#plus a Dragonlance one which is still in development | Explore Tumblr posts and blogs

artemis-entreri · 5 years ago

Photo

[[ Source | Artist’s Patreon

The Forgotten Realms – the default setting for the Dungeons & Dragons roleplaying game – form one of the largest, most detailed and most popular fantasy worlds ever created. It is the brainchild of Canadian writer Ed Greenwood who started developing it as a setting for fantasy stories when he was just eight years old. Ten years later he began running D&D campaigns set in the same world, and also began writing articles for Dragon Magazine. The first mention of the Realms in-print came in 1978. Over the next eight years Greenwood became a popular writer of articles for the magazine and he included plenty of hints about his own campaign world in the process.

In 1986 TSR, Inc., the publishers of D&D, were looking for a new setting. The Dragonlance setting had been an enormous success, but the feeling was that the continent of Ansalon was too small to serve as a setting for lots of stories. D&D creator Gary Gygax was also in the middle of his painful departure from TSR, which made the future use of his World of Greyhawk setting questionable. D&D needed a new “base” world.

TSR editor Jeff Grubb contacted Greenwood and asked exactly how much of the Realms had he actually created? Greenwood’s reply was, “lots.” Soon boxes were arriving at TSR HQ in Lake Geneva, Wisconsin by the score. Each box was packed full of notes, handwritten and typed, featuring information on hundreds of characters and cities, dozens of countries and countless new monsters, factions and magical items. Greenwood’s map of the main continent was divided across dozens of A4 sheets of paper which were painstakingly reassembled in the main TSR office, taking up almost every inch of free floor space. Greenwood’s map of the setting’s signature city, Waterdeep, was even larger and detailed and named almost every building. This was the Tolkien school of in-depth worldbuilding taken and expanded and applied to a continent several times the size of Middle-earth.

The slightly awed TSR bought the rights to the setting and began released it to the public in 1987. The first release was a novel, Darkwalker on Moonshae by Douglas Niles, followed by the Forgotten Realms Campaign Setting, or the “Big Grey Box” as it became infamously known. The Grey Box sold over 100,000 copies in short order, a staggering number for an RPG supplement. Ed Greenwood provided his own novel, Spellfire, and a few months later another book was published by a first-time novelist named R.A. “Bob” Salvatore. The Crystal Shard introduced the character Drizzt Do’Urden, a dark elven ranger seeking to atone for the sins of his entire race, and a fantasy publishing legend was born. To date, more than 30 million Drizzt novels have been sold by themselves.

The Realms grew and expanded. The continent of Kara-Tur, previously developed in 1985 for the Oriental Adventures sourcebook, was bolted to the eastern side of the Realms (with Greenwood’s blessing). The western continent of Maztica and the southern continent of Zakhara were explored in further boxed sets. Dozens of adventures and supplements explored the gods, power groups and races of the Realms in remarkable detail. In 1989 the Realms made the transition to D&D 2nd Edition through an epic campaign known as the Time of Troubles, or Avatar Wars, the first of many “Realms-shaking events” that unified a setting noted for its expanse and scope.

The setting expanded to a successful comics run and also a line of well-received video games, such as Curse of the Azure Bonds. However, it was the epic dungeon-crawler Eye of the Beholder (1991) that became a major crossover hit with general gamers and expanded the audience even further.

D&D and the Realms ran into a major problem with the collapse of TSR in 1997, during which time it was briefly possible that both would disappear altogether. However, Wizards of the Coast stepped in and bought both the game and the setting. This led to a creative renaissance for the setting, spearheaded by the hugely popular video game Baldur’s Gate (1998), the first RPG to be released by BioWare. D&D 3rd Edition arrived in 2000 and was followed by the Forgotten Realms Campaign Setting book in 2001, one of the most handsome RPG books ever published. Over the next seven years the Realms continued to peak in popularity, with more video games such as Icewind Dale and Neverwinter Nights contributing to its success.

In 2008 D&D launched its 4th edition, but the surprising decision was made to effectively destroy the Realms, turning it into a kind of post-apocalyptic, high-concept setting. The decision was vehemently rejected by the overwhelming majority of Realms fans; sales of the 4th Edition D&D and Forgotten Realms material were disappointing and the setting spent several years in the doldrums until 2014, when Wizards of the Coast launched D&D 5th Edition. A streamlined, back-to-basics version of the game, it proved an immediate, huge hit. Even more notable was that, for the very first time, the Forgotten Realms was now the default setting for the D&D game. The new setting rolled back most of the disastrous changes from 4th Edition and restored some faith and popularity in the setting.

There are still some worlds left unconquered. A Forgotten Realms movie is in development for release in 2021 or 2022, and Larian Studios are working to relaunch the video game line with the eagerly-awaited Baldur’s Gate III. After a short hiatus, the novel line has been relaunched by R.A. Salvatore with a new run of Drizzt books, although there seem to be no plans for more material at the moment. And, watching over it all, remains Ed Greenwood, who still insists he has far more unpublished notes and setting material than has ever been seen formal print. On that basis, the Realms will be around for a long time to come.

Mapping the Realms

Greenwood’s original map of the Realms focused on the continent of Faerûn, extending west to the island of Evermeet; south to the jungles of Chult and the island of Nimbral beyond; east to Semphar and the Horse Plains; and north to the towering Spine of the World mountain range and the Endless Ice Sea beyond. He had little notion of what lay elsewhere in the world, except for a huge island chain to the north-west called Anchôromé.

Other writers and editors soon expanded the setting. The 1985 Oriental Adventures book by Dave “Zeb” Cook had detailed an Asia-like land called Kara-Tur. This was retconned (and shrunk in the process) into the eastern half of the continent in the Kara-Tur: The Eastern Realms boxed set (1988). In 1990 the Horde boxed set explored the Tuigan plains which linked the two subcontinents. In 1991, the Maztica Campaign Set added a new continent far to the west of Faerûn. In 1992 the Al-Qadim sub-setting was launched, detailing the lands of Zakhara to the south of Faerûn.

Through all of these boxed sets, adventures and campaign guides, maps were a constant feature. Not just maps of the continents and landmasses, but maps of individual countries, cities, streets and even individual buildings. The City System (1988) set contains a colossal map of Waterdeep which is too big to fit inside most average-sized homes, and names virtually every building in the city. The Forgotten Realms is almost certainly the most heavily-mapped fantasy world in existence, with literally thousands of maps existing of its various locations.

Despite that, a full, canonical world map of the entire planet of Abeir-toril had to wait until the release of the Forgotten Realms Interactive Atlas (1999) on CD-ROM. The atlas featured almost every single map from every single Realms product ever released plus lots of new ones, and also a complete world map which added multiple new continents to the planet. Ed Greenwood would later reveal some new information on these continents, but, twenty years later, they have still received scant development compared to the originals.

The first-ever canonical world map of Toril, from the long out-of-print Forgotten Realms Interactive Atlas (1999) by ProFantasy.

A New Map of Toril

My new map of Toril depicts the planet as it stood between the 2nd and 3rd Editions of the setting. When 3rd Edition setting was released in 2001, the map-makers chose to shrink the main continent of Faerûn to remove empty space in the south; given that Faerûn was never the biggest fantasy continent in the first place, sometimes straining credulity given how packed it was, this was unnecessary and was eventually reversed in 5th Edition.

4th Edition, much more controversially, blew up the continent in a magical catastrophe known as the Spellplague and completely reshaped it. Fortunately, most of these changes were promptly abandoned in 5th Edition, which restored the continent to its former glory.

To create this map, I used a base model from my twenty-year-old copy of the Forgotten Realms Interactive Atlas (this also inspired some colour choices, particularly for the mountains) and information from canon sources and from some of the better fan maps out there. A more detailed map of Faerûn will – hopefully! – follow, although it will be considerable work.

The World of Abeir-toril

The world of the Forgotten Realms is an Earth-sized planet called Abeir-toril, “Cradle of Life” in Auld Wyrmish. Toril is the third of eight planets in its star system, and it possesses one large satellite, Selûne, and dozens of smaller satellites, asteroid-sized bodies called the Tears of Selûne.

Toril is divided between one very large continental landmass, almost big enough to qualify as a supercontinent, and three other continent-sized bodies. Five large island-continents and thousands of smaller continents are also known to exist.

The main continental landmass is divided into three lesser continents or subcontinents:

Faerûn is located in the west of this landmass, running from the Endless Ice Sea to the Great Sea and from the Trackless Sea to the Tuigan Plains (or Hordelands) in the east. Faerûn is the original and principle setting for the Forgotten Realms campaign and by far the area of the planet with the most development. Faerûn vaguely resembles Europe and the Near and Middle-East in the medieval period, with the landlocked Sea of Fallen Stars serving as a Mediterranean analogue.

Kara-Tur is located to the east of Faerûn and is the home of the mostly-defunct Oriental Adventures and Living Jungle sub-settings. It is an Asian-inspired land of vast empires, huge cities and adventure. Kara-Tur is the home of the largest nation on Toril, the Shou Lung Empire, and the tallest mountain range, the Yehimal, which is even taller than the Himalayas.

Zakhara, the Land of Fate, lies south of Faerûn and south-west of Kara-Tur. The home of the Al-Qadim sub-setting, it is a land of vast, boiling deserts and cities clustered around oases and bays. Zakhara is inspired by the mythology of Arabia. The largest single city on the planet, Golden Huzuz, can be found in Zakhara.

In addition, several other continents can be found elsewhere in the world:

Maztica, the True World, lies to the west of Faerûn across the Trackless Sea. It is inspired by Aztec and Mayan mythology and consists of jungles, volcanoes and deserts. North of Maztica lies a land of open plains more reminiscent of the American West, although this area has not been explored much in canon materials.

Katashaka lies to the south of Maztica and consists of steaming, hot jungles inhabited by various hostile lizardfolk. Katashaka seems to have been inspired by South America, but it has received relatively little development so far.

Ossë is a large landmass lying to the east of Kara-Tur. It is quite hot, sparsely-populated and has not yet been explored in detail in any canon materials. Based on the limited information available, it appears to be a supersized version of Australia.

There are numerous islands of note in the world, the most famous of which are Evermeet, the home of the elves located far across the Trackless Sea; the Moonshae Isles off the coast of Faerûn; Lantan, the land of engineers and tinkerers; Nimbral, the mysterious Sea-Haven; the islands of Anchôromé off the coast of Maztica; Wa and Kozakura off the coast of Kara-Tur; and the large island-continents of Myrmidune, Tabaxiland, Aurune and Braaklosia, about which relatively little has been revealed.

]]

131 notes · View notes

dailybestiary · 5 years ago

Text

Books of Magic: The Voyage of the “Princess Ark”

(Images by Jim Holloway and Thomas Baxa come from PDF scans of Dragon Magazine, are © Wizards of the Coast or their respective copyright holders, and are used for review purposes.)

Previous installments in my “Books of Magic” series were, weirdly enough, about books.

This time, I want to tell you about a series: Bruce A. Heard’s “The Voyage of the Princess Ark,” which turns 30 years old this very month.

TVotPA ran in the pages of TSR’s Dragon Magazine nearly every month from January 1990 (Dragon #153) through December 1992 (Dragon #188). A serialized travelogue and adventure story told in 35 installments over three years, TVotPA was part Master and Commander, part Star Trek, and part The Adventures of Asterix (the last two of which Heard explicitly cited as inspiration in his letters columns). It follows the saga of Prince Haldemar of Haaken, an Alphatian wizard who recommissions an old skyskip and sets out to explore the lesser known regions of the Dungeons & Dragons game’s Known World, which would soon come to be known as Mystara.

Some background might be necessary for those of you who aren’t familiar with the chaos that was D&D at the time. In the 1980s and 1990s, Dungeons & Dragons and Advanced Dungeons & Dragons were two different games. I’m simplifying the chronology here, but basically in the late ’70s D&D was meant to serve as a simplified gateway to introduce fans to fantasy role-playing before guiding them on to AD&D. But in the 1980s, thanks to the release of the Moldvay/Cook Basic and Expert Sets, and then the five Mentzer box sets (the ones with Larry Elmore dragons on the cover, now referred to as BECMI D&D—for the Basic, Expert, Companion, Master, and Immortals Rules box sets), D&D had become a viable game in its own right, with its own world, referred to only as the Known World.

The Known World—particularly as it was showcased in the Expert Rules—was a mess: more than a dozen nations slammed together in the corner of a continent to illustrate for young DMs the various forms of government you might find in D&D beyond kings and queens. Along the way, these nations also served as analogues for real-world societies ranging from Western European countries to Native American nations to the Mongolian khanate. But it was a glorious mess, thanks to a series of excellent Gazetteer supplements that had rounded out and mapped these nations in great detail, capped off by a box set, Dawn of the Emperors, that described the Known World’s pseudo-Rome, Thyatis, and its rival empire Alphatia, a nation of wizards across the sea.

By the end of 1989, then, D&D was at a crossroads. It was clearly the unloved child, seen as “basic,” best for beginners. Its setting did not have the novel support of Dragonlance or the energy of the surging and more thoughtfully conceived Forgotten Realms, then only two years old. The Gazetteer series had covered nearly all the known nations (two more would come later thanks to popular demand). And even Dragon Magazine rarely carried D&D material—a fact that was excruciating to me when I started picking up issues in late 1988 as a 5th grader.

Into this void stepped Bruce Heard. He’d been the architect of the Gazetteer series, had written some of its best installments, and was the overmind behind the D&D line at the time. If I’m remembering my history correctly, he approached the editor of Dragon, the amazing Roger Moore, about supplying a column that would provide regular D&D content for that starved segment of Dragon’s audience. In his editorials and answers to reader letters, Moore had made several mentions of needing more D&D content for the magazine, so he was a receptive audience. Heard got the green light, and “The Voyage of the Princess Ark” was born.

I still remember where I was when I realized this was happening. I missed the series launch—with my tiny allowance, I could only justify buying Dragon issues that really interested me, and Dragon #153 hadn’t leapt of the shelf at me. (Not having the Masters Rules box at the time, I didn’t realize the illustration of a continental map plastered with “WRONG WRONG WRONG” was referring to the D&D world.) I did have Dragon #155 (still one of my favorite issues of all time), but somehow I skipped past TVotPA Part 3—I wasn’t reading issues cover to cover yet and somehow didn’t grasp what was going on.

Then came issue #158. I was away for a week at Boy Scout summer camp, and I’d brought the June issue of Dragon with me. Having torn through the articles about dragons (June’s theme was always dragons), I turned to an article illustrated with a wizard and an ogre/elf cross riding pelicans. Better yet, they article had stats for playing these ogre-elves as PCs.

D&D stats.

THIS WAS A D&D ARTICLE!

And it was part of a SERIES!!!

With some effort, I tracked down the issues I’d missed—no easy task for a just-finished-6th-grader—and soon was buying Dragon every month. Moore and Heard’s plan had worked. I was hooked on both TVotPA and Dragon from then on. (The next time I missed an issue, I’d be a college freshman and the industry was on the verge of collapse.)

Most installments of TVotPA followed a simple template: The Princess Ark would fly to some new spot on the map, the crew would get into some trouble (usually brought down on them by the actions of Captain Haldemar himself), and then more or less get out again, either due to a last-minute save by Haldemar or some surprising turn of events. All this played out in the form of log entries—originally by Haldemar, then supplemented by other crewmembers as the cast expanded—that allowed Heard to deliver both in-world descriptions and rollicking action at the same time. The article would then offer back matter containing rules content or setting write-ups, and sometimes conclude with a letters column of readers reacting to the setting or seeking clarification on some arcane point of D&D rules and lore.

While this template was simple, it was never boring. The episodic nature of the series let Heard play in a variety of tones and genres: lost-world pulp, courtly drama, horror, farce, even a Western—heck, he slipped in an homage to the Dark Crystal (which at the time I didn’t get, not having seen it) as early as Part 5 (Dragon #157). As well (without getting into too spoilery territory), various overarching antagonists and plot threads—including a threatening order of knights, a devious dragon, two major status quo changes, and divine machinations—kept things simmering in the background from episode to episode. The characters likewise became more developed as Heard’s writing grew in confidence and ambition, and reader affection grew for side characters like Talasar, Xerdon, Myojo, and the rest. Once the series was up and running at full speed, it was a sure bet that if you didn’t like that month’s story, you’d dig the rules write-up, or vice versa. And when the story, setting, characters, and rules all came together, such as in Dragon #177, an episode would just sing.

Once again, I can’t tell you how thrilling this series was to 6th–9th-grade me. First of all, it came along at the perfect time. Heard’s writing literally matured just as my reading did, so the series and I literally grew up together. 6th grade was also the year I discovered comics, so this was also the era of my life when I was falling in love with serialized storytelling. Similarly, it was my first time really embracing the epistolary form.

Perhaps most significantly for this blog and my freelance career, the column was also an early primer for me on game design. Watching Heard tweak D&D’s simple rules to evoke a more complex world, especially when looked at in concert with D&D’s Gazetteer and Hollow Word supplements, gave me the courage to think about tweaking/inventing lore and systems myself. Heard also made a habit of pilfering monsters from the Creature Catalogue, seeing potential in them no one else had, and then suggesting entire cultures for them. (If that doesn’t sound like someone you know…what blog have you been reading?) He made creating a world seem easy, because he did it month after month after month.

Finally, TVotPA was thrilling because it was clear proof that someone took “basic” BECMI/Rules Cyclopedia-era D&D seriously. And that meant someone took us, the fanbase, seriously too. Back then, I couldn’t afford AD&D. Even if I could, I didn’t want to mess with all the complexity. Plus, I loved the Known World. I loved the Gazetteer books and the Aaron Allston box sets. By writing and publishing TVotPA, Bruce Heard and Roger Moore made me feel like they cared about and for fans like me. I didn’t have Raistlin, I didn’t have Elminster…but I didn’t need them, because I had Prince Haldemar of Haaken and his magical Princess Ark.

In fact, it’s no exaggeration to say that falling under the spell of Dragon and TVotPA were some of the most magical and mind expanding moments of my middle school years.

But what does this mean for you, the current Pathfinder or D&D fan? Should you read “The Voyage of the Princess Ark”?

Obviously I’m going to say yes, for all the reasons I’ve listed above. If you like maritime adventures, steampunk, or pulp adventures, this is obviously the series for you. If you like Pathfinder/D&D where a wizard is as likely to throw a punch as he is to go for his wand, this is the series for you. If you like on-the-fly worldbuilding, this is the series for you. If you like setting, story, and rules expansion all mixed together every month, this is the series for you.

TVotPA has never been collected in its entirely (more on that later), but there are PDF scans of all that era’s Dragon issues online. Start at Dragon #153 and keep reading. I’ll warn you that the first installments are a little slow, but I’d be surprised if you aren’t pulled in by the end of Part 8 (Dragon #161). If you’re the sort of reader who wants to sample a series running on all four cylinders before committing, I recommend Part 18 (Dragon #171), set in the pseudo-Balkan nation of Slagovich, or Part 24 (Dragon #177), when the crew encounters the Celtic-influenced druidic knights of Robrenn, as great places to get a strong first impression.

To my eye, “The Voyage of the Princess Ark” consists of four major arcs, plus a smattering of follow-up material that owes a debt to the series. If you do decide to dive in, here’s a quick reading guide:

Arc 1 / Parts 1–10 / Dragon #153–163 / This arc launches the series and introduces us to several major antagonists. The first few installments are slow going, but by Part 6 (Dragon #158) or 7 (Dragon #160) we see signs of the series as it will be in its prime.

(Dragon #158 also looks at D&D’s immortal dragon rulers; some of this info will later get superseded by a more canonical article in Dragon #170 a year later. Don’t sleep on Dragon #159—though it doesn’t have an installment of TVotPA, there is some fun Spelljammer content in that issue. Speaking of Spelljammer, Dragon #160 also has a companion article entitled “Up, Away & Beyond,” that serves up rudimentary rules for space travel in D&D in tandem with the action in that month’s TVotPA.)

As you have probably just gleaned, this arc also takes the Princess Ark briefly into space and introduces D&D’s second, secret setting, the Hollow World, which was being launched at that time .

Arc 2 / Parts 11–15 / Dragon #164–168 / This short arc deals with the ramifications of a major status quo-altering event at the end of the previous arc. As the crew comes to terms with their new circumstances, Haldemar learns more about the ship itself and the magics behind her. The arc ends with yet another status quo shakeup and detailed maps of the Princess Ark.

Arc 3 / Parts 16–28 / Dragon #169–181 / Hex maps! One of the calling cards of the D&D Gazetteer series was its gloriously detailed full-color hex maps, so it was kind of a disappointment when TVotPA served up only rough sketches of coastlines and mountain ranges. Part 16 gave us what we’d wanted all along: glorious hex maps (detailing the India-inspired nation of Sind no less!). They weren’t always perfect—several issues in the #170s had the wrong colors for mountain ranges, or even seemed crudely painted with watercolors—but by Part 24 (Dragon #177) we got the crisp, expertly designed nations we expected in our Known World.

Early in this arc, we also get a passing of the torch between artists. Parts 1–17 were illustrated by Jim Holloway, who I like for his action scenes, his expressive faces, and the classic stern captain’s look (complete with mustache) he gives Haldemar. (Holloway also does the best dwarves, gnomes, and halflings in the fantasy business.) Starting with Part 18 (Dragon #171), we are treated to the more angular, stylized look of Thomas Baxa, with Haldemar losing his mustache and gaining a silver-streaked ponytail. Terry Dykstra takes over in Part 25 (Dragon #178); his style is more cartoony (his Myojo really suffers from this), but he keeps Baxa’s character designs till the end of the series.

Now that I’ve totally buried the lede, let’s unearth it: This arc is, for my money, the series at its absolute prime. Action-packed stories. More characters in the spotlight. Meaty setting descriptions and rules content. New PC races and classes. Even heraldry for each nation! Heard also continued his habit of dredging up D&D creatures from the Creature Catalogue and loosely tying them to real-world cultures for great effect. I suspect many of you will love the French dogfolk of Renardy or the English catfolk of Bellayne, not to mention the Teenage Mutant Ninja Turtles reference he sneaks in there.

(By the way, it should be noted that today in 2020 we’re more hesitant to do such A+B design. But remember, 1) 1990–1992 was a different time��by ’90s standards, Heard is engaged in pretty solid, multiculturalist worldbuilding, and 2) Heard grew up in Europe (France originally, I believe), so while some of the characterizations and comedy is broad, the settings are grounded in both on-the-ground familiarity and good research, and the humor is affectionate and of a piece with works like Asterix that any European reader would be familiar with. In other words, don’t stress it and just enjoy that the dog-dudes are shouting “Sacrebleu!” The one exception might be the depiction of Hule, an evil D&D nation that has always been hung with vaguely Persian or Arabian trappings…but again 1) Heard was working within the established canon, and 2) the Known World setting more than balances that out with the Emirates of Ylaruam, an Arabian/Persian-inspired nation that was depicted with lots of sensitivity and care by Ken Rolston and others, to be followed by the amazing Al-Qadim setting for AD&D. So I don’t think there’s much in here that should raise alarms from a cultural sensitivity perspective, but if something does strike you discordantly, remember we’re talking about works that are 30 years old and make allowances as you feel you can.)

Along the way, you’ll also get a sneak peek at what would become AD&D’s Red Steel setting and the Savage Baronies box set—including some of the first Spanish and Moorish-inspired nations you’ll find in fantasy RPGs of this era—learn a bit about the Known World’s afterlife and undead, and even get an honest-to-Ixion cowboy shootout, as well as lots of PC options and deck plans for the evil knights’ flying warbirds, which put the Klingons’ warbirds to shame. (Oh, and while you’re reading, don’t skip the two articles about the Known World’s dragons in #170 and #171!)

Arc 4 / Parts 29–35 / Dragon #182–188 / Dragon #158–181 is among the best two-year-runs Dragon Magazine ever had, and TVotPA is a large part of the reason. But a lackluster issue #182 was a first quiet sign of a long slow downturn to come. The fact that that issue’s TVotPA entry was only a letter column portended even more dire things. In fact, three of the seven installments in this arc were purely letters columns, which was a huge disappointment at the time: We’d waited a whole month and got…just letters?!?

By this point, I think we knew the Wrath of the Immortals box set was coming—one of those world-shattering setting updates that was being pitched as a relaunch of the setting, but which could also serve as its climax. My hope at the time was that Wrath of the Immortals would kick things into a new, higher gear for both the Known World (which by then we knew as Mystara) and TVotPA, especially since the D&D Rules Cyclopedia had only come out the year before. But alas, it wasn’t to be.

Thanks to the three letters-only entries, the writing was on the wall. In Part 35 (Dragon #188), TVotPA wound its way to a close that felt appropriate but not properly climactic. God, what I wouldn’t have given to have traded those three letters columns for one last showdown with a certain dragon, those dastardly knights, or any other more suspenseful end! The end we got was nice and tidy enough (and took us to fantasy Louisiana, Australia, and Endor), but it wasn’t the end we wanted…in part because we didn’t want it to end, ever.

Arc 5 / Coda & Part 36 / Select issues of Dragon #189–200, Champions of Mystara, Dragon #237, #247 & #344 / In 1993, TVotPA was replaced with “The Known World Grimoire.” This was a grab bag of announcements, letters columns, nitty-gritty details on running dominions (Companion and Master-level D&D players got to have their own lands, castles, and even kingdoms if they so wished), and other sundries. Most of these are skippable. Four exceptions are four “Grimoire” entries which could practically be TVotPA installments: Dragon #192, which covers the manscorpions of Nimmur, Dragon #196, featuring the orcs of the Dark Jungle, an article on D&D heraldry in Dragon #199 (which is an edge case, but I’m including it here because the rules could be applied to the coats of arms of the various Savage Coast nations), and Dragon #200, which looked at the winged elves and winged minotaurs of the Arm of the Immortals. Coming out as it did in the giant-sized issue #200, this last article felt like what it was—a last goodbye to D&D’s Known World/Mystara as we knew it before Mystara’s relaunch as an AD&D line.

(Dragon #200 also had a nice article on making magic-users in D&D more distinctive. There was also “The Ecology of the Actaeon” in Dragon #190, one of the only D&D ecologies to be published in Dragon’s 2e AD&D era. Somewhere in this time we also got the news that the Known World would be relaunched as AD&D’s Mystara setting, whose products were famous for coming with audio CDs and not much else.)

Around this time TSR also published its TVotPA-inspired—and utterly maddening—Champions of Mystara box set. I say “maddening” because, at least to me, it clearly felt like a “Sure, here fine, have your dang box set” product, a too-pricey production made because fans demanded it, but not out of real love from anyone at TSR but Bruce Heard himself and co-designer Ann Dupuis.

(Let me be clear: This is all speculation; I can’t confirm any of that; I’m just saying what it felt like.)

Among the reasons for my disappointment: There was no new content featuring Haldemar and his crew. One of the booklets reprinted most of TVotPA…but not the first 10 or so entries (so it wasn’t even the complete epic! *headdesk*) and none of the ancillary material, just the story logs. Another booklet was deep in the weeds of skyship construction—hell yeah, you could build your own skyship!—but gave little content to, say, inspire lots of fun skyship-to-skyship adventures in the vein of Spelljammer, such as tons of skyships from other nations. The box did contain eight standalone cards with other ship designs, but most of these were one-off constructions by solitary wizards and rajahs, not enough to really launch a campaign. My favorite booklet was the “Explorer’s Manual,” which gave us some new setting details we hadn’t seen before, including an amazing subterranean nation of elves and gnolls that I still think about to this day…but again, it was all too little, too late—for this fan, at least.

In other words, don’t try to buy the Champions of Mystara box set—at time of writing it’s crazy expensive and not worth it for anyone not actively playing BECMI D&D right this minute. If, after reading the entire series, you’ve fallen in love with TVotPA (which admittedly was my goal in writing this) and absolutely must have Champions for that nation of elves and gnolls, get the PDF on DriveThruRPG.com.

Years later, as Dragon was limping through the late ’90s before its rejuvenation in 2000, Heard provided 2e AD&D rules for Mystara’s lupins and rakastas in Dragon #237 and #247, including writing up tons of subraces inspired by actual pet breeds. If you’ve ever wanted to play an anthropomorphic St. Bernard or Siamese, these are the articles for you.

Finally in 2006, when Paizo had taken over publishing Dragon, they invited Heard to deliver one last TVotPA entry in Dragon #344…giving us, if not a climax, definitely one last burst of palace intrigue and action to bridge the gap between the series proper and the events of Wrath of the Immortals. Over and above all the other coda material I’ve mentioned, this actually fits in the saga—it’s even labeled Part 36. If you want to ship out one last time with Haldemar and his crew, track it down.

Finally x2, there is the world of Calidar. After being thwarted for several years trying to get permission to write new TVotPA content, Bruce Heard has created his own game world filled with skyships and adventures. I own the books (which are rules-light so fans of any system can use them), but haven’t had time to read them yet; hopefully you will be a more determined fan. Keep an eye out for his various Kickstarters and definitely show your support.

Finally x3, if you think I am the only diehard Known World/Mystara fan out there…wow, no, not by a long shot. The Mystara fan community is one of the most dedicated in gaming. In addition to holding a torch for BECMI/Rules Cyclopedia-era D&D, they’ve taken it upon themselves to continue mapping and describing the remainder of Mystara as part of the fan community based out of the Vaults of Pandius website and the stunning fanzine Threshold. I’ve only skimmed Threshold a little, but it is stunning work on par with the Pathfinder fanzine Wayfinder for the amount of effort the fans put in and the quality that comes out. Kudos to everyone involved!

“The Voyage of the Princess Ark” is a testament to the creative heights one writer could achieve in a fantasy world.

“The Voyage of the Princess Ark” deserves to be spoken of in the terms we use for Pathfinder’s Golarion; AD&D’s Dark Sun, Planescape, and Al-Qadim; and Vampire the Masquerade’s World of Darkness. And Bruce Heard deserves pride of place in the company of Greenwood, Grubb, Weis, Hickman, and others of his era.

Heard showed us that simple rules didn’t mean a less complex world. Heard showed us that a few lines of monster description could be blown out to fill entire nations. Heard showed us that the cultural diversity of our own world could inspire our fictional ones. Most importantly, he showed that if you put in the work month after month, you could achieve amazing things. And he did it for a neglected fanbase of underdogs and windmill-tilters. He championed an audience and a world when no one else would.

“The Voyage of the Princess Ark” is also why I spent nearly seven years serving up monster ideas for another underdog fanbase. And the inspiration and work ethic I took from it is a big part of why I’m lucky enough to occasionally be freelancing on a professional basis today.

Three years isn’t a long time in fantasy fandom. If Elminster and Drizzt are Star Trek, perennially chugging along, and Harry Potter is Star Wars, a brilliant core surrounded by progressively less compelling follow-ups, then “The Voyage of the Princess Ark” is Firefly, a ragged crew whose sojourn was cut short, but whose legacy far outstrips its impact at the time.

Or at least, that’s the way its legacy ought to be.

Give “The Voyage of the Princess Ark” a try. Maybe I’m overselling it. Maybe years of nostalgia have painted a picture rosier than the original could ever live up to. Maybe, in an era where outstanding fantasy worlds and strong writing are almost commonplace, current readers can’t perceive the lightning-in-a-bottle magic that was this series.

Maybe. But I think there’s something more there, something perennial, something of value even when placed side by side with the embarrassment of riches that is Pathfinder 1e/2e and D&D 5e.

The only way you’ll know is if you book a berth on the Princess Ark and see for yourself.

Happy flying.

#daily bestiary #the dailybestiary #books of magic #pathfinder #paizo #3.5 #5e #dungeons & dragons #dungeons and dragons #d&d #dnd #BECMI #known world #mystara #the voyage of the princess ark #voyage of the princess ark #bruce heard

48 notes · View notes

proserpine-in-phases · 6 years ago

Text

@nachttour tagged me in a writing question thing!

1) is there a story you’re holding off on writing for some reason?

uh yeah there’s like, several. some of them are better developed than other but a lot of the reason I’ve been holding off on writing them just comes down to feeling inadequate due to my own limited experience with relationships and feelings of complete inadequacy. it’s hard to write an epic romancu when I’m aromantic as fuck and have a hard time conceptualizing what those feelings might be like to experience, for example, or like, I want the story to be funny but I feel like I’m not actually a very funny person?

also I always feel like I need to do more research. I get stuck on the research phase about 85% of the time haha

2) what work of yours, if any, are you the most embarrassed about existing?

man I am embarrassed by MYSELF existing, so idk probably all of it when you get right down to it

3) what order do you write in? front of book to back? chronological? favorite scenes first? something else?

it seems to vary a bit. sometimes I just power through start to finish, but sometimes I need to write the ending first to remind myself of what I’m shooting for. sometimes I just gotta write some random scenes in the middle before I forget what they are and have to figure out where they’ll go later.

considering the longest thing I’ve managed to finish comes in at about 12 k I don’t know if I have enough data to really come up with a firm answer for this one though. from what I can tell, it really does seem like I start at the beginning and go for a bit, write the end, and try to connect the two with occasional random middle bits getting written out of order and a general feeling of “I’ll fix it in post” carrying me through

4) favorite character you’ve written

probably Samantha Traynor. she’s such a fucking nerd and I love her. it was surprisingly easy to write for her once I got started. at least I THINK I did a good job writing her, I have no actual idea haha

5) character you were most surprised to end up writing

I’ve written TWO mass effect fics featuring Samara as a main character and I have no idea how this happened or why because she’s about in the middle when it comes to my most to least favorite mass effect characters list

6) something you would go back and change in your writing that it’s too late/complicated to change now

there’s a couple of fics I wrote for fic exchanges that I kinda wish I could take back and turn into something else because I love the concept but feel guilty about idk, using as a springboard because the original is a gift, or something. it feels ehhhhhhhhh disingenuous to continue them when the gift is supposed to be a singular and self contained unit

for example, oh man I would love to take that vrisrezi space pirates au someplace, but I don’t know if I should because the fic itself is a gift, complete, and so forth.

plus I hate the way I run out of steam about 4 chapters into everything. I would like to not run out of motivation please

7) when asked, are you embarrassed or enthusiastic to tell people that you write?

considering my output is so low I barely consider myself a writer at all tbh.

but yes, embarrassed. I hope to god the three people I know irl who follow me just like. never see those posts haha

8) favorite genre to write

space adventure! and lately? mysteries even though I have no FUCKING idea why or even how to write them, which is why I have at least three projects stalled out on me haha

9) what, if anything, do you do for inspiration?

I read a lot, mostly. sometimes I stare at a wall. or play minesweeper.

also when I’m doing something fairly mindless sometimes my mind wanders and I hit something.

oh and music. music is great

10) write in silence or with background noise? with people or alone?

