At one time, it seemed like most fantasy novels came with maps. Not the highest quality maps since they were printed on cheap paper on a page size that greatly limited the amount of detail allowed. Everything from Fritz Lieber’s Faffhrd and the Grey Mouser books to Anne McCaffrey’s Dragonriders of Pern and Hugh Walker’s Magira series featured maps of fully-realized worlds. Even if many of the locations were never visited by the characters, they were mentioned in passing and existed as part of a larger setting.
Kings of the Wyld cover art by Richard Anderson
In this modern digital age, I’ve been reading more books in digital format and the focus seems to be less on the extras that are part of a physical book. The Amazon Kindle reader skips right past the cover and acknowledgements to the opening of the first chapter. When I started reading Kings of the Wyld by Nicholas Eames, I was drawn in by the characters and the setting. I was thinking the book would be very much in line with Joe Abercrombie’s First Law trilogy or something very much in the vein of other books best described as grimdark, which is not my favorite sub-genre, but very enjoyable in the proper mood. Kings of the Wyld is something very different in a way I can’t quite quantify, much more an epic retelling of a grimdark Dungeons and Dragons campaign that started out in college and then sat on the shelf for a couple of decades before the characters were brought back from retirement for one last gig. The book literally takes the idea of getting the band back together like an aging rock band and runs with it.
Portion of Kings of the Wyld world map in color as rendered by Tim Paul
Naturally, with a setting like this, I became curious whether there was a map since none was included in the e-book I was reading. Even a fan-made map is enjoyable and well-made ones have a way of becoming canon or otherwise enhancing the reader’s experience. At least, that’s true for me. What I found instead was the author’s website with maps that included the author’s original hand-drawn map, illustrations, a soundtrack, and more. Increasingly, the web has opened up new vistas where authors can expand on their creation in ways that the limits of physical and digital books cannot, much to the delight of fans like myself.
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Most commonly, when we think of maps today, we think of detailed maps showing places in relation to each other geographically. Just as useful and more common in times gone by were illustrated itineraria or maps showing the relation between points along a journey. Maps such as those of Matthew Paris and his Stationes a Londinio ad Hierosolymam were of particular use to pilgrims. One of the most famous of these ancient iteneraria is the Roman Tabula Peutingeriana or Peutingerian Table showing travel routes between locations in the Roman Empire.
Detail from Tabula Peutingeriana, Section 1: Germania Inferior and Batavia
Compare this to the 1866 map of the Mississippi River by Coloney and Fairchild, dicussed in this article. It’s fascinating to see the Mississippi River with all of its bends and turns straightened horizontally in a way that preserves the feel of the river and its major landmarks, while rendering it on a relatively narrow ribbon. The full Coloney and Fairchild map at the library of congress is recommended for the greatest detail.
New Orleans detail from Ribbon map of the [Fa]ther of Waters by Coloney and Fairchild, 1866
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If you’re like me, you’re familiar with the Paris catacombs. They’re not the only such network of tunnels and many exist all over the world. Unlike limestone caverns, which are formed through the natural actions of nature, a large number of these tunnels were expressly for the purpose of mining limestone for the use of construction. As a result, they occur alongside populated areas like Paris, Maastricht, and Odessa.
An article in the Atlas Obscura discussed the entry for the Odessa Catacombs. Like the Paris catacombs, they were used to extract limestone, though apparently of a somewhat more recent vintage, dating back to the 1600s and with the greatest activity in the 1800s.
That anachronism aside, any section of the catacombs might be used by a gamemaster looking for a subterranean map. Even that might not be a stumbling block, given how many high-fantasy settings are littered with buildings owing more to the likes of Neuschwanstein Castle than to early medieval castles.
As caves go, the Cave of Dunmore in County Kilkenny, Ireland, is a bit on the small side and not too terribly exceptional. As real-world locations go for the basis of game settings, there’s almost more going on in the visitor center than there is in the actual cave, apart from the somewhat dramatic sweep of the entrance that drops down steeply to the subterranean opening.
The story behind the cave and its history as the site of a Viking massacre is far more interesting and provides plenty of fodder for adventure, particularly if the dark atmosphere and reputation among the inhabitants is played up. For the gamemaster in a hurry, it’s relatively easy to make or find maps of limestone caves that are much more extensive and adapt them for adventure and to borrow all the description needed.
“we having, when led to the cavern for scenic illustration of the facts of this history, adventurously plunged our hand into the clear water, and taken therefrom a tibia of unusual length; and, indeed, the fact that such human relics are there to be seen, almost a quarter of a mile from the light of the earth, must, if we reject the peasant’s fine superstition, show us the misery of some former time of civil conflict, that could compel any wretched fugitive to seek, in the recesses and horrors of such a place, just as much pause as might serve him to starve, die, and rot.” – from the Dublin Penny Journal, 1832.
Colorized image of Cave of Dunmore via Moja Zielona Irlandia from the original in the Dublin Penny Journal
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Levels for video games are curious beasts. Levels for games that have some degree of realism, such as first-person shooters and racing sims are even more curious. In many cases, the designers must balance the needs for those levels to be both visually interesting and fun to play while also bearing some semblance to the real world, even if that real world is filled with lava lakes and floating castles. Sometimes there are also technical constraints such as draw distances to contend with or the manner in which the in-game camera behaves. A recent visit to the Museum of Pop Culture (MoPOP) got me thinking about how simply lifting a real-world place to create a game level is generally a bad idea, though MoPOP is so thoroughly bizarre that it would work. In fact, it’s architecture is sufficiently confusing that the map provided to visitors doesn’t even try for a high level of detail and instead simply shows how the different areas are connected, either by halls, stairs, or elevators.
When I applied for my first game designer with Microsoft Games Studio, part of the application involved answering a series of questions about game design and called for the design of a sample Crimson Skies level. The idea was to build a simple (1 page) mission in the current Crimson Skies universe, limiting it to the weapons and planes in that setting. What I came up with was a raid in Appalachian Territory in order to clear the way for a bombing run on a band of Hell’s Henchmen.
Crimson Skies designer test – mission map
Crimson Skies designer test – mission description
Knowing what I know after having worked on the game, I’d add much more vertical elements to the game, exaggerating the depth of the river valley and break up the valley walls with ravines, add bluffs of varying heights, and increase the number of buildings. One of the areas in Crimson Skies: High Road to Revenge, the outlaw base of Sea Haven, was a caldera with exaggerated vertical scale with an exterior littered with the wreckage of zeppelins and an interior criss-crossed with walkways and girders. All of it made for interesting missions along with plenty of out-of-the-way places to hide tokens. Interestingly, the game was originally conceived with multi-modal play where the player would occasionally exit their plane and run around. When that idea was scrapped, there was no need for detailed human-scale areas and focus was given almost entirely to levels playable with airplanes apart from the gameplay around manning turrets.
Sea Haven main area level mesh in Maya for Crimson Skies
Sea Haven top view of main area level mesh in Maya for Crimson Skies
As a long-time fan of post-apocalyptic fiction and continuing last week’s discussion of toponyms, I thought I’d toss out three maps of the County of Kent in England. They’re very from very different time periods and the features on each are also dissimilar, but they’re all recognizable of the same area.
The first map is of Kent during the Roman occupation (and also covering Sussex, Surrey, and neighboring areas) that shows the extent of The Weald at that time (also known as Coit or Coed Andred, Silva Anderidae, or Andred’s Wood). Very little remains now apart from small forests like Ashdown Forest at the center of the High Weald and, incidentally, the basis for the setting of Winnie the Pooh stories. The second map is a postcard map of modern Kent (via Alwyn Ladell) that shows The Weald in the lower left. The third map is a future England as imagined by Russell Hoban for his book, Riddley Walker where the place names combine language drift and folk etymologies (or “eggcorns”). The place names are still recognizable in all three despite the changes in name over time.
As a case in point, all three maps feature the port city of Dover. On the first, it appears as Portus Dubris, a latinised name derived from the name given by the locals and meaning something like “river port” or “deep water port” (in the sense of the word “water” deriving from the root “deep”). The modern map features its present name, which is closest to the French name (Douvres). The imaginary future maps renders it as Do It Over, a curious expansion as a folk etymology like many other place names similar split and expanded in the book. The key in the map of the future is that it’s logically consistent with how names evolved from the names in the past.
The Forest of Anderida during the Roman Occupation of Britain from A History of The Weald of Kent with an outline of the Early History of the County, Volume I. by Robert Furley
Postcard map of Kent, the Garden of England. Drawn by M F Peck for J Salmon, Ltd., Sevenoaks.
Riddley Walker map of Kent from the book by Russell Hoban
One of the things I like as much as maps and geography is linguistics and anything related to the study of language. When it comes to maps, the naming of places is something I’m particularly fond of. Contrariwise, there’s nothing worse than encountering a map for a book or game adventure littered with the most overblown of PanCeltic place names or where the naming is intended to sound exotic through the addition of apostrophes (or sometimes both!).
I think one of the best ways to learn how to create realistic maps is to study real maps and to study why certain places are named the way they are. Names evolve and change over time as successive peoples enter an area and either use existing names given to places by their predecessors or attempt to translate them in some fashion. In some cases, the two cases (descriptive versus folk etymology) can be very hard to differentiate.
For those creating their own maps, there’s much more flexibility in the etymology of place names and the opportunity to play with the names while simultaneously developing the place names, cultures, history, and language of the area. Descriptive names are easy and incredibly common. Rivers are often named simply “River” such as England’s Thames, Tame, and Teme, and also Avon from a different root. The Atlas of True Names translates the Thames as Darkwater, but that seems more like over-etymologizing since the original root can be used to mean “dark” or “river”, implying that it would be more like a river in the sense of a dark and deep-flowing body of water, much like brook and torrent describe two very different types of streams. Other rivers are simply “river” with the addition of an adjective, such as Mississippi derived from the Ojibwe misi-ziibi (“great river”) or Tolkien’s Anduin and Brandywine (Baranduin).
Darkwater (River Thames) from the Atlas of True Names
So whether your fictional kingdom’s river is called The Long River or Darkwater or, simply, The River, there’s no wrong way to do it. Though I beg aspiring fantasy cartographers to not be too liberal with place names like Skull Mountain or Ul’za’kamm’dng. Simple and consistent is always better and you can get a lot of mileage out of simple fantasy base roots for river and mountain. For myself, I prefer Ered Luin to the Blue Mountains, but that might just be because I’m a fan of Elvish etymology, even if it is pretend.
One of the things I liked about Aftermath’s Operation Morpheus is the idea of exploring Sydney University or a version thereof that’s been reimagined as a place for an adventure. Most of the adventure takes place in the (imaginary) bunkers underground, vast complexes of offices, labs, and facilities that have survived.
From a mapping standpoint, it’s great that there’s so much to explore, all mapped out and detailed enough to allow the gamemaster to easily expand upon. On the other hand, because it’s a game adventure, much of the detail and quirkiness of the corresponding real places has been ironed out. For example, the Biochemistry and Microbiology building is reduced to a square and smaller buildings have eliminated entirely.
The University of Sydney side-by-side real world and Operation Morpheus map details
For me, the real missed opportunity is that there’s no network of tunnels typical of many universities, at least in the United States. While the adventure layout means that the party must venture to the surface and gain access to other buildings to explore other complexes, navigating tunnels would allow for more three-dimensionality below the ground and provide additional smaller areas to explore. Perhaps I’ll try creating a map or two of my own to explore some of those ideas.
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Back when I wanted to be a published gamer, I submitted an adventure to Dungeon Magazine. It was my one and only submission and left something to be desired in terms of length of play and ways to draw the player in, being a foray into an adventure for TSR’s recently-published Oriental Adventures and being a little too heavily influenced by the adventures published for FGU’s Bushido, particularly Valley of the Mists. For the creation of the map accompanying the adventure, I wanted to create something that had a little more polish than my typical hand-drawn maps. I had been reading the Lensman manga, which I believe was the Moribi Murano version from the anime of the same name, and I learned about using screentone cut to shape to for shading. I duly made a trip to the University Bookstore and acquired sheets with the patterns I needed to fill the areas on my map with forest.
In this day and age, it’s far easier to accomplish the same effect digitally using texture fills or brushes with the designs you want. It’s also much less time-consuming than painstakingly cutting shapes using an X-Acto knife. I acquired old-school Letratone textures for forests, mountains, and more, created as tiles from scans of the original sheets by John Cooper. The look definitely evokes the feel of the original first-edition area map, but I think it works a little better in color. I’m not sure if it’s the feel I’m looking for on my Gamma World map I’m redesigning, but I love the look and the possibilities, so I may find another project to use it on.
Original 1st Edition Gamma World area map
Gamma World forest from original map
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