Emergent Behaviors: Don’t Sacrifice That Hireling!

A year ago, I posted about how players try to ditch their hirelings in order to avoid giving them a share of treasure. While not exactly counter-intuitive, this is a situation that doesn’t always go hand in hand with the DM’s preferred style of play. But it’s an emergent behavior that comes out of the intersection between rules and player goals: if the aim is to acquire gold and XP, and hirelings bleed off gold and XP, then it’s in the PCs’ interest to ensure that the hirelings perish in the line of duty before they can get their share.

(It also leads to weird situations, such as when a PC becomes an NPC and the party decides to stop giving him a full share of treasure for no apparent in-game reason. Which is perfectly explicable from a player perspective but utterly silly from an in-game perspective!)

In the following year, I’ve come to the conclusion that there’s no reason not to twiddle the rules in order to create a more desirable outcome. So, how might one go about encouraging players to keep their hirelings alive — or at least not discouraging them from doing so? By tweaking the distribution of gold and XP.

1) Hirelings that demand a flat fee instead of (or in addition to) a share of the profits will spend or cache that money before going on an adventure. This avoids the ghoulish prospect of PCs looting their hirelings for their fees.

2) If the PCs give a share of treasure to a hireling, give the PCs some of the XP value of that share of treasure! Now, you probably don’t want to give the PCs full value here — hirelings already provide significant benefits in play, and you may not want the choice of whether to use (or betray!) hirelings to be a total no-brainer. But if the players know that their characters gain at least some XP from rewarding their hirelings, then those who want to play their characters as decent employers don’t have to feel like total chumps for doing so.

If I Ruled the (D&D) World

Over at storygames, folks are talking about a fun hypothetical:

Someone hands you “Dungeons & Dragons: The Game” to do a re-release. What would you do with it?

Here’s my answer!

All my versions of D&D will be full of lists, illustrations, tables, and long, dry descriptions of nonexistent worlds written in an invented language

I would stop mass-producing D&D anything. I would spend the same amount of money on having artisans hand-craft books, each of which was inscribed in a scriptorium with a different version of the D&D text (put together by a Manhattan Project of designers and lunatics, like in Watchmen). I’d geocache these in locations around the world which would require serious adventuring skills to reach, and would take considerable pains to do this anonymously, so that no one could tell which were “official” and which were just some nut writing up their own dream D&D on stone tablets and burying them for some other nut to dig up.

I would flood the interwebs with better-quality versions of everything that’d previously been released under the D&D brand, make it 100% open content using the OGL, and make these easy to find (text-only SRDs, etc.) for talmudic scholarship. If people tried to scan and share my geocached books I would flood them with variant scans to make it hard to tell which was the real gospel.

I would hire away top-level Scientologists and suchlike cult leaders to run my organized play program. They’d be in charge of managing the project johnzo proposed earlier in the storygames thread:

I’d recruit an elite street team; I’d partner with retailers to find the DMs with the best reputation and dumptruck those DMs with goodies in exchange for them running regular public games of D&D.

The cult leaders would be forbidden to interfere with the street team’s play experience but given a mandate to grab people as they get up from the table, sated and blown away, and turn them into fanatics. I would pay some other people to impersonate these cult leaders and perform bizarre occult performance art rituals, 5% of which I’d leak to the media.

At the peak of this activity I would fake my own death, get plastic surgery, lead a hostile takeover of the D&D brand, and then spend millions on a public image makeover devoted to establishing that D&D is a healthy, social alternative to video games, with grant money for researchers to prove this thesis. I’d open game cafe emporiums in every space that used to be a Barnes & Noble and sell drinks, books, and toys on the margins of a place to hang out and feel safe leaving your kids.

I’d do nothing to stamp out all the berserkers I’d created in phase I – I’d just distinguish squeaky-clean D&D from that occult media hysteria thing that never really happened anyway, pay no attention to the people who might invite you into their basement if you know their secret handshake. I’d harness all the edition war energy into a struggle between above-ground D&D and polyhedrals-inked-in-blood D&D, and let the geek one-true-wayism metastasize in the subterranean culture where people fight over which is the true apocrypha from phase I while in phase II we work on an elementary school curriculum designed to build mastery in the elements that all previous editions of D&D have in common.

The Post Where I Give You Awesome Map Graphics

That is, if you think that by awesome I mean a recreation of the art and design methods of late-seventies RPG game maps. Awesome in a way that Red versus Blue of the generic cold war armies on a Tactics II game board are awesome.

If you will recall from my last stint of map posting, I explained the whole process of generating a random and unique regional hex map for use in a starting sandbox style campaign. It was a homage (copy) of the same style of region maps that were put out by Judges Guild in the late seventies for their Wilderlands of High Fantasy series.

Towards the end of the process, I bemoaned the fact that I couldn’t exactly replicate their graphic style in my final map iteration. The designers at Judges Guild used a combination of hand-inking on a full size sheet and screen tone to produce their textures and shapes on their large 48″ x 36″ maps.

Photo-mechanical printing to capture a full size drawn map seemed a little severe for my purposes and screen-tone is generally only used in Japanese manga as a carry over from pre-digital illustration days. I had already found some digital textures on the internet that someone had lifted off of old wargame designs that would take care of my forests and rough patches. Those were good, but there were still a bunch of tone patterns that were impossible to locate, to say nothing about the mountains and hills that were hand drawn directly on the old JG maps.

So to satisfy my own obsessive sense of needless design (it is a DM eyes only map, no one will get to see it.), I created a bunch of repeating digital patterns to simulate the inking and screen-tone that I could find on the old maps and loaded them into my imaging software for my personal mapping enjoyment.

And the good news is that I am giving them all to you.
They include such top hits like:

• Forest
• Grasslands
• Coast and River Rough Patches (sand)
• Rolling Hills
• Rough Hills
• Mountains
• Swamp
• Desert (I am quite proud of all the little palm trees)

And a couple different encounter symbols for :

• Villages
• Castles
• Lairs
• Ruins

All the patterns are scaled to perfectly fit the 48″ x 36″ 150 dpi hex region map that I am also including in the attached zip file.

Here is the link.

Or try here.

Or maybe here.

See the included readme for further instructions about how to use them in your graphics program. However be forewarned, it still takes a lot of fiddling with layers and brushing and erasing hills to get it to look good. It is no Campaign Cartorapher. It looks particularly good when you lay the whole business over your enlarged watercolor painting. But it also looks just fine in B&W like the old Judges Guild maps.

Enjoy and map-on through your 70’s fantasy lands. Listening to Hawkwind helps the process along.

Digital / Analog Procedural Sandbox Region Witchcraft – part 6

So, this is my final part of a series of posts on creating a regional sandbox map. In brief, we have been using random (or even, dare I say, subconscious) systems of mapping and encounter planning to supply broad strokes of our campaign region. After this first step we have been thinking through the features that appear and fleshing them out with an eye on the narrative potential of the results.  Essentially, if you roll it on the Judges Guild tables, you have to explain it somehow in the fiction of play, across a whole region the size of New York State.

At this point in the process, most of the divining and reading of the oracles is finished. We have our hex-map that has formed a core of detail around where the players have been placed in the start of the campaign. There are still many other encounters on the map that are broadly painted and ready to be fleshed out as needed when the players approach, but for now we have all the pieces that are necessary for several weeks of table play, possibly months. The only thing that is missing is a map of the region that the players might acquire in a dungeon haul or civilized area, a map made within the fiction you might say.

I always pictured my campaign for this map as a place where the players would be plopped into the landscape via a magical portal. Once they found a city they could obtain a loose map of the area but they would have no prior knowledge of the lay of the land beforehand, thereby emphasizing the hex-crawling and exploration elements.

So I made this map as a something they could buy from behind a bar at an inn, something accurate for medieval-style knowledge but not quite accurate on scales or distances. (click to zoom in)

Two things are readily apparent on close inspection: I have a trouble with good place-names and my calligraphy is not up to snuff. I wanted to just bang out the map so some of the crudeness is intentional for the sake of speed, but also notice what a difference a bit of color makes. Instead of drawing a map in pencil, giving it to the players across the table and telling them “you receive this crudely painted map”, I can now just hand them a crudely painted map. It’s not professional fantasy cartography, but the feel and saturation of real painted paper is hard to beat for a game prop.

(In defense of my naming of places, most of the village names were generated in the Judges Guild Villages Book. Dolecherry and Silent Diamond are weird but they do make my Sleeping Giant Hills sound quaint/hackneyed.)

The obvious difference is that I have excluded any map reference to ruin or lair entrances as that would take the player exploration/tracking accomplishments away from them. I suppose it is reasonable to place those on your player map depending on your campaign style but I would prefer that my player’s get there by tracking down rumors and chasing trouble.

The physical steps for creating the map are pretty simple and favor the visually-skilled DM but well within anybody’s effort.

1. Take a thick sheet of watercolor paper and pencil in the locations of all the major features of your chosen map region taking into account the roads, rivers, and position of forests and mountains. You don’t need to draw in each mountain and tree, but you should outline the regions where they go. This is where you can get all odd with your distances to reflect the quasi-medieval sense of travel and distance. Emphasize the position of the larger cities and the close villages, the cartographic artists probably never left town anyway. Organize the shapes as something that is pleasing as an image and not really accurate to “life”.
2. Take a black pen, I recommend a technical marker like a pigma or rapidograph, and practice making some uniform symbols for each of the terrain features that will be in your map. Notice how some of my mountains or hills look crappier than others? That is because I did not practice enough and was adjusting my style as I drew on the map.
3. Draw in your symbols and features, paying close attention to the placement of your rivers, villages, castles, and cities. For example, make your expertly crafted city symbols first and then connect them with roads afterwords. Keep a look out for river crossings and mountain passes too.
4. Double the black outline on large or important feature like big volcanoes or skull-shaped mountain edifices.
5. Erase all the pencil marks off the page with a white vinyl eraser, the blank ink should all stay put.
6. Now the fun part, get out your watercolor kit and mix up some nice greens, ochres, grays and blues to color in your nice ink drawing. Watercolor is it’s own beast. It is literally the hardest painting technique to learn (seriously, even fresco allows you to paint over). But the whole point is to have fun. My advice is to paint with the tip of the brush hairs for the details, use a napkin to knock excess water off the brush, and try painting into pre-wetted area of the paper to see the color bloom out.
7. Let your map dry thoroughly for a bit and then place your painting under a stack of heavy books. (where will you get those oh gamer?) You can glue a little map-maker’s seal or a written legend in a empty area of the map.
8. Give the map to the players at the table and watch them crudely mark it up as they explore and get cheeto dust all over the fine elven woodlands.

Thanks for tuning into this little series of posts and I hope you have some fun making and playing on your maps soon.

Digital / Analog Procedural Sandbox Region Witchcraft – part 5

This is the fifth installment in my series of posts on making a sandbox-style region map using automatic drawing methods and vintage Judges Guild random tables. We have gone through these steps so far:

1. Create a nebulous outline of a continent map with scribbles and loose pencil drawing.
2. Use a cheap watercolor kit to randomly splatter our map with terrain colors and then paint in all remaining white paper with chosen color areas.
3. Make a high resolution scan of our loose painting and zoom in on a region to map.
4. Use free graphics software to place a hex grid on our chosen map region.
5. Use old Judges Guild random tables and maybe a computer script to roll our encounters for each hex and determine if they are a Village, Castle, Ravaged Ruin, or Lurid Lair.
6. Draw in loose roads to connect villages and castles with compatible alignments.
7. Start to think of the narrative reasons for differences in alignment and race between populated areas.

What we have so far is a map like this:

We have come to a loose understanding of an adventuring region of about the size of New York State or just shy of the surface of Oregon. We know where the major attractions and mysteries lay. We know which ones are bad/chaotic and which ones are good/lawful. We don’t have their names or their specific details, but these can be rolled up on the fly as the PCs travel  through the land. What we really need is a solid chunk of tight territory with more information that can serve as a home-base region for a new campaign.

I am in some old red-box style campaigns that have stretched for multiple years of play and I don’t think we ever got the itch to strike out overland, long distance, all at one go. It is always a gradual expansion of known territory. Maybe the big sweeping exploration is for level seven and higher, where you can fend off the frightening probability of OD&D wandering dragons,  but I know that a “Keep on the Borderlands” or “Nentir Vale” size area is a good starting point for a beginning campaign.

The time has come for us to draw in some hard features on a hex by hex basis. We need to name our places, determine our inhabitants, and find their relationships to drive the interests of our players that stalk the six-sided wilderness.

For this next step, we need to use our digital wizardry to zoom in even more. I picked a likely spot, as shown by the red outline above, and cropped down. Like my first printed region map that I used to mark encounters on before, I made a letter-sized inkjet print of my image. The numbered hexes are still in place from when I overlaid the main region map. I clipped a piece of clear acetate over the print-out and used a technical pen to doodle in my features. You can draw directly on the printout if you desire, I just drew on the transparencies so I could scan the doodles in again and layer it cleanly over my map in my graphics program. At this point you could even remake the entire map using your own digital cartography brushes in GIMP or other mapping programs of your choice. But, as you can probably tell, I like the touch of the hand so I went at it and came up with this:

The first thing that I did was to consult my main region map and find out where my encounters were. I made up a consistent little map symbol for Castles with a little tower , Lairs with a little cave, Ruins with some crumbling structure, and Village hexes had some square dots that seem to indicate a building plan. I admit that the villages look a little unclear but I was trying to ape the B&W cartography of the Wilderlands Of High Fantasy Maps and failed. I like my little towered city better in the center.

After the main encounter symbols went down, I connected villages and some castles with road systems represented by dashed lines. I tried to imagine the paths of least resistance while traveling through the splotchy terrain and then also started to put rivers, mountains, and forests in where I thought the color of the paper demanded it. Notice how I put a high pointy mountain symbol on all the dark gray watercolor spots and then the smaller hill features around the other rough spots. In the process, I saw a yellow patch of  earth on the south-east corner of the map and decided that some hills would form a rain-shadow over an arid section of the region. I guess I have some rudimentary weather patterns now.

The rivers should be placed so they are always flowing downhill in some manner, so I usually started them in mountains or hills and had them flow through or by villages on their way to the ocean. Creating the roads first reminds you to draw in a bridge or a ford in the waterways when you need to. It is better to put the information on the map so you won’t forget about it later. I made a shadowy outline of the forest and decided it would represent a real thick wood. There would be trees and sparse copses in many hexes but I wanted the big green spots to be unbroken forests. All the blank hexes would be either plains, or scrub, or grasslands, or gentle hills. I guess I could also come up with symbols for those hex types but I liked the effect of the color popping through the map.

So there, I had my complete home-base region all mapped out. All I needed to do now was make a dungeon or three, name some villages and inhabitants, figure out who occupied the ruins, castles, and lairs and then create some relationship maps to goad the PCs into investigation or activity. (Village A is bothered by lair B, castle C is guarding ruin D, etc.)

The drawing and symbols are not all consistent or neat, but I was doodling directly without practicing much so I think it came out alright considering. The information that the map contains is what is important. You shouldn’t have to worry about how your map looks unless your players are going to see it, like a handout map.

So tune in for the sixth and final part of my sandbox mapping posts… the Player Handout Map.

Year of the Dungeon Art Gallery Opening

Image by Tony Dowler

Readers interested in D&D and contemporary art are urged to check out Tony Dowler’s show at Cortona Cafe in Seattle, WA, which opens tonight. Tony says:

I’m having a show of my art at Cortona Cafe in Seattle’s Central District all December. Come by Saturday Dec 19th and have a glass of wine with us.

I sure wish I could, and if you are in the area I hope you’ll do so and tell us about it!

A Post-1979 D&D Inspirational & Educational Reading List

Perhaps still in time for the holiday super saver shipping, here’s my personal list of recommended reading for D&D players, a supplement to the original Appendix N in the AD&D Dungeon Master’s Guide:

• Baker, Kage. Anvil of the World & its sequels
• Banks, Iain M. The Player of Games, Use of Weapons
• Barnes, John. One for the Morning Glory, Kaleidoscope Century
• Chabon, Michael. Gentlemen of the Road
• Cook, Glen. Black Company series
• Cook, Hugh. Chronicles of an Age of Darkness series
• Harrison, M. John. Virconium
• Holdstock, Robert. Mythago Wood
• Holmes, J. Eric. Maze of Peril
• Hughart, Barry. The Chronicles of Master Li and Number Ten Ox
• Jones, Diana Wynne. Homeward Bounders, Chrestomanci series, etc.
• Lynch, Scott. The Gentlemen Bastard series
• Meynard, Yves. The Book of Knights
• Moon, Elizabeth. The Deed of Paksenarrion
• Powers, Tim. On Stranger Tides, The Drawing of the Dark
• Pratchett, Terry. Discworld series
• Salmonson, Jessica Amanda. Tomoe Gozen, The Golden Naginata, and Thousand Shrine Warrior.
• Sfarr, Joann and Trondheim, Lewis. Dungeon series
• Shea, Michael. Nifft the Lean & its sequels
• Sterling, Bruce. Schismatrix
• Swanwick, Michael. The Iron Dragon’s Daughter, The Dragons of Babel
• Wolfe, Gene. Book of the New Sun, The Wizard Knight

Hyperlinks are provided haphazardly, and signify nothing about the works linked or not.

I chose publication after 1979 as a clear line of separation to make this an add-on to Gygax’s original, as a list of my own favorite D&D-esque books would show a high degree of redundancy with the ones he chose in ’79. In addition to all the ones everyone’s read, I’ve particulary enjoyed Lin Carter’s Worlds End series, John Bellairs, and Margaret St. Clair;  and if everyone hasn’t read The Broken Sword they should.

Some of the ones I’ve listed here would likely have been added to Gygax’s list had he written it later. At EN World he said this was true of the Discworld books, and he wrote a glowing back-cover blurb for the American edition of one of Hugh Cook’s fantasies.

The chronological cutoff did mean leaving out some things I personally would have added to the original:

• Borges, Jorge Luis. Book of Imaginary Beings, others.
• Davidson, Avram. The Phoenix and the Mirror
• Klein, Otis Adelbert. Planet of Peril
• Smith, Clark Ashton.
• Swann, Thomas Burnett. Day of the Minotaur
• van Gulik, Robert. Judge Dee stories.

I’ve tried to keep to the parameters established by the original Appendix N by focusing strictly on novels and short stories, despite the ample evidence that movies, other games, comic books, etc. were important influences on the corpus of classic D&Disms. (I made an exception for Sfar and Trondheim’s Dungeon, because it’s just so damn good.)

In the spirit of the original, I didn’t worry much about lumping SF and fantasy together. Genre considerations did convince me to move the following into this footnote, which are nevertheless a big part of my education in adventures and heists :

• Child, Lee. Reacher novels.
• Dent, Lester. Honey in his Mouth
• Dumas, Alexandre. The Count of Monte Cristo
• Gold, David Glen. Carter Beats the Devil
• O’ Brien, Patrick. Aubrey-Maturin series
• Winslow, Don. The Winter of Frankie Machine, California Fire and Life
• Westlake, Donald. Dortmunder series, Parker series (written as Richard Stark), Kahawa

What would you add to Appendix N? Post it in the comments; if it’s one I meant to include but forgot I’ll add it above!

Digital / Analog Procedural Sandbox Region Witchcraft – part 4

So for my Ouija-board-esque method of sandbox mapping, I had made a hex-grid of my chosen region and I applied the nebulous hues of the terrain with a kid’s watercolor kit. I now needed to provide more details for adventuring like roads, rivers, villages, mountains, hills etc. The first step was to go straight to my Judges Guild encounters that I rolled up using my junky little python script. It gave me a final printout with about 150 different villages, castles, ruins, and layers listed by hex coordinates that I could place right away without looking at the underlying terrain colors. I did not have details of all the encounters. The lairs and ruins could be rolled up later, but the castles and villages were really important in that they had an alignment and a race associated with each listed encounter.

I printed up my freshly hexed map on my inkjet printer (photo matte paper is great) and then clipped a piece of clear transparency to it, like the clear plastic you get for overhead projectors. With the transparency I could write and sketch in the details with a permanent marker and then I could scan it in again for whatever reason. I went down the hex columns on the map and looked for the proper coordinates for each of the encounters on the programmed list and marked a V, C, L, or R in a fine point marker. Any encounter that landed in the water would become an Idyllic Isle, but the rest pretty much stayed where the “fell”. (You could also place the letters on the hexes with the image layers of GIMP, but I felt like using my hands for my mapping and locating.)

Evil castles or villages would get a red circle and good villages and castles would get a green circle. Right away, I had clumps of good settlements and clumps of evil settlements that could suggest some type of politics or borders in my small local region. I could start putting in dotted lines to connect the villages and castles with roads and start wondering about how the encounter placement worked in a narrative sense. Why would an evil hobgoblin settlement be right next to a lawful-good human settlement? Maybe there is a siege going on, maybe the Hobgoblins are a large mercenary camp that defends the larger human village. Why are there evil dwarves occupying this castle? This sandbox style of planning is all about divining some type of meaning from what the random results provide. There is always the ability to fudge, but the whole point of the method is to provide a springboard to your interpretations.

So I had a rough idea about what encounters goes where on the region map, and I could continue to flesh out the whole area, naming all the villages, placing all the roads, and placing the definite terrain and rivers all within a hundred or so miles of the characters. But then again, do I really need 150 encounters and surrounding terrain detailed to begin play? I didn’t think so. And besides, one of the key tenets of sandbox play is to structure details around what the players start to provide. We needed to leave room for the screwed up village that one of the PCs originates from.

With this in mind, I decided to zoom in even more, and save the fiddling for a tighter focus map, something I would imagine as being a good “home-base” area like The Keep On The Borderlands or something of that nature. It was time to start drawing in map symbols and naming stuff in a small locality…

Continued to part 5…

Digital / Analog Procedural Sandbox Region Witchcraft – part 3

Now that I had a big rough continent map made with my cheap watercolor and pencil techniques I was ready to begin adding some type of form to the elemental crayola chaos. I didn’t want the players to be flying across continents on the backs of eagles quite yet, so I needed to bring my focus down to a smaller region of the map to begin to pick details.

I knew that the area covered by the Wilderlands Of High Fantasy maps in the Judges Guild publications could roughly fit the surface area of New York state (275 x 167 miles in hexes). This helped me to zoom in and pick a spot on the coastline of my rough map that looked nice. The spot had a lot of green, a coastline, and some splots of gray for mountains. A nice variety of land to travel but nothing too crazy on the map, I would save my red leaf tree forests for later.

So I moved into the digital realm and scanned my painted map with my desktop scanner at a high resolution. I set it at 600 dpi because I knew I would be zooming in and I would rather the map details be the tooth and texture of my paper rather than the resulting pixels of a low end scan. I then opened the image file in GIMP and prepared to select my region map. To do this properly I needed to have my region map overlay so I could pick just the right rectangular box of my painted map that would fit my hexes. I needed to find some way of making digital hexes.

My quest was resolved when I found the excellent Boardgame Extensions for Inkscape written by Pelle Nilsson. If you did not know, GIMP and Inkscape are two free software packages that are used for editing digital image files. GIMP is for raster graphics and Inkscape is for vector artwork. The Boardgame Extensions in Inkscape allowed me to generate a hex map that was just the right size and with the right numbering sequence. It just needed a little graphical tweaking to make it look like a simulation of a Judges Guild region overlay.

Here is a zip file of the vector and raster hex overlay to use for your own map.

I then selected my now reduced region of the map and used the Layers function in GIMP to place my hex overlay over my painted section. You can adjust the opacity of the images and change the way the layers interact (multiply) to have only the black of the hexes visible. This way you could have as much or as little information on your map as you want. One layer for roads, one for villages, etc.

There, my region was laid out, and I knew what all my travel distances were, but there were no rivers, roads, encounters, definite regions of mountains, forests, etc. I just had vaguely suggestive color blots to maybe suggest changes in terrain. It was time to start finding out the lay of the land…

Continued in part 4

Digital / Analog Procedural Sandbox Region Witchcraft – part 2

If you peruse the excellent Cartographer’s Guild forums, you can see that the preferred method of generating random terrain and landforms is to use a cloud generator or some sort of static filter in a graphics program like photoshop or gimp to build up random shapes and curves that can later become continents, rivers, coastlines, and islands.

Instead of this strictly computer based approach, I decided that I wanted to try out a more analog method of making random shapes. Something like like cartography by way of reading tea leaves or a mash-up between Forgotten Realms and a John Cage composition.

My Analog Continent Generation Method

So I got out my thick paper, a pencil and eraser and my watercolor kit and set them on the table.

The first step is that I did a quick scribble of large shapes in light pencil marks, crisscrossing, and fiddling around on the surface until some definite forms start to appear on the surface. In art classes, they call this gesture drawing because it is intended to quickly capture the “gesture” or movement of a figure or object without focusing on the details. It is also used to find patterns or random shapes in a composition for later development, which is what we are trying to do.

Once I started to see some continents or land forms “raise to the surface” I stopped my scribbling and took the pencil and slowly jittered a dark line around the coast areas with harder pressure. The slow jitter helped to form a jagged coastline around my previously smoothed out scribble shapes.

After the heavy pencil marks were down on the paper, I started using a big eraser to remove the unwanted light lines and left the darker coastline marks to show the outlines of my continents. You can smudge some of the pencil marks, redraw others, or leave scuffed textures for mountains or plains or stormy areas or what-have-you. It is sort of like a tarot card reading where you just try and fiddle and reinforce what the image before you suggests.

This is just like campaign planning.

Once the continents had a good outline I took out my water color kit and mixed up some gray color for the mountains and green color for the forests and proceeded to splatter at the continents. I slowly started to aim my splatters where I thought the mountain ranges should go and avoiding splashing into the ocean too much. You can use the brush that came with the water color kit or, if you really want a nice splatter, you can dip an old toothbrush in the mixed color and then run your thumb across the bristles to create the right spray. I mixed and splattered a couple more colors and just generally played around until I was satisfied. I decided that I wanted to have a big forest of red-leaved trees in one region and so I gave it a japanese-maple color splat.

The next step was to finish applying watercolor to the rest of the map. Green for plains and forest areas, grays for polar regions, browns and yellows for arid regions, and blue for the ocean. Watercolor is great because it builds itself up transparently and all the splatters would come through in the final texture. And its fun to make a mess.

So I had my large continent map, but I needed to focus in and pick one area for my fantastical region map and get hexes on the there…

(Continued in part 3)