I usually need music, mood music preferable, instrumental so the lyrics don’t distract me. generally I prefer to not be around people when I write, though a public setting is also fun to write in. I’m too distractable to actually get any done though, so I usually end up just looking like a tool with their notebook out if I try to write in a coffee shop or whatever tho, haha

11) what aspect of your writing do you think has most improved since you started writing?

I think writing fanfic has really helped me figure out what it means to write in character. also I think I’m starting to get better at balancing dialogue versus narration? at least a little bit

12) your weaknesses as an author

the inability to actually finish shit.

unwillingness to approach emotions that make me feel uncomfortable.

the fact that I often approach writing a character with the thought of what I would do in a situation rather than what the character would do (which is why writing fanfiction is helping me with that haha)

coming up with plots that lend themselves well to longer stuff

13) your strengths as an author

pretty good at dialogue

when it comes to my own shit, pretty good at coming up with interesting fantasy worlds (I think they’re interesting at least)

I’ve got a pretty firm grasp overall just the nuts and bolts of writing: I mean I tutored English in college for fuck’s sake I know how to write a grammatically correct run on sentence when I want to

14) do you make playlists for your current wips?

not really

15) why did you start writing?

I wanted to know what happened next

16) are there any characters who haunt you?

not really? I mean, there are specific character TYPES that’ll get me every time, though, like the happy go lucky person who has to learn what pain is but still come out the other side a LOT worse for wear but not completely broken (think Tasslehoff Burrfoot, or perhaps less obscure Vash the Stampede) but I wouldn’t say they haunt me, per say

17) if you could give your fledgling author self any advice, what would it be?

don’t be afraid to be self indulgent. you’ll enjoy it more and who the fuck cares, anyway? people who’ll make fun of you for doing what you love are ass holes

18) were there any works you read that affected you so much that it influenced your writing style? what were they?

If I’m honest I can’t really say what influences my writing style, if I even have one. Mostly all I can do is list off my favorite authors because I’m pretty sure they all have something to do with it.

so let’s just do that I guess. when I was a teenager I tended to find a single author and just read through all their works before moving on, and these are the big ones that stand out:

Connie Willis, Anne McCaffrey, Steven Brust and Ursula K. Le Guin. Connie Willis for the humor she includes in almost all her writing, Anne McCaffrey because I STILL spend an inordinate amount of time thinking about Pern. She had a real skill for coming up with both great characters and great settings, even if what she did with them, and also her inability to keep continuity were less good. Steven Brust introduced me to the idea of relating to morally reprehensible characters at an alarmingly young age. Ursula K. Le Guin, I just love her. No idea if it’s actually done anything GOOD to my writing but she gives me something to aspire to.

I read just. a ridiculous amount of fantasy and science fiction as a kid, the genres as a whole without a doubt influence the type of shit I end up writing. also in seventh grade I mainlined dragonlance, just the whole damn thing

later in college I got really into Margaret Atwood. her focus on female characters and narrative just is really great.

then I went through a depressive phase in my late 20s and just exclusively read Julia Quinn, Joanna Lindsey, Sabrina Jeffreys and Eloisa James, and that was IT. so I’m pretty sure my foray into the romance genre is what makes me honestly prefer povs limited to two or three characters hey, reading romance novels also lead me to the realization that I’m aromantic so \o/ I guess

19) when it comes to more complicated narratives, how do you keep track of outlines, characters, development, timeline, ect.?

I outline and then give up lol

20) do you write in long sit-down sessions or in little spurts?

little spurts until something grabs me and makes me marathon. usually that’s a deadline, but sometimes it’s also inspiration

21) what do you think when you read over your older work?

mostly just holy shit I can’t believe I wrote this! sometimes that’s bad, sometimes it’s good. I can’t really tell if I’m good at divorcing myself from my writing enough to give me perspective on it, to tell the truth, because for a good lot of it, I still think it’s pretty good so ???

22) are there any subjects that make you uncomfortable to write?

it’s hard for me to let a character be embarrassed by the dumb shit they do. I don’t want them to do dumb shit because of it, which makes it hard for the character to have shit to grow and learn from.

23) any obscure life experiences that you feel have helped your writing?

I’m pretty sure my own issues with having and experiencing some emotions makes its way into the stuff I choose to write about, especially when it comes to the original stuff (I have. at LEAST three different plot outlines that involve characters literally losing the ability to experience emotions and having to find a way to heal or gain it back haha)

also the fic I wrote about the box ghost is literally just about what it’s like to work in a factory haha

24) have you ever become an expert on something you previously knew nothing about, in order to better a scene or a story?

listen.

yes.

I fucking. LOVE. research.

honestly this is the stage where I most often get lost in the weeds, distracted by my own need to know more

25) copy/paste a few sentences or a short paragraph that you’re particularly proud of

“He was not the knight Casey taught him to be, but he was close enough for government work“ remains the single best pun I’ve ever written

tagging: @anthropwashere @inktail @manicpixiesdreamdragon if you guys are up for it!

#meme #writing meme #questions about writing

2 notes · View notes