The Art of World-building author and blogger Randy Ellefson was so kind to write the following guest article for the rpgmaps blog. Enjoy!

Intro

When drawing maps of continents, being realistic is a good idea even when inventing for a fantasy or SF landscape. We’re not freed from plausibility unless we’re purposely throwing out the laws of physics and nature. Most of us are probably creating reasonably Earth-like terrain, but even if not, there are natural forces at work on most planets.

The following tips can not only prevent mistakes but give world builders ideas. Sometimes we’re not sure where to put a forest or desert, or why. Maybe we’re not sure where to even begin. The answer is mountain ranges and a decision on which hemisphere our continent is on. This will determine prevailing winds and, as a result, vegetation. If you don’t understand why, read on.

Mountains and Rain Shadows

Mountains cause moisture-carrying winds to rise. The clouds dump all the rain on one side of the mountain range, causing plants and trees. On the mountain range’s other side, there’s no water left to fall. This causes a “rain shadow,” an area that receives little to no rainfall. Deserts are the usual result.

The below image of the western coast of the United States shows the sudden onset of desert on the eastern side of the Cascade Mountains, which are also causing the forests to their west. Not only is this not peculiar, but it’s a common and expected result that plays out across the Earth. Not knowing this, we might try to justify such a thing by saying a supernatural or technological event caused it when nature will do it.

A rain shadow can cover a huge area, such as the Great Plains of the United States. This isn’t a desert, but grasslands, but the same effect is responsible. The Rocky Mountains have taken much of the moisture out of the air, just not all of it. Some moisture is also coming up from the Gulf of Mexico to the south, so there’s enough rain to cause grass, just not lush vegetation. Generally, desert-like conditions occur closest to the mountains. As we progress farther from them, desert may give way to grasslands and finally forests.

How do we know which side has the desert or forest? We need to know about prevailing winds to answer that.

Prevailing Winds

On a world that is spinning on its axis, like Earth, there will be winds. Which direction these winds flow depends on latitude (distance from the equator) and which way the planet is rotating. Earth rotates counterclockwise and in this article we’ll assume your world does, too; if not, then reverse every mention of direction made below.

On Earth, the rotation causes winds from the equator (0°) to the tropics (up to 40°) to travel east; on the map below, yellow and brown arrows indicate this. In the temperate zones (40°—66°), winds travel west, as indicated by the blue arrows on the map. In the polar zones, winds are again eastward but are light. On the first map above, this explains why the forest is on the westward side of the mountains: the wind is westerly.

No Deserts near the Equator

The world’s deserts aren’t within 30° of the equator due to an atmospheric phenomenon called Hadley cells (there is one in each hemisphere). This weather pattern means most deserts, especially the large ones like the Sahara, start around 30°.

It also means there’s heavy precipitation from 0°—30° and this is too much rain for deserts to form. There’s one exception to this, at least on Earth: Somalia is located at the equator and is mostly arid. The reason? The elevation is between 5-15,000 feet. This changes what would be a tropical climate into a temperate one, and that’s exactly where rain shadows cause deserts. In this case, the Himalayan Mountains are the likely culprit despite how far away they are.

Putting it Together

How can we use this information? We can follow these steps when planning and creating a continent map:
1. Determine which hemisphere our continent is in, and how far from the equator (or even whether it spans it)
2. Decide which parts of the land mass are in each latitude/climate zone, noting the prevailing wind direction:
a. Between 0°—40°, winds are easterly
b. Between 40°—66°, winds are westerly
3. Add mountain ranges where desired
4. Plan where your deserts and forests are:
a. Between 0°—30°, no deserts except in highlands
b. Between 30°—40° forests to the east of mountains, deserts to the west
c. Between 40°—66°, forests to the west of mountains, deserts to the east
Remember that a desert may give way to grasslands and then forests, farther from the mountains that cause a rain shadow. This can give us a line, from left-to-right (or right-to-left) of forest, mountains, desert, grassland, forest. This depends on mountains running north-to-south, as this is perpendicular to the wind direction and therefore blocks the winds. An east-to-west range may cause this but on a smaller scale.

Also, note that winds are westerly or easterly but not perfectly so. They move slightly toward or away from the equator, as the above image illustrates. We don’t need to be super picky about this, however, partly because the vast majority of people have no idea about any of this. We always have the caveat that no one from our imaginary world is going to show up on Earth and announce to our horror (and the delight of our critics) that there is, in fact, no desert or forest at a specific location despite what our map says.

We may not know where 40° latitude is on our maps, but as long as we’re in the ballpark, we’re okay. The goal is to be plausible, not necessarily right.

Hopefully all of this informs and inspires your work, rather than inhibits you. If you’d like to learn more such details, they can be found in my book, Creating Places (The Art of World Building, #2).

A Quiz

Based on the image below (from my world Llurien), see if you can answer these questions (answers at the article’s end):

Question #1: based on where mountains, forests, and deserts are, which direction are the prevailing winds?
Question #2: how far from the equator is this region?
Question #3: which hemisphere is it? (hint: look at the vegetation icons)
Question #4: If you know the answer to the first three questions, what explains the existence of the deserts on the bottom area of the map?

About the Author

Randy Ellefson has written fantasy fiction since his teens and is an avid world builder, having spent three decades creating Llurien, which has its own website at http://www.llurien.com, where dozens of maps, all made with Campaign Cartographer 3+, can be viewed. He has a Bachelor’s of Music in classical guitar but has always been more of a rocker, having released several albums and earned endorsements from music companies. He’s a professional software developer and runs a consulting firm in the Washington D.C. suburbs. He loves spending time with his son and daughter when not writing, making music, or playing golf.

He’s the author of The Art of World Building book series, podcast, and blog. More details can be found at http://www.artofworldbuilding.com. This article is drawn from information found in Creating Places (The Art of World Building, #2).

Quotes about The Art of World Building Series

NY Bestselling author Piers Anthony: “It is exhaustive, well written, and knowledgeable…I, as a successful science fiction and fantasy writer, have generated many worlds, so this material is familiar, but it would have been easier and probably better had I had a reference like this. It is realistic, recognizing that the average writer may not have the patience to work out all the details before getting into the action…”

Ed Greenwood, inventor of The Forgotten Realms: “With CREATING PLACES, Randy Ellefson has penned a sequel to his CREATING LIFE that walks story creators through worldbuilding along an entertaining road that runs everywhere, making sure nothing is missed. Plentiful examples are provided, and a veteran worldbuilder can find just as much fun and comprehensive reminders in these pages as a novice. Some books are nice to have, and a rare few are “must haves.” Like Ellefson’s preceding book, CREATING PLACES is one of that rare breed: an essential reference work. Unlike most references, this one is fun to read. Not to mention a goad and spark for the imagination!”

Quiz Answers

#1: east
#2: not very because easterly winds are nearer the equator
#3: this image is in the northern hemisphere. If we can see the tree icons (they’re a little small here), rainforest icons are used on the southern half, implying the equator is to the south (it’s just off the bottom edge of the map).
#4: since this is near the equator, there can’t be deserts, except that those areas of the map are above 5,000 feet (called the Marulan Highlands)) and are therefore a temperate climate. This lets the mountains on the right cause a rain shadow.

For a while now Remy has been quietly running a very interesting column over on the Profantasy forum: his “Command of the Week” series. Once a week he takes a look at a CC3+ command, explaining its use and highlighting its special utility. In his own words:

“CC3+ contains a huge amount of various commands and features. In this series, I plan to highlight some of these. There won’t be any special progression to this series, and the command will be selected from the entire range, from the simple basic commands, to more advanced features intended for the more advanced users. Feel free to use this topic to discuss the command presented. If you have a command you wish to have showcased, feel free to request it, and it may get presented.
This series is called the command of the week, but it could also explain a feature or effect. The explanations will tend to explain the technical parts of the command, and is intended to highlight the basics (and complexities) of the command, but won’t be a detailed tutorial on how to use it. It is up to you to use it creatively in your maps.”

Often I find myself nodding as Remy explains a command I use all the time, at other times I am surprised as he digs up a command I had almost forgotten about. Sometimes they are useful for beginners, at other times you’d need to be a little more advanced user to get the most use out of it. But Remy’s comments are always very interesting and useful, and by now he has accumulated 30 commands of the week.

So if you are interested in finding out more about CC3+’s many useful command and tools, head over to the latest command of the week “Sort Symbols in Map“, which also contains an index of all commands covered so far.

After a full three months of travel, I’m back home in good old Germany and settled back into my own place.

For fun, I’ve created two little maps showing my itinerary with Pär Lindström’s excellent “Modern Journeys” style, published in the Cartographer’s Annual Vol 8 (2014), garnished with my own photos from the trip. This style is just brilliant to show overviews of travel itineraries.

The first part of the journey brought me to Australia, where I mainly traveled around the southeast and Tasmania. In Sydney I had the great pleasure to finally meet Joe Sweeney in person, the guy who creates all these lovely video tutorials for our software. One of the absolute highlights was hiking (or bushwalking as they say there) the Overland Track in Tasmania, one of the most beautiful multi-day hikes in the world. At the end of my stay I took a trip over to the other side of the country, staying a few days in Perth with Lindsay, our editor for all the mapping guides in the Annuals, and her husband. Again it was wonderful to meet people in person you only know via the Internet. Thanks for all the hospitality!

Cartography-wise I found this map of language families in Australia especially interesting, because it dispelled a lot of preconceptions of a monolithic aboriginal culture for me, which we tend to encounter in fiction and documentaries a lot.

Originally my plans were to travel to New Zealand only, but I am now very glad that I decided to include five weeks in Australia. While I saw only a little section of this vast country, both landscape and people were absolutely amazing and I wouldn’t want to miss a single day of my visit. Having only seen the southeast, Tasmania and Perth I now have more than enough reason to return and explore the rest of the continent.

New Zealand! It’s the dream destination of so many Germans – me included. Of course it is a very beautiful country, but our fascination with it seems to go beyond that. The popularity of the Lord of the Rings movies only added to an existing love for New Zealand – perhaps because it is pretty much the farthest away you can get from our home country on this blue planet. “Wanderlust” is a German word after all, and we have another one that described the longing to travel even better: “Fernweh”.

I did not really plan my itinerary to visit any filming locations of Peter Jackson’s movies, but there are so many of them on the islands that you often only need to take a little step off the path to see one. I’ve written a little piece about traveling through Middle-earth in another place. It’s in German, but if you read that language or want to brave a Google translation check the links.

I traveled the length of the country, from busy Auckland in the north down to remote Stewart Island south of the South Island. Some of the top highlights were walking the Tongariro Alpine Crossing, swimming in the crystal blue waters of Able Tasman Bay, looking out across Lake Wanaka from Roys Peak, and reaching my southernmost point ever on Ulva Island.

Map-wise I was especially fascinated with the many navigational charts I encountered and I’m planning to create a Cartographer’s Annual issue around these.

As long as my trip may have been, it was still over much too soon. It was the weirdest feeling coming back: It felt like everything should have changed a lot after being away for such a long time, but in reality nothing much did. Everything was still the familiar old – which is a good thing. Did I take away something beyond a wonderful set of memories from this journey? Yes, I guess it would be: Do It! If you get the opportunity for a time-out away from everything, be it a month, three of them, or a year, grab it by the throat! You’ll never know when the opportunity presents itself again.

Just make sure you have a good map for your journey!

This is a bit of a personal announcement by me (Ralf), meant to clear up any confusion that may arise in the coming weeks: I’m taking some time off to travel and realize my life-long dream to see Australia and New Zealand. I’ll be away for three months (from November to end of January) and my duties at ProFantasy will be taken over by Simon, Mark and – welcome to the club – Jeff Salus (Dogtag on the forum). You are in good hands!

The Cartographer’s Annual will be appearing as normal; everything is prepared for the time that I am away and should be running smoothly. In fact, you can preview the November and the December issues now, as well as the 2017 Annual. Jeff will be handling tech support and the community forum is always there with many helpful voices.

I am very much looking for my first time in the southern hemisphere and hope to bring back many inspirations for future maps. See you in February next year!

October is the month of colorful trees, cold nights, autumn holidays… and SPIEL. The world’s largest consumer fair for boardgames takes place in Essen, Germany (in fact many visitors just call it “Essen” instead of “Spiel”). I’ve been manning the ProFantasy booth there since 2002, and it’s always a great opportunity to see old friends and many new games – though I rarely get to play any of the games.

Setup at SPIEL is usually quick, but there tend to be “surprises”. This year the convention center introduced a a new parking ticket system. It had a great advantage for setup, as we were able to get much closer to the booth with the car, but it would prove chaotic on the visitor days. Exhibitor parking got swamped and you had to be there very early to get into the garage under the center.

“We” is usually me and Gordon, a stalwart friend and old-time CC3 user who always helps me with setting up and running the booth. His lovely wife and daughter use it as a base to tour the show – for the whole four days! It is so amazing to see what energy a six-year old can muster when she is surrounded by the wonders of the show. This year she didn’t even take a nap below the tables.

SPIEL is different from GenCon in that is more about shopping and less about actually playing. Basically it’s one gigantic exhibitor’s hall without the events, seminars and gaming halls surrounding it. It’s also not so much about role- but about board-gaming, which is huge in Germany. Still we have a nice little corner of the even stocked with German and other (mostly British) rpg publishers.

But the amount of visitors that shuffle through the halls on the weekend is staggering. In the bigger halls it can be really tough to get from one place to the next. Compared to that it was positively peaceful on our booth on Saturday – a bit surprising because it also tends to be busier for us. I am not sure why that this year – all days were pretty much as expected except for the Saturday. I wish I had a way to view measure the visitor paths through the halls – perhaps the “currents” got diverted from our place this year.

But enough old and new customers showed up for us to have good business and great fun! I demoed CC3+ a lot, and especially the city and dungeon features caused many astonished and delighted comments. One very interesting development started last year: Chris, a lecturer from Brunel University (London), picked up CC3+ at SPIEL and introduced it to his Games Design class. It looks like that was very successful, meaning the university will pick up more software licenses – and I might get to give an introduction to CC3+ to the students myself. I’m excited and a bit scared, but very much looking forward to that.

Concerning my own gaming, I was positively frugal in my own shopping, but I did have a big piece to carry home: I picked up Perdition’s Mouth by Dragon Dawn Productions as payment for a little map I created for Timo Multamäki and his crew. I haven’t played it yet, but it does seem intriguingly different from your usual crop of dungeon crawlers.

And then the four days were over again. The halls close at 6pm on Sunday and our booth was all packed up 10 minutes past that – the advantage of easy-to-carry software over heavy books and huge boardgames. Luckily there are no flight that I can miss or be delayed on the way back from SPIEL, only a 1.5 hour Autobahn drive.

[Photo by Karl-Georg Müller (schlenderer.de)]

This is a bit of a personal look at this year’s travel to Indianapolis and my experience on the ProFantasy booth at GenCon. Read on if you enjoy this sort of thing.

I enjoy traveling very much, but a transatlantic flight is still a tiring thing. It takes me about 2 hours to get to Frankfurt airport from where I live, so it always means an early morning start for me. There are no direct flights to Indianapolis from Europe, so the first leg of the journey usually takes me to New York, Detroit or Chicago. Then there’s immigration, another security check and the domestic flight to Indy. All of this easily eats up 20 hours or more. As I can’t sleep on the plane, you can imagine the general state I’m in when I arrive in Indy on Tuesday evening. I have to to say though, that recent changes in the way the US handles the immigration/security checks has reduced waiting times immensely. Where I used to stand 30 minutes to 2 hours in line, I can now just walk up to an immigration terminal and get through the whole thing in 10 minutes. Great!

Wednesday is set aside for booth setup. I meet up with Doug and Tommy, who’ve driven over from Columbus the day before, and we usually start building the booth around 10am – if the booth material has arrived yet, as it had this year. Having done this for a few years, we are a practiced team and get it done pretty quickly. As we are sharing the booth with Pelgrane Press and they have a lot more to do with all the heavy books to shift, we usually manage to help them out a bit. Often there’s a problem to sort out: Electricity hasn’t been laid, tables are missing, we need more chairs, etc. which means a trip to convention services or asking around at other exhibitors. This year was fairly easy on that, but Mayfair Games were very helpful in storing some palettes we didn’t have space for. Doug is the champion in getting help – he just has a way with people.

Wednesday evening there’s usually a little time available where I can get in a game or two. Tommy usually brings along some good games, and this year we managed to try a session of Star Wars: Armada which neither of us has had a chance to play before. My Imperial fleet managed to decimate his rebel scum – taking on Star Destroyers in close combat is not such a promising tactic after all. Yay!

Gaming takes my mind away from the jet lag exhaustion at this point, helping to get into the 6-hours-delayed day and night rhythm. If I’d retire to the hotel room, I’d just fall asleep and later be awake most of the night. Still I start waking up at 4am and then sleep only in small bursts until it’s get time get up. By the time I’m acclimatized, it usually time to fly back home to Germany.

Thursday is the big day – the actual convention starts. It’s early hours for us, since the first customers can enter the exhibitor’s hall at 9am (VIGs – very important customers – spend extra on their tickets for this privilege). Since there is usually some last minute setup to do, things to check, and the computer to boot up, I’m in the hall at 8am, the earliest time you can enter as exhibitor.

The real rush begins when the hall opens to the general public and it’s always fun to see the crowd hurrying towards the booth with limited product or special offers. Fortunately they’ve now managed to convince everyone that running though the aisles is NOT a good idea – even if it had to be through threats of removing ticket privileges. More customers start arriving at our booth around that time, and I get into my routine of explaining (“What are you selling here?”) and/or demoing CC3+ (“Can you show me how it works?”) or the add-ons (“How do I create a starship deckplan”)?

We had the the just released Perspectives 3 installed, but unfortunately no discs or boxes yet. That always makes it a bit hard to generate interest, but I was able to demo the isometric map-making to quite a few people and they liked what they saw! It’s great to see familiar faces and get wonderful feedback from old-time customers, but the largest part of the booth work is getting new people interested in CC3+ – and that is very rewarding. We’ve added at least 60 new people to the fold of CC3+ users over the course of the show, and I am sure several of those will show up on the forum with their work or come back to the booth next year to chat about their experience.

Thursday afternoon and Friday tend to be quieter which gives us the chance to take turns to wander the halls and look around. There’s never enough time to play an actual demo game at one of the many tables, but at least you get to check out new releases, special offers and old friends at other booths.

Thursday night is usually reserved for the ProFantasy dinner where we enjoy a good meal together with some freelance cartographers. Unfortunately Alyssa Faden couldn’t make it to GenCon this year, but Mike Schley was there. I can’t say much about it yet, but I’m happy to hint, that there’ll be some cool stuff coming up from further Schley/Profantasy cooperation.

Friday is gala night where the ENnie awards are given out in a big ceremony. ProFantasy wasn’t involved, but Pelgrane Press always is and won an amazing number of ENnies this year. Congratulations to our booth compatriots!

Saturday is always the busiest day of the show and we do the bulk of our sales. Fortunately it doesn’t get rowdy, but some customers do seem to go to extremes. Thanks, Batman!

Saturday evening I reserved for gaming with friends and we got a nice playtest session in for an upcoming Tolkien-themed deduction game from Ares Games, where the Nazgûl are hunting for the hobbits on their way from Bag End to Rivendell. I got to play Frodo, but the pesky ringwraiths managed to thwart me and recovered the One Ring on the road east of Bree. So much for Middle-earth!

Things start to slowly wind down on Sunday, with the exhibitor’s hall closing at 4pm. Dismantling the booth and storing everything for shipping went well this year (it can be a pain) and we waved Tommy and Doug goodbye as they headed home. For us long-distance-flyers the trip home is on Monday, giving us time to gather for the big Pelgrane dinner and some drinks in the hotel bar later. Another GenCon well done!

Somehow the trips back to Germany always prove troublesome for me. This year I ran smack into the big Delta Airlines mess up. I missed the connecting flight from Detroit to Frankfurt and had to spent the night and most of the next day in Detroit. At least on the way back it’s not so stressful, as I wisely never place any important appointments on the two days after my return from Indianapolis.

Again it was a wonderful 4-days of gaming (well, mostly work actually, but still) and I’m looking forward to being back in Indianapolis next year!

If you’ve used CC3+ on a very high resolution monitor or laptop (e.g. a Surface Pro), you will have come across the problem that the toolbar buttons and other interface parts get very, very small. This is because these parts do not scale with Windows settings and therefore remain at their fixed pixel size.

Update 7 (version 3.73) includes new high resolution icons and screen elements, and also scales toolbars and icons according to your Windows settings. This should greatly improve the usability of CC3+ on Retina-class displays. There may still be the odd glitch with text sizes at certain resolutions and dpi settings, and we will continue to work on these.

Update 7 brings your version of Campaign Cartographer 3+ up 3.73 and is available from the registration page, among the CC3+ downloads.

If you’ve been following the blog posts collecting user maps from the Profantasy forum, you’ve no doubt come across the maps of Charles W. Robinson who has been meticulously mapping his game world in CC3+. We asked him to write a few lines about his world and mapping project(s). Thanks, Charles!

The Ramblings of an Old Gamer

My name is Charles W. Robinson. Ralf recently asked me if I would like to submit an article for the blog about my world, and I am so honored to do so. I did not really know what to talk about and Ralf said to simply talk about whatever I wanted, hence my title above. I have only been mapping for about a year, and I really like the new Campaign Cartographer 3+ software. I also love the interaction and the great new friends that I have made on the forum.

The History

The name of my fantasy world is Kelleemah. It was originally created way back in junior high school in 1982. The original world was slowly built up from a host of regional maps that I created for my gaming group. Each region was created as the group explored the world and we played all the way through high school. I had joined the military in 1986 and I made my first world map for Kelleemah in 1987 for my new gaming group. It was a paper and pencil map and I placed all the regions that I had created before, within this new map and made changes as needed. I also added a lot of additional regional maps. All of these were done on the old square grid paper that was popular during the heyday of fantasy roleplaying. The world map was huge and consisted of several sheets, duct-taped together. I had army green duct-tape all across the back. We jokingly referred to it as green dragon skin. After many years of running campaigns and building up the mythology and history of my world, I finally put it to the side in 1996. It had become harder and harder to find gamers.

I came back to fantasy roleplaying in 2007 during the 15 month surge in Iraq. I had ran into some fellow old school gamers and we started up a campaign. I had my spouse send me all of my old roleplaying stuff and I redid my world using a spreadsheet program of all things. My green dragon skin map was reborn. We had a lot of fun and I continued to play when I moved to Hawaii. I have retired from the military now and live back home in Southern Illinois. I have not had time to play since retiring, but I still love fantasy roleplaying.

I had originally found the Profantasy website while I was in Hawaii, and I purchased the old Campaign Cartographer 3, but I did not do much more that make a couple of islands. When I saw that the new version had come out, I decided to purchase it. Since last year, I have been remaking my old world again. As such, I have been exploring the software to see what I can do with it and have been making a lot of regional maps. So far, I don’t have a group of gamers yet. I have just been too busy. I really like the software and have been having an absolute blast!

I have become known for my detailed maps over the last year and have been working at a small scale. Some really like my maps and others have not. That is okay. Everyone has their own tastes. As a piece of advice for mappers out there; I say, make the map for yourself or your client. If it meets your/client’s needs then that is what matters. Don’t worry about trying to please everyone. A second piece of advice is; make it your own. Explore and find out what works for you. Develop your own style.

Setting the Stage

I went through a very specific design process for my gaming world. During the mid-80’s, roleplaying games were under attack by many religious leaders that did not really know much about it. I am a Christian and have obviously played for a long time. As such, I wanted to design a world that my religious friends could feel comfortable in playing in. This overriding goal drove the creative process and overall theme of Kelleemah. In addition, I also wanted to represent several historical cultures in my world. My father was also military and I have lived many years of my young life in Europe. For me, I felt that developing the mythology was central to creating the maps. I wanted the maps to reflect the cultures and their mythology.

The following is a very abbreviated overview of the key mythologies that I developed for my world. The central concept of my world is focused around the Grigori. For those who do not recognize the term, it relates to Christian mythology about angels that rebelled against God and took human wives among men. They brought a lot of bad things to the world and God had to send his angels to defeat them. In my fantasy world, the Grigori, which means the watchers, were banished to this world after they were defeated. This world was cut off from the rest of the Planes/Worlds and the Grigori named it their Kelleemah (their Shame). Most of them repented and tried their best to atone for their sins. The reason for this design idea was simple; this gave religious players that did not feel comfortable having their characters worship “false” gods to be able to worship the “Hidden God” of the Grigori. Since this takes place before the coming of Christ, it worked well for my Christian, Jewish, and Muslim friends. This became my Creation Mythology.

The second part, I call the Migration Mythology. This covers the arrival of four groups to Kelleemah. The central concept is that a great earthquake struck Eden and a great chasm swallowed up the tree of knowledge and damaged the tree of life. The tree of knowledge has never been found and the tree of life has been slowly dying. There are no longer any leaves upon the tree. It is believed that this event may have damaged the barrier between worlds. After the earthquake, dragons and giants appeared in the lands of the Kelleemah. Since this first event, a great storm of heavenly lights has enveloped the world three times. The span of time between each of these events has been hundreds of years. With each one, new beings are drawn onto Kelleemah. The first one brought the beasts and their gods (Such as Centaurs and Minotaurs), the second one brought the fey and their gods (Such as Elves & Dwarves), and the last one brought man and their gods. In addition, several foul beings were also drawn to Kelleemah along with their gods during these events (Such as Goblins and Orcs). This Migration Mythology brings the other races, besides the Grigori into the mix.

Another aspect of the Migration Mythology are the Shedim Wars. Shedim is the term used for Devils and Demons of all kinds. With each migration, Shedim have also come into the lands. But, unlike the other races, the Shedim came organized for war. Never has Demons been known to work alongside Devils, but this has been happening here in Kelleemah. Each time, they came from the most southern lands. Hordes of Demons swarming out in front of organized formations of Devils. The Demons wreaking havoc and panic while the Devils enslaved survivors and destroyed any organized resistance. Some believe that the Shedim actually arrived the same time as the Dragons and Giants, but used dark magic to hide, plan, and organize. Each time, they have been defeated, but at terrible costs. The first Shedim War was led by the Devil known as Satan. He was killed by the “Sleeping” god of the Centaur upon the Blood Fields. According to legend, Satan spread his arms wide accepting the blow with a smile. The power that was unleashed destroyed the gods axe splintering it into shards that scattered all throughout the world. Since then, the god has never awoke, instead laying in eternal slumber. Some believe, that Satan’s spirit lives on, and has become evil incarnate. The Devil known as Lucifer took the name of Satan, using it as a title of Kingship. He was Lucifer, the Great Satan. He was not destroyed as his predecessor was, but simply disappeared. Once he disappeared, the Shedim fell into disarray and fled the lands of Kelleemah. The third Shedim War was led by Asmodai, and he took on the title of the Great Satan as Lucifer did before him. This time, it was a mysterious hero who saved the world of Kellemah. It is said that a band of heroes had infiltrated the lines of the Shedim. Asmodai and his guard were caught unaware by this band and was ambushed. In the end, Asmodai and a man shrouded in a grey mist were all that were left. These two fought back and forth with neither landing a cutting blow for hours. Asmodai could not be killed by a mere mortal, and was surprised when the shadowed man finally struck him in the leg; for the blade bit deep. Asmodai new fear at last, and he fled along with all of the Shedim armies. It is said that the wound has never healed and Asmodai sits crippled on his throne. Mephistopheles disdainfully refers to him as “The Devil on Two Sticks”. It was during this route, that Mephistopheles, a Captain of Lucifer’s guard, decimated the armies of the fey by sinking the southeastern portion of Kelleemah beneath the ocean and drowning them.

Next, is our third part. It is not so much, a mythology as it is history. My world history is divided up into Ages, with no set time for each Age. They simply represent major events. As such, the age between the 3rd Shedim War, and the present, the Chess Wars, was known as the Faith Wars (You never do see an Age of Loving & Peace in these kinds of stories). The concept that drives this time period is that Deities draw their power from worship, and therefore, the more worshippers you have, the more power the Deity has. Because of the barrier between worlds, the Deities that have been drawn into Kelleemah have been cut off from most of their worshippers. As such, they are not as powerful. This led to the Faith Wars, were Deities and their followers fought for control of Kelleemah. Many Deities were destroyed, and it only ended when the Grigori known as the Lords of War stepped in and ended it by force; for the Arch Angels of the Grigori are as powerful as any Deity in Kelleemah. A number of major Deities still exist, and a large number of minor Deities as well. A major Deity is very powerful, immortal, and cannot be harmed by mortals. A minor Deity, is far weaker, but is powerful compared to most mortals, and is immortal in the since that it will not die from age or illness, but it can be killed by mortals. The major Deities have agreed to withdraw from world, living in lands that can only be reached through great magic. Only avatars of the major Deities are allowed among their followers, and even then, there are rules as set by the Grigori. The minor Deities were allowed to stay in Kelleemah among mortals if they wished.

Finally, we come to the fourth part. This is the Prophecy Mythology. This centers around ancient artifacts that are themselves gods, twenty swords forged from the axe shards of the “Sleeping” god of the centaurs. These are the gods of the Fee Peoples, and are said to hold the souls of their greatest heroes. The Prophecy Mythology speaks of the fate for each of these god swords. Many believe that if the fates of these swords come to pass, so too will the end times. My many campaigns are centered around these swords.

How Mythology and History Relates to My Maps

I believe that often, the world history and its mythology should drive map creation. The oldest ruins should be named by the oldest races. It explains why the races of man outnumber the others, for the other races have suffered more from the Shedim Wars than the newly arrived mankind. It explains the many demon infested areas throughout Kelleemah. It also helps to explain unnatural phenomenon on the maps. I researched (and continue to research) the mythology of my human cultures, and incorporate them into the world of Kelleemah. My last fantasy map that I did, Niflheimr, is a good example of this. It represents the lands of Hel from Norse Mythology, which the Vagoth are based on. Where Niflheimr would normally be on another plane, here it is actually part of the world. I will eventually have several maps of Kelleemah, with each one representing a particular age. This is because, some of my campaigns take place in different time periods. The map that I am working on now is the present, during the Chess Wars, an age where mortals have been carving out their own empires in the aftermath of the Faith Wars. There is far more mythology to this world that has been built up over time, but it literally fills up books. This allows me to be very detailed for both the maps and the stories that go with them. I always post stories with my maps. For me, it breathes life into them and gives them context.

What I have done as far as mapping is concerned, is that I have started in the top left corner of my world and I am branching out from there, building regional maps. This means that I have started with the Vagoth, which are modeled after the Norse. And, you get to meet the Dwarves of the Sellevokian Colonies, and the Light Elves of Perinusa and the Hidden Folk. As the map expands, more and more cultures will be revealed. Even among the fey, there are many elves of different cultures, as well as for dwarves, and gnomes, to name but a few. There are over 20 cultures of mankind within Kelleemah. I also intend to create the maps for my campaigns, 21 and counting, using the other mapping tools that Profantasy provides. I also will be getting Character Artist 3. It will help me to really showcase the different cultures of Kelleemah. And, I am really looking forward to the underground style that comes out in June.

Final Words

Writing this has been a real treat, thank you Ralf! I think the biggest struggle with writing this is has been trying to figure out what not to put into this. Like I said, I have books of notes, stories, mythologies, history, non-player characters, and campaigns. And, I keep adding to it. I hope that this has made some kind of since and did not bore you too much. I just want to thank everyone that has taken interest in both my maps and the world of Kelleemah. I hope that you find inspiration from these for your own creative efforts, and that you enjoy, and maybe even adventure in the world that I have created.

Thank You,

Charles W. Robinson
https://www.linkedin.com/in/charleswrobinsonprofile

So, where is that Perspectives 3 you are talking about so much, you ask, and rightfully so. The truth is, I was a bit hasty with my previous assessment. We ran into some hiccups with the central Perspectives dialogs and to sort them out before we could move on. The good news is, we’ve now got the beta version out to the testers now. I’m now working on the documentation (Essentials guide and help files), but we might still do a pre-release for alpha users before Perspectives 3 gets its full public release. Watch this space.

You can see in the dialog screenshots (click them for larger versions) that we’ve significantly enlarged the previews for the isometric rooms and buildings. We’ve also simplified the setup. Where in Perspectives Pro you had a separate color setting that combined with Perspective and House settings in a way that could be a bit confusion, now the color settings are built into the others. That became possible because the wall shading is now handled through shaded polygon entities, instead of different colors. That also means that you can adjust lighting and shadows globally on the map, in a similar way to City Designer 3’s roof shading.

Here’s a little preview of the other Perspectives 3 bitmap style, created by Kai-Uwe Wallner. It is based on the artwork for Dungeon Designer 3, and Kai-Uwe did a magnificent job in converting the dungeon artwork by Dave Allsop into 3d objects. Because he created full models of the objects, we were able to create 8 views of each symbols, doubling the number of orientations you can show them on the map.

Here is the Evil Idol symbol from the Statues catalog in its 8 variations:

Apart from Perspectives 3 the Cartographer’s Annual 2016 is now full underway with the Here be Monsters and Empire of the Sun styles available for subscribers. But the coming month needs their attention too. Next month will see an isometric style, compatible with both the Herwin Wielink Isometric Dungeons from the Annual and Perspectives 3 itself. And then we have some historical houses/villas/manors floorplans in the work, as well as a woodcut-style for overland maps.

Also – even if it is hard to believe – the year’s conventions (GenCon in August and Spiel in October) already need attention. GenCon hotel bookings for exhibitors is coming in only a couple weeks, and that is a stressful time, as rooms are becomings increasingly sparse in downtown Indy. For Spiel, we are looking in what kind of anti-harassment policies are in effect at German conventions, a topic that’s not been talked about much here.

With that I leave you with a bit from the current Perspectives example map that is on my screen, a little farm or village scene created mainly with the Isometric House tool.

The Vintyri Project released their enormous content collection for City Designer. Here is the announcement from Mark Oliva.

We now have completed release of the entire Vintyri (TM) Cartographic Collection for ProFantasy’s Campaign Cartographer 3+ and 3. This is a collection 974 CC3+ and CC3 raster symbols in the VH, HI, LO and VL resolutions and 122 fill styles along with templates and drawing tools, also in the VH, HI, LO and VL resolutions. Additional templates and drawing tools can be downloaded and installed by users of City Designer 3 and Dungeon Designer 3 with CC3+ or CC3.

Mark Oliva
Webmaster, the Vintyri Project (TM)
Internet: http://www.vintyri.org
E-Mail: info@vintyri.org
The Vintyri Project is a non-commercial service