In an earlier version of Kaendor, I was experimenting with an idea that fire is a demonic energy that rises up from the Underworld, and that all undead are monsters of fire and ash. It was one of those ideas that seemed really cool at the time, but couldn’t really get a firm foothold in my own mental image of the world. I was originally inspired by Dark Souls III, where supernatural fire and ash are at the center of the story and the whole cosmology. When I resumed playing Elden Ring this weekend and I was reminded again of the Frenzied Flame by an NPC dialog, I immediately knew I had to pick that tread up rekindle that flame again.
Fire is of course dangerous with the potential to destroy and hurt. But it is also incredible useful and key to all human tools beyond sharp rock, pointy stick, and rope. Fire has rightfully been recognized by ancient myths as the basis of technology and civilization, despite its power to destroy everything people have and take their lives in the most gruