Trade Goods as Treasure

This is one of these “I made this, so I might as well share it” things.

In my setting, travelling merchants are supposed to be a really big deal. And I also enjoy the players having to deal with encumbrance. Making exotic goods into a type of treasure that can be found is the sensible thing to do.

In my encumbrance system, weights are rounded up to the next multiple of 10 and then divided by 10. So the average weight for an item with an Encumbrance load of 1 is around 5 pounds. (Equally, the encumbrance limits for characters are divided by 5 to get the number of items that can be carried instead of the weight in pounds.) The quantities listed in this table have been chosen accordingly and the resulting prices and container capacities are based on the numbers from the 5th Ed. Player’s Handbook. If players come across these goods and want to take them as treasure, the only relevant number at that moment is how much they can carry while staying under the Encumbrance limits. Players won’t be trading in silk by meter but by encumbrance unit.

For the sake of simplicity, the numbers for kegs and barrels of ale and wine are rounded to easy number. The actual values for any of these goods are completely made up anyway.

Item Quantity Price Encumbrance
Sack of grain 30 lb. 3 sp 3
Sack of flour 30 lb. 6 sp 3
Pouch of salt 5 lb. 2 sp 1
Pouch of ginger 5 lb. 50 sp 1
Pouch of cinnamon or pepper 5 lb. 100 sp 1
Pouch of cloves 5 lb. 150 sp 1
Pouch of saffron 5 lb. 750 sp 1
Keg of ale 20 l 10 sp 4
Barrel of ale 200 l 100 sp 40
Keg of wine 20 l 20 sp 4
Barrel of wine 200 l 200 sp 40
Bottle of expensive wine 1 l 100 sp 1
Keg of expensive wine 20 l 2,000 sp 4
Canvas 6 sq. yd. 6 sp 1
Cotton cloth 20 sq. yd. 100 sp 1
Linen 12 sq. yd. 600 sp 1
Silk 24 sq. yd. 2,400 sp 1
Iron 5 lb. 5 sp 1
Copper 5 lb. 25 sp 1
Tin 5 lb. 100 sp 1
Silver 5 lb. 250 sp 1
Gold 5 lb. 2,500 sp 1


Peoples of Kaendor

Fitting the overall style of the setting, it’s not populated by the generic D&D races. Instead, the mortal inhabitants of Kaendor have their own styles, though not necessarily very original ones. They are listed here without their full stats, but they are represented well enough by wood elves, half-orcs, high elves, tabaxi, half-elves, tritons, and goliaths. All taken from either the PHB or Volo’s Guide.










This potion is made from the boiled leaves of the hemra plant and some simple additional ingredients. The potion is a slightly bluish green and heals 2d4+2 hit points. Partiqularly high quality potions have a deep blue color and heal 4d4+4 hit points.


This potion is an oil made from the leaves of the rusan shrub. A full dose causes unconsciousness for 1d4 hours, while drinking a third of that amount put a person into a hazy state that gives an advantage on saving throws against being frightened and disadvantage on all Dexterity and other Wisdom checks, which lasts for 1 hour.


Eating one of these seeds gives advantage on saving throws against exhaustion for 6 hours. Eating another within 24 hours requires a DC 15 Constitution saving throw or it causes the poisoned condition instead.


This vile potion is made from a mushroom found in Venlad. For 6 hours it gives advantage on Strength and Constitution ability checks and saving throws, and disadvatage on Wisdom and Charisma ability checks and saving throws. When the effect ends, the drinker takes 1d4 points of poison damage and is poisoned for 6 hours.


This potion is made from specially prepared berries from the Tamgut shrub of the Wyvern Mountains, mixed with rusan oil. It causes incapacitation for 6 hours, at the end of which a DC 15 Wisdom check must be made. If successful, the drinker gets the effect of a divination spell.


Shield: AC +2, 50 sp, weight 1.

Helmet: AC 11 + Dex, 100 sp, weight 1.

Light Armor: AC 12 + Dex, 450 sp, weight 2.

Medium Armor 1: AC 14 + Dex (max. +2), Stealth disadvantage, 500 sp, weight 2.

Medium Armor: AC 15 + Dex (max. +2), Stealth disadvantage, 2,000 sp, weight 2.

Heavy Armor 1: AC 16, Stealth disadvantage, 750 sp, weight 3.

Heavy Armor 2: AC 17, Stealth disadvantage, 3,000 sp, weight 3.


I am not usually a fan of megadungeons. Or to be more precise, I am not a fan of the concept of mega dungeons.

Dungeons that are on a colossal scale are a different story.

In a moment of inspiration, I got an idea for an awesome buildings to put somewhere in the forest in the Green Sun campaign and while I was doodling around with possible floor plans, it turned into something increasingly more concret and fun. It’s an absolutely enormous temple that looks similar to this.

But scaled up to this.

And on the inside, I think it would look something like this.

The floorplan consists of 29 vaults that are 30 x 30 meters at the base and between 120 to 180 meters in height. To not go insane with the maps, the platforms and bridges are arranged into 5 levels.  To hold up the roof, there are also 4 solid “towers” of 30 x 30 meters in the corners, which have 10 internal levels of rooms, and 4 in the center of the building that have 12 levels.

That’s just shy of 200.000 square meters of floor space. Or 5,350 5-foot-squares. However, in practice most of that will either be open air for the vaults or solid stone for the towers. That’s still something like 400 “rooms”.

This should be fun.

I made a better thing!

I love working with Krita. It’s so much fun. I think it looks amazing.

I’m not happy with the labels on the map because the only fancy way of writing I ever learned was back in primary school and this still looks like written by a 10 year old. But they are all on a separate layer so I can easily switch them out for something nicer later.

One issue I already discovered with the previous map is that at this scale it becomes quite difficult to make city names at a readable size. There just doesn’t seem to be enough space for it. But then, when you look at actual medieval maps, they seem to have had the same issue as well, and they often look incredibly messy and crammed. Maybe I’ll give that a try later, but for now I think this looks really good.

Adventure like it’s 2003

Terry Carr once famously quoted a friend who said “The Golden Age of Science Fiction is twelve.” And when you look at any big list of “Greatest Songs of all time”, you will always find it consisting almost exclusively of songs from the 60s and early 70s. When the generation of today’s music journalists were in their teens. So it really came to absolutely no surprise to me to realize that the really big aesthetic influences on Green Sun all come from around the year 2000, when I was 16.

The seed of the aesthetic that fills my brain was planted by Star Wars, in particular Dagobah, Cloud City, Jabba’s Palace, and Endor. I had first seen the movies in 1994, but my undying love really began in 1997 with the rerelease of the movies and us getting them on video.

Albion is a neat but rather obscure little German RPG that was released in 1995, but which I only became aware of a couple of years later once I had been hooked by RPGs. It’s a game about a prospecting ship crashing on a planet and discovering that the clouds and strange magnetic field had been hiding a jungle world swarming with life. The two starting characters are rescued by local cat people living in cities consisting of houses made from living trees and I believe there was also supernatural powers involved. From a technical point the game is really ugly and I think it also was even back when it was released, but the design of the world is really quite amazing.

Riven is probably the best remembered adventure game today after The Longest Journey and was released in 1997. The aesthetics of the game are literally out of this world, which I think comes partly from the primitive 3D-pre-rendering technology used to create the environments.

Baldur’s Gate was my gateway to both fantasy and RPGs, but it’s successor Baldur’s Gate II in 2000 surpasses it in every conceivable way. I felt a bit conflicted about the change in visual aesthetics that was quite a move away from the traditional medieval style of the first game. But it is precisely that change to a mediteranean aesthetic with influences from Planescape that stayed with me over the years. I also did play Planescape: Torment around that time and while the game itself never fully won me over, it’s very faithful adaptation of the setting’s visual style and the perfectly matching soundtrack that came with is still nothing but astonishing.

Off all the influences after Star Wars, Morrowind was the big one in 2002. I was captivated by the previews that I had read that I even got the English version before the German version was translated several months later. And I have to say that at this point, my English wasn’t quite up to the task yet. I could kind of manage, but it turned out to always be a strugle. And it certainly didn’t help that Bethesda RPG design still doesn’t click with me to this day. I still don’t understand how you’re meant to play them to get the proper experience. But the world was a whole different story. I was still in the mindset that proper fantasy way was magical rennaisance fair and Morrowind was most certainly not that. Not knowing anything else about the setting, this was more like an alien planet with medieval technology. And I found it to be just pure awesome. Huge mushrooms side by side with trees. Giant insects used for transport, and dinosaurs as farm animals. And of course living god kings represented by their soldiers in bronze armor with bronze masks. I never progressed far into the story and I tried getting back into the game many times, never being able to maintain my interest into playing it for more than a week or two. But every couple of years it’s the strange and alien setting that makes me want to go back.

Shortly after, in 2003, came Knights of the Old Republic, still widely regarded as the best Star Wars game ever made and in hindsight the clear prototype for Mass Effect (a series that ended up being super-80’s-retro itself). When I played it again recently, I found the game to be quite lacking in many respects, but the style and feel of that game still is as outstanding as it always was. The visual and audio design feels like it is what game creators would have wanted to make a decade earlier if their technology had been up to it.

The Savage Frontier is a sourcebook for Dungeons & Dragons that was actually released in 1988, but I think it must have been around 2003 that I first read it. Having played Icewind Dale and Neverwinter Nights, read all the Drizzt books that existed at that time, and becoming involved in the development of an NWN server set on the edge of the High Forest, I hunted down and devoured all material available on the North. And I have to admit that I thought The Savage Frontier was pretty rubbish. To start it all off, it was short. To a teenage German fantasy nerd, detail and minutia are everything. The information was also outdated, and when you have bought in entirely into metaplot and the need for accuracy, old information superceeded by newer sourcebooks is entirely obsolete. It also felt somewhat off. Not sufficently traditionally medieval in style as the 2nd Edition material. But the later, much bigger box  of The North has pretty much faded entirely from my mind years ago, while the thin little The Savage Frontier still inspires me again and again.

Given how strikingly memorable things in the 80s were, the 90s often feel very much overlooked or even forgotten. But in hindsight, there was a huge sphere of fantasy works that shared a common and actually quite distinct style that was still similar to its precursors from the 70s and 80s, but also evolved into a new form of otherworldly strangeness that at the same time felt weirdly inviting. Like Masters of the Universe, but with a slightly more dreamlike quality. At least to me. I’ve recently become quite a big fan of the wave of Dune games that followed the 1984 movie and tried to evoke it’s aesthetics. I don’t know why, but somehow desert space fantasy settings seem to be one of the biggest influences on my own forest bronze-age fantasy setting.

But yeah, I don’t really have any actual insights to share. I basically just wanted to gush. This style of fantasy settings is awesome but seems to be getting almost no love. Well, I still love it and I feel no shame in fully embracing it’s slight kitshy undertones.

Give me the unicorns at sunset!

I made a thing

A map thing.

Now admittedly a very crude map. I’ve not been using a tablet for drawing much yet. And I realized that a size that might work for a poster map might not quite do the job on a screen. But overall I really like how Krita simulates brush strokes. With some more practice, this could look really good.

This map shows the current state of the setting and I haven’t really been doing any meaningful changes in the last couple of weeks, so I think this is actually pretty close to final. Just let me tell you that trying to draw a setting that is almost entirely just coast is a bit weird.

Crossing the Streams of Time and Space

Whenever I am at a loss about how to make my dreams for my Greatest Campaign Ever™ closer to reality, I go back to reading old posts on Against the Wicked City and Hill Cantons. Joseph and Chris are the best. I would never have gotten here without their great ideas.

While I consider myself as adequately competent when it comes to running adventures, I never really had much success with the running of campaigns. Most games I ran were one-shots or mini-campaigns that quickly found a natural end when there wasn’t really any drive to expand them into longer running campaigns. Which isn’t necessarily a bad thing, and I suspect that this is how the majority of games actually turn out. But I think most GMs have a dream of a multi-year campaign that takes characters far across the world and into the higher levels. Which I think of as a worthy goal to pursue, even if you never get anywhere near to that perfect image.

One thing that I have learned over the years of soaking up the wisdom of those who had come before, is to adjust your expectations to something that can actually work in play. An RPG is a game that is being played, which is an inherently different beast from a big movie or long novel series. You can create something equally amazing and fantastic as a GM, but you have very different methods available to you. The first very important thing is that you will get much better results if you don’t try to make the players act out a movie or a book. Square pegs, round holes. What this medium uniquely offers is to let the players control what happens. They can make the choices what the protagonists do. Not using this aspect with which RPGs can create fun and engagement is a huge waste, and at the same time also make the medium fight you in your attempt to tell your story.

Not having the game follow a written down script has become hugely important to me. If I don’t do that, I could just write a novel and that would work out much better. But it does come with a big challenge of how the players will be making choices about what they want their characters to do next. When RPGs began as dungeon crawlers, the answer was pretty simple and the question not an issue: Everyone came to the game to sneak through dungeons, face dangerous monsters, and get away with their treasures. So when you want to give the players a choice in what they want to do next, you really only have to offer them new dungeon levels that differ in the kinds of threats they contain. Lava monster, ice monsters, or hidden traps? Pick your poison. Or change your mind, leave the dungeon, and head over to another one.

Thing is, crawlers aren’t really doing it for me. I am being pulled by more fanciful ambitions of running campaigns for characters who are facing the eldritch dangers of the wild for more than a generic greed for treasure and power, or a generic sense of saving people. And I think that’s where I painted myself into a corner, wanting to do too many things at once.

I’ve been sitting down and made a list of the various things that I would like to have in my dream campaign:

  • An social environment and culture that really brings across the concept of Points of Light.
  • A world that feels imposingly large and like a Mythical Wilderness.
  • Long distance journeys to different parts of the world.
  • Letting the players take charge of where they want to go and what they want to do.
  • Working strongly with connections to regular NPCs.
  • A long time scale that has adventures happen over many years.

While looking at this list, I noticed that there are pretty much two different campaign concepts lined out. The first and third item point to a world that is highly decentralized, with strong separations between places, and few connections. The fourth to sixth item require an environment that is tightly connected and centered around a home base and familiarity with the local inhabitants and sights.

One is a campaign about widely different places separated by long distances, while the other is a campaign about closely interconnected people over a long time. This obviously is a non-insignificant mismatch. And it very much looks like a very likely root of my problem. It’s not that my plans for past campaigns had regularly failed. In the end, I always went into a new campaign without a long term plan and just hoped that maybe this one would naturally evolve into something bigger. So being able to identify why I never could come up with a proper long term plan feels like real progress.

The first obvious solution would be to make a choice which one of the two approaches I want to use for my next campaign and which one to drop. But perhaps there is a way to eat my cake and have it too. There clearly are two quite distinctive forms of play that are conflicting with each other. But while it very much seems you can’t have both at the same time, I don’t see anything immediately jumping out that would speak against using them in an alternating pattern.

The hypothetical fix is this: The PCs have a semi-permanent home base where they have their followers, assistants, and most of their contacts, and where they can invest their wealth in improving the place to provide them with better resources in the future. They go on adventures to distant places because their home base can be improved with a resource that can be found somewhere else, or because it is threatened by an antagonist who tries to take something away from them.

Jospeh Manola had some interesting ideas about Adventuring Seasons and Winter Phases, which was the main thing that created my interest in long time scale campaign when I first read it years ago. And I think these two phases are exactly what I might need. During the winter phase, the players learn about new opportunities that could benefit then in the future, and new threats that might become problems if they are not adressed. Some of them might be right outside their door and be dealt with in a week. But many of them would require long voyages to distant places, that would take them away from their home base for months. When they come back, there won’t be enough time to go on a second adventure before the winter. Every spring they will be facing the same question: Which opportunity is too good to risk slipping away and which threat is too great to ignore any longer.

A nice thing about this is that it gives the players a great amount of freedom of who they want their characters to be. They can chose to try to become rulers of their home base, couragous servants of their lord, explorers, or treasure hunters. They also can chose how to invest the resources they gained during their adventures, be it for their own luxury, to gain influence and power, or to improve the living of the people or the defenses of the town. The players don’t even have to pick any of these together. Each one can chose individually and it still makes sense for all of them to follow when one of them prepares for a new expedition.

There is some real potential here, and I am feeling pretty good about it.

More things that I made and no GM needs

I’ve been spending most of yesterday turning my predetermined parameters for a calendar from two years back into actual calendar sheets showing moon phases, solstices, equinoxes, and potential eclipses. Turns out there’s actually three leap years for every 16 year cycle in which there are only 23 months instead of 24.

Since the moon is considerably larger in the sky than the sun, I decided that eclipses might not actually happen only on the 16th of a month, but ooccasionally also on a 15th or 1st. And there is a possibility that you get two eclipses two days in a row.

With all these things taken into consideration, the results look like this.

There are of course 16 of these. I plan on making these always available for players, though I don’t expect them to ever look on them. But they should. There could be rather important information on it. Eclipses are no time to be wandering around in the forest or be out on sea, and things might also get a bit more dicy on the equinoxes.

While I put together these charts, I noticed that there are 12 special days every cycle on which celestial events overlapp. There are the four days when the solstices and equinoxes fall  on a full moon, and four days on which eclipses might happen during regular equinoxes. Two days on which the solstices fall on a New Moon, and finally there are the two days on which an eclipse might happen on a new moon equinox. Those are really bad days. Somehow every ancient legend of heroes dying and cities being destroyed seems to date it to one of these days. Crazy shit will be going down on these days, no matter where the party will happen to be then.

As I said, this really isn’t something that any GM needs. But when you do have it, I think it might actually be quite fun.