As mentioned before, my Errynor mapping project for the Community Atlas has been an opportunity to bring to life ideas sometimes previously developed, and occasionally even mapped, in earlier decades of fantasy gaming. A Faerie settlement has been a concept under consideration for years, without finalising a mapped setting. When a Faerie city - what became Embra - came-up among the randomly-designed places for Errynor, that seemed the perfect time to progress with the concept finally.

Influenced by literary, artistic, folkloric, musical and fantasy gaming sources, I wanted to give the impression that visiting the city would be like negotiating Maurits Escher's semi-dream-state artwork and that of some of the surrealists. Disorienting, essentially, yet retaining a quality of magical wonder.

That's fine as an idea, but it then must be transposed into the physical reality of one or more maps to fit the limits of the Community Atlas.

Eventually, I settled on having many maps for the city, each showing only a small part, without defining what the city as a whole should look like, or how its pieces might fit together. Thus every visit there will be different, albeit with some familiar places for those returning - if they can find them!

The Atlas connections mean a map can have multiple links from it, but each linked map must use the first map as its only parent. They can't cross-link separately. Thus I opted for a two-fold access structure like two concentric circles, an outer "ring" linking with the Mortal Realm (and the next map "up" in the Errynor maps, that for Clack Valley), while the inner would lead to the Faerie city proper, so entering or leaving the city would be usually via the outer "ring" - inward to Faerie, outward to Mortality.

So as not to be too linear, I decided that when approaching the city from outside, it would look like just a village, so someone wishing to visit the Faerie "inner" city would first need to find a means to do so from there. That might be achievable randomly, by GM's choice, or using something like the magical Law of Similarity - like goes to like - possibly variably. For the latter, entering a field through a gate at the "village" might lead instead into a floral garden or a park in the Faerie city, say, and so forth.

From this, I thought having the "village" be different in form depending on the direction it was approached from would add extra spice, and decided on eight for the eight main compass points - north, south, east, west, northeast, southeast, southwest and northwest. So that's eight maps already, and we're not yet into the city!

This does though provide those three options - a D8 random-roll possibility and the approach-direction "Similarity" mechanic, either of which could be superseded by the GM as preferred.

For the Village maps, I decided to use as a base some from the two Judges Guild "Village" map books from the late 1970s, chosen randomly from their nearly 100 layouts. These are identically-scaled, set within a hexagon 1,056 feet, 0.2 miles, across from flat side to flat side, subdivided into smaller hexagons each about 40 feet across similarly.

Following from the Similarity principle, seven main elements were identified in each settlement: enclosures such as fields, orchards and gardens; crossing-points, like bridges, fords or ferries; damper places - lakes, ponds, streams or marshes; travel routes - roads, tracks, footpaths, etc.; upland areas such as hills, cliffs and broken ground; woodlands - copses, forests, even shrubberies; and structures - the village buildings.

Hence seven themed general areas developed: Enclosed Places, Crossing Places, Watery Places, Travelling Places, Hilly Places, Wooded Places and Constructed Places. These could be connected at GM's choice or by Similarity, leaving only the random option one short of another D8 roll.

In the notes for deep-sea hag Aunty MacKassa (PDF link; Forum discussion for this map is here), I'd mentioned Embra contained the great Twilight Market. That was to be incorporated in seven parts here, one for each of the Place groupings. Instead of impractical cross-links between the Market segments, I devised a Twilight Market identifier, based on various online and hardcopy-book designs, adapted and recoloured (not a CC3+ symbol, simply a piece of artwork):

Rather than a "Return" option, the eighth item became an additional D8 re-roll, ignoring further "8s", after which the GM could continue to the part of the Twilight Market for whichever of the seven places had been determined.

Thus the eight Village entry-points, seven general Places links, and the Twilight Market indicator provided the initial map for the city, accessed from the Clack Valley map in the form of a schematic drawing, given its sole purpose was to link to the other maps of the city. I called it the "Embra Official Guide", similar to how some real-world tourist guides are named. The next image is a cleaned-up (i.e. legible!) version of my final pre-mapping sketch for this schematic:

The eight outer Village maps link from this schematic individually, while the seven general area Places each get their own "landing schematic", as they consist of a group of separate locations. The random element, with other factors of what was both practical and interesting, meant each Places grouping would have ten different components in it, including the Twilight Market map for each Places set.

Ideas for what these Places might be came from a range of sources. Some were old concepts of my own, some drawn or adapted from fictional works, though many derived from real-world placenames. The origin of the city's name, Embra, is the local dialect contraction of "Edinburgh", Scotland's capital city. However, it also sounds like "ember", the glowing remains of a fire, which in turn conjures up the magical twilight glow of somewhere lit only by firelight, a place for stories of mystery and wonder. Thus the real-world City of Edinburgh became a source of inspiration for many of Embra's Places, suitably renamed, amended and altered to better suit a Faerie settlement.

The 70 items included locations in the city and names of streets, since Places need linking in ways more mundane as well as magical, to help keep things interesting. Ultimately, the split between Places and Streets was 34 to 36, as the "Streets" included a railway.

Each Place needed its own map, but the Streets and railway were condensed into a single map for each Places grouping. So the final tally of maps comprising Embra totalled "only" 57. Perhaps I should have named it "Heinz"...

This sketch illustrates the way the maps were to be connected:

Random base maps for the main Places were selected from all the old Judges Guild map books I had available - Villages I & II, Castles I & II, Temples I and Islands I (there never was a "II" in either latter case). Each book contains around 50 maps, though the Temples volume doesn't use the same hexagon style and scaling as the rest. Places were allocated to particular base maps from their appearance and content, although changes were made, so sometimes only the overall form of the base map was used in constructing the CC3+ Atlas version.

I reworked a set of tables for randomly generating caves and mines from another old Judges Guild text to decide on the Street lengths, widths, types and layouts, although that system ultimately was more "me" than "JG"!

A few notes were added in the process, but I wanted more, less predictable, aspects too. I turned to two tarot decks, which each coincidentally consist of 78 cards. One card was randomly drawn for each Village, Place and Street from either deck, and extra comments added to the map. The decks were Tarot of the Secret Forest (although this online review page has a lot more images), illustrated by Lucia Mattioli (Lo Scarabeo, 2005), and Shadowscapes Tarot, illustrated by Stephanie Pui-Min Law (Llewellyn Books, 2010). Both are heavily Faerie-inspired in their designs.

For the mapping style, I chose the Fantasy Town one from the January 2021 Cartographer's Annual, as it was ideal for the relatively small areas I needed. It has an attractive dark-wood-look border frame. I've not done much with frames in my Community Atlas mapping so far, so my initial thought was to discard this, but I had a change of mind, and for most of the maps enlarged it as a distinctive aspect. Partly, this was to help tie together all the Embra maps, after adding a series of Celtic-style knotwork and animal designs to the "wooden" frames.

Some of those designs were inspired by the connecting vector symbol options from the Cartographer's Annual Map Border pack (as recently featured in one of the ProFantasy live videos), one of which was used for the final "Official Guide" map. Others were reworked from the copyright-free drawings in Celtic Borders on Layout Grids by Mallory Pearce (Dover Clip-Art Series, 1990), coupled with more found in various online sources. Each Place group and the Village maps gained its own distinct variant, adapting and redrawing which proved a new challenge in itself!

All the maps have written PDF and text file commentaries, as usual too (preparing which took notably longer than the CC3+ mapping!).

I'll be posting notes about the various Places groups on the Forum over the coming weeks, as well as sending Monsen the Atlas items. Next today though, I'll start with a look at the final Official Guide schematic map.

You're working well here Remy - only another couple of thousand maps to go 😉

Oh, wait, no; that might have been a dream I had... 😁

The idea with the Symbols Along command is to set up symbols along the line you've drawn at equidistant intervals from one another (though this can be varied if required).

However, the Distance part of the command works from the symbol's origin point (that's where you'll see the cursor crosshairs meet when you pick up the symbol from the catalogue to first place it). This isn't always where you might expect it to be, and it may be that whatever symbols you're using are creating problems thanks to this facet. Without seeing exactly what you're trying to do, it's a bit tricky to advise more precisely than this.

The transparent space around the symbol is just that - emptiness. However, the amount of such space in and around the symbol may affect where precisely the origin point falls, so it can have an influence.

One possibility would be to set the Symbols Along line up with the symbols at or around that "too far" limit you mentioned, and then fill in the gaps with other symbols by-hand afterwards. You can always adjust the size of the symbols to fit whatever gaps there are, if they don't quite look right, or add some that aren't quite on the line to fill satisfactorily. More work, I know, but perhaps giving a better end result, especially if you want the palisade to look a little "lived in", where not every pole has been positioned perfectly, or cut from the same size tree.

It's fair to say that with commands like this, and also many of the Sheet Effects as a different example, it's often a question to trial and error - make a few tweaks, and then try again. You might want to set up a series of trial lines, and see which looks better, for instance. If you're like me, you might want to jot down exactly what you did each time though, so you don't forget what happened the one time it looked right ?

If you're still struggling, post an image or two here to highlight what's going wrong, and I'm sure someone will be able to assist you further.

Sure, Jim. I looked around in the Atlas, worked out where there were area maps smaller than continental-size, drew up a list of those, and then rolled some dice to find places to fit the total of 52 maps I had in mind. Duplicates were re-rolled, so no area would get more than one new map. There were more such areas than I needed, so not every place ended up being selected. I also removed a few areas that were quite heavily mapped already (or had reserved sites on them), and there were a couple that were too small to be viable for what I needed.

When it comes time to finding somewhere for the maps to go on the chosen area map, I then just look at the selected area map and pick somewhere that looks suitably interesting in it, maybe in a sub-area map if there's something suitable, or if not, I'll draw something myself, though not more than about 30-40 miles per side at most. In this case, I felt I'd been really lucky to have found a nicely small area map in the Serkbergen region which had some unused interesting features right in its centre; if I'd been drawing the area map myself, I couldn't have aimed it much better!

+1 from me for the tanks/AFV annual!

If you're seriously thinking of a full range of vehicles, maybe choose a specific theatre and time to reduce the options somewhat. Colour schemes and camouflage will easily swap over, but the modifications to vehicles, and the different types involved, end up as the real problems (speaking as a long-time model-maker and WWII wargamer).

Aircraft to follow? 😉

I don't find it takes quite that long on my PC, but certainly it isn't as quick as "normal" symbols.

I suspect the only way you might speed things up would be to amend every one of the symbols using Symbol Manager in CC3+ so that all parts of the symbol go on one sheet, while it still looks the same. This would prevent adjusting the features of each symbol that are currently on separate sheets using sheet effects, although you could still adjust the appearance of the symbol as a whole using effects on whichever sheet the whole symbol is on.

That would be a lot of work per symbol, and you would be best advised to store the amended versions in a separate, new, symbol catalogue, so as not to change the original symbols in case you might want to use those again, or in case something goes wrong with the changes you've been trying to make.

On the whole, Shessar's excellent artwork options might be preferable all-round, however!

If you want some alternatives, including wreath-forms, as well as types of leaves and other items used in wreath-shaped heraldic structures, there's a selection on the Book of Traceable Heraldic Art site here.

Wikimedia Commons has a lot more images of actual heraldic designs incorporating various wreath types here.

Good luck!

It may be worth noting that using the "C" = corner command to add extra nodes can sometimes create problems because of the extra nodes very close together this generates, and you can end up with unwanted extra lines you didn't create apparently linking unconnected parts of the line to one another. You may only see these at certain zoom levels when viewing the CC3+ map, but if you can see them, they'll often export if you try to save an image, or print it out. This is far more likely to happen with fractal lines or polygons than smooth ones, as they have far more nodes in general, but that "C" command isn't always problem-free either, unfortunately.

Thanks very much Sue!

Inkwell indeed have a fascinating collection of RPG-ideas mechanics like the dice and accompanying books, and a range of cards as well, for settings, adventures and characters. In fact, they currently have an active crowdfunding campaign on Backerkit that has only 36 hours left as I type this (ends 2024 May 10, 03:00 GMT) for some new cards.

Meanwhile, resuming from where I left off, the first thing I wanted to do was draw the base shapes for those hex-rooms, so they'd be actual hex shapes, not my wonky hand-drawn efforts. This would give a clearer impression of where the four upper level layouts could go, and allow adjusting the position of the inserted base-map, before starting the mapping. So I set-up a suitable 10-foot hex snap-grid:

The "Edit Hex Grid System" dialogue pane does pretty much all the work for you, as once you type in the first hex dimension, it automatically calculates the second. For everything else, apart from the grid system's name, I just used the default settings. The resulting maze of dots allows an easy check that the size will work for what's needed. One hex-room is larger though, so I also created a second, 15-foot hex grid similarly.

Then I created a TEMP Sheet and Layer, drew out both the hex-room layouts onto those, using 0.4-width lines, and made four copies of each that could then be moved around to test different layouts. The next illustration shows what I settled on just before beginning the map. In it, the BITMAP sheet now has a 50% transparency effect activated:

The locations for those upper levels are liable to need further adjustment, since I'm likely to want to vary the individual layouts, plus the cave walls will need to be shown too. That will mean more shuffling about, and could require the map border and background to be expanded as well. Neither should be all that difficult, at least in theory...

And so to the basic cave mapping:

Nothing fancy here as yet, as I've just dropped in a simple hand-copy fractal polygon of the main cave floor and the exterior, using the Cave, Default drawing tool (which also adds walls automatically). Using the drawing tool means it's easy to trace the exact outer lines of those hex-rooms in each respective cavern, although it does mean the cave floor won't be drawn beyond the map border. That creates a couple of problems, as the Outer Glow effect is larger than the current SCREEN sheet's mask (that thin white strip just outside the map's edge) can hide, and there's also a darkening towards the top left map corner due to the Inner Glow on the cave floors.

Enlarging the SCREEN's mask (typing-in the commands "collardel" - which removes the existing Screen Sheet mask - and then "collarauto" - which creates a new, larger, mask on the SCREEN Sheet) is easily done, but I'll wait a while for that, because I also want to draw on some exterior terrain over the cave's base design here, with some vegetation, to make clear it's the outside. Drawing that terrain "floor" so it extends beyond the map's border will also hide the "Inner Glow" issue there currently. That's something for another day though.

Having been tasked with constructing a Solar System for the Community Atlas world of Nibirum, only a few things were clearly in-place at the outset. Expressed preferences, coupled with the nature of Nibirum as depicted in the surface maps and descriptions of the world itself so far, showed Nibirum to be an Earth-like planet in size and nature, including with seasonal effects and climatic zones, illuminated by a single Sol-type Sun. As noted before, I'd opted for a simplified 360-day year for the planet more or less from the start too. One, probably Luna-type Moon, was preferred at least (Quenten), although perhaps with one or more additional moons (Dogtag). I assumed impressive astronomical phenomena like solar and lunar eclipses would be required additionally, to provide Nibirum with extra flavour and reality. The solar eclipse factor gave a first physical parameter beyond the planet, since Earth-type total solar eclipses could only happen if one of Nibirum's moons had the same apparent size as its Sun.

The "multiple moons" question led me back to an idea I've played with previously in RPG settings, a variable effect or object usually seen in one part of the sky, when visible at all, which can become a convenient plot-device or subject of game-omen lore. I settled on a group of small cometary objects loosely "trapped" around the leading (L4) Lagrange point on Nibirum's orbit. The L4 and L5 Lagrange points on a body's orbit are gravitationally stable points where relatively small objects can become caught for very long periods (centuries to millennia). Their own pre-existing space-motions mean the objects usually continue to orbit about that stable point, so are not necessarily fixed in one spot. Each point lies more or less at 60° from the Sun as seen from the main body - such as a planet - forming one apex of a conveniently equilateral triangle, with the planet and Sun at the other two apices. This means, handily, that the planet's distance from its Sun is the same as the distance to either of these two Lagrange points. One lies 60° ahead of the Sun as seen from, say, Nibirum, the other 60° behind the Sun. Thus objects around Nibirum's leading Lagrange point would be visible close to the ecliptic in the morning sky before sunrise. So these little comets quickly became the Phoenix Asteroids Dawn Heralds.

Leaving the L5, trailing, Lagrange point empty - at least of anything visible from the surface of Nibirum - opens the door to scholarly speculation on the planet by those seeking symmetry. So maybe the misty stars of the Dawn Heralds shine showing the approaching richness (or otherwise) of the magical-mystical potential into which Nibirum will soon be moving (for a 360-day year, 60° = 60 days on Nibirum). That there is no equivalent group of Dusk Heralds could suggest that potential has been exhausted by the passage of the magical world of Nibirum, and will take much time - most of a year, say - to recover.

However, fitting a second, much smaller moon into the trailing Lagrange point on the orbit of Nibirum's main Moon seemed an ideal reworked symmetry, which also gave the planet more than one natural satellite. (The Lagrange point geometry is the same for the lunar orbit. Just substitute "Nibirum" for "Sun", and "main Moon" for "Nibirum" and "the planet" in the earlier description.) Thus was born the Red Moon, always faithfully following the larger White Moon around the sky. Not quite Gloranthan, though with names ultimately inspired by that fantasy world, via the old "White Bear, Red Moon" board wargame name, later revised as "Dragon Pass". Still more perfectly, and following from typical Earthly precedents of similar celestial behaviour, this can also be called the Dog Moon. So naturally, another name for the White Moon had to be the Q Moon (only from Nibirum's southern hemisphere, however, and then only by societies that recognise the significance of the apparent pattern forming said letter on the lunar disc).

Then 'twas time to see what else lay beyond Nibirum. There are of course numerous random solar system generators available for RPG use. Given the experimental nature of the whole Night Sky for Nibirum concept, I decided on one I've had for a while, but never used this way before, Galactic Baroque's "Instant Universe" (available for purchase via DriveThru RPG). This proved interesting, if not quite so straightforward, rapid, or complete as its name might imply.

Needing a Sol-like Sun, and given there is some scholarly debate still as to whether Earth's Sun is spectral type G2 or G4, I went with a class G3 sun of standard stellar type for Nibirum. That means it has sunspots from time to time, and a solar wind able to produce polar and sometimes mid-latitude aurorae, just as we see from Earth. At one solar mass, it seemed sensible to also go with a similar size to our Sun, thus Nibirum's Sun has a diameter of 1,400,000 kilometres (Sol's is 1,392,530 km; if you want miles, divide by 1.6).

Dicing on the Instant Universe tables provided the System with seven planets, their distances from the Sun, masses, sizes, natural satellites and so forth. Some of these features were slightly reworked or rounded-off to give a Solar System a little less mathematically-challenging for GMs to work with, and a few parameters not given by Instant Universe were added. The obvious place to fit Nibirum into this scheme was as the third planet outwards from the Sun, because that had a rounded distance of 130 million km, not far from Earth's own circa 150 million km.

Next came a series of calculations to find out what of all this could be seen from Nibirum. The Sun has an angular size of 0.62° from the planet (Sol is about 0.5° as seen from Earth), so that decided what minimum angular size the Q Moon needed to be to produce total eclipses for Nibirum. A diameter of 2,130 km at 200,000 km from Nibirum did the trick, with an option (just like for Earth) to have the lunar orbit's centre be slightly offset from Nibirum's centre, so the lunar disc can be sometimes a little too small to completely block the Sun, producing not-quite-total annular eclipses occasionally. Random rolls came up with a Dog Moon size of 350 km, so showing a tiny, faint, red disc about 0.1° in diameter as seen from the planet. The human eye can resolve objects as small as roughly 0.07°, so this is quite near that limit. No other planet appears as anything other than a bright to extremely brilliant star to the unaided eye from Nibirum.

I wanted the Dawn Heralds to be quite easily visible sometimes from the planet, despite no individual object within them being brighter than a 3rd magnitude star - and that only very occasionally. So I decided on them appearing as a somewhat nebulous patch, with at most a few brighter (4th or 5th magnitude) star-like points within, which collectively should be roughly 0.5° to 1.5° across as seen from Nibirum. This equates to a physical cross-sectional area of around 1 to 3½ million km or so, an actual size easily achievable by one quite modest comet of the kind visible from Earth. Such an angular size is similar to that of the Earth-visible Pleiades star cluster of 9 or 10 mostly 4th and 5th magnitude stars in the constellation of Taurus the Bull, about 1° east-west by 0.7° north-south. Despite the relative faintness of its stars (only one is 3rd magnitude), this cluster is a surprisingly easy object for the unaided eye in even quite strong twilight. The proximity of the stars to one another seems to make it easier to spot than just their brightnesses alone might indicate, so the Dawn Heralds can have a similar ability to "tickle" the vision of Nibirese morning sky-watchers.

Choosing what to depict on maps from all this, and how to do so, was somewhat more of a challenge. As I don't have Cosmographer installed, mapping came down to a choice between two main Annuals, CA 22 (October 2008) Star Systems or CA 80 (August 2013) HighSpace Star Systems. CA80 has a greater range of planet symbol options, and I needed two ringed planets, but in the end, CA22 just won out, as despite it having no ringed planet symbols, it did have the option for dynamic lighting effects on its planetary discs. Moreover, CA22's Mapping Guide includes a short tutorial on creating your own planet symbols with said dynamic lighting.

Thus with help from the GIMP (with which I freely confess I am a veritable novice), and still more from the Great and Powerful Monsen (who kindly allowed me to extract from his rotating-world graphics, and provided new, FT-generated, north and south polar views of Nibirum for the purpose), I constructed a small group of dynamic-lighting Nibirum planet symbols for use with the Atlas, one set showing six views of just the world, the other half-dozen onto which I GIMP-added some airbrushed white cloudy shapes, to make it look a little more homely.

[Image_10639]

After further deliberation, I decided on one chart to show the relative sizes and orbital distances of the planets, and a set of maps to show the satellites and features for each planet.

The relative-scale Solar System chart:

[Image_10640]

The five planet and satellite description maps:

[Image_10641]

[Image_10642]

[Image_10643]

[Image_10644]

[Image_10645]

Many of the details provided on these maps (collected with some further notes in a PDF to accompany them in the Atlas) cannot be discerned from Nibirum. However, I decided to preserve everything that had been randomly rolled or otherwise chosen, partly for the sake of completeness, partly because in some fantasy settings, there are ways of travelling to other planets - the classic sailing ships of the stars in some earlier incarnations of D&D, for instance. It seemed thus a useful adjunct to include this information for any who might wish to explore the Nibirum system more fully.

After that, I constructed some extra charts to help RPG GMs especially keep track of what's visible, where and when in Nibirum's night sky, starting with those Moons.