can contain macros that work in tandem with what you draw using the tool, or even functionality that isn’t connected to drawing at all. Today, we’ll look at how to create these tools and have a brief look at how they can make things easier for us.

Drawing with Macros

If you have been making overland maps, you’ll probably familiar with the forest drawing tools. If you pay attention when you use them, you’ll note that they ask you to draw a smooth shape, and then fills this shape with trees after you are done drawing it. This is a macro drawing tool at work. What happens is that the tool itself is only set up to draw that forest background, but it also contain a macro that gets called when you are done drawing that calls the Fill With Symbols command to fill the area you just drew with trees. Let us make a similar macro that uses the Symbols in Area command instead. I won’t go into detail about Symbols in Area here, since this is about making a macro tool that uses the command, rather than explain the command itself, but if you need a refresher for the command, you can look at this article.

Continue reading »

Part II: Symbols for special places

“Over the day-smitten towers and walls of Shudm (uglier by day, all its black filth and spiritual garbage too openly displayed), the air began to sing and to ripple, and then grow oppressively silent and motionless. And then the air hardened, like cooling lava. And like lava, the air darkened, until it let in the fierce glare of the sun, but nothing else. Nothing – no lesser light, no noise, no breath of wind or vapor, neither dust nor rain – no wisp of anything. Even the vagrant corpse-eater birds could no longer get in, or out. Like a tomb. Above and also beneath. Inside – not simply a dome but an egg of leaden crystal, there was Shudm now, and the afternoon went by, and sunset, which was true dawn to the ghouls, and night, and midnight. And in the first overcast minutes of the new morning, there was not one sensible thing in the city that did not know it had been trapped.”
Tanith Lee, Delirium’s Mistress

And so, the last days of the ghouls of Shudm began – trapped by this spell of Sovaz, the daughter of Ashrarn, Lord of the Night. In Tanith Lee’s novel these ghouls were an amalgam of ghouls and classical vampires, dependent on eating flesh and drinking blood but not harmed by sunlight. As they became trapped, they had only each other left as food and after the last had eaten himself, their fate was sealed. Sovaz had chosen her very special way of revenge for what they did to her before… Maybe it was inspired by this story of Tanith Lee, that in one of the sourcebooks of RdW the players started their adventure, waking up trapped under an invisible force dome in the house of a mighty vampire.

This chapter of my map-making article will be about making symbols for special places of the campaign. For those who read the WIP thread in the forum, this chapter may contain redundancies, but nevertheless for my understanding of fantasy maps it is maybe the most important chapter.
I like it a lot when a map for an RPG campaign contains parts of the narrative of the world. That means that I like to build dedicated symbols, or scenarios on the map which tell stories, giving more information than just the landscape.

In this chapter I show several symbols I’ve made for the map, along with the explanation of how I made the symbol with the background as written in the original RdW sourcebooks.

Let’s start with the symbol for the magic force dome I mentioned above, protecting a powerful vampire who is looking for fresh blood and trapped a group of players in his home:

Continue reading »

We continue Jay Johnson’t city mapping article with part 2. Go here for part 1.

Building Construction Techniques

I think we are at the point where I should talk about some of my building construction methods. Here are some techniques for making complex structures utilizing the HBT.

Splicing

The first building we will construct is what I will call the Building with Enclosed Courtyard. The technique I used for this can be used to construct all kinds of variations and is also what I used to construct the city walls around Melekhir. We will refer to this technique as splicing.

First choose the building style you want in the HBT. Ensure the House shape is set to option nine which is the trapezoid shape and the Roof type to option one which is gable.

Continue reading »

Part I: Foundations of the map

‘Between the time when the oceans drank Atlantis, and the rise of the sons of Aryas, there as an age undreamed of. And unto this, Conan, destined to wear the jeweled crown of Aquilonia upon a troubled brow. It is I, his chronicler, who alone can tell thee of his saga. Let me tell you of the days of high adventure!’
Robert E. Howard, “Conan the Barbarian”

It was back in the 90’s: We were young, we played RPGs and we listened all evening to one album – the Soundtrack of ‘Conan, the Barbarian’. We played Das Schwarze Auge (The Dark Eye) and Ruf des Warlock (Call of the Warlock – RdW).

RdW was released in 1991 and is heavily influenced by the novels of Tanith Lee, especially by the Tales of the Flat Earth series. You can breathe the spirit of the 80’s and their special way of high fantasy, which was a ‘fantastic’ fantasy and not a ‘realistic’ fantasy, like a lot of contemporary fantasy literature tends to be, with a focus on character development instead of creating fantastic places and persons.
While Das Schwarze Auge became the big German rpg success, RdW is a niche game. As far as I know there are only a few people left playing RdW and sooner or later it will probably be forgotten. Maybe with my maps I play the role of a bard, singing the tales of a lost world. If it is so, I do my best that this song will be dignified. For this sake it is on me to be the chronicler and so I want to invite you to follow me and to let me tell you of the days of high adventure.

The map I make is a regional map of the northwestern part of the world of Tanaris, the world of RdW. When I make a new map, I usually start in the Jon Roberts Overland style, as it is my favorite one. But from the start I use the immense freedom CC3+ gives its users.

For some time I wanted to try the mountains by TJ Vandel (Annual issues 81, 84, 106, 107, 119 & 120), so I added these catalogs to the mountain symbols button to make the mapping process easier.
The next step is to choose a background. I delete the default frame and choose a parchment background. My resulting starting point is this:

It is always a great moment to see the blank parchment in front of me: The world is empty, the story unwritten, and it is on me to create. So let’s go! Continue reading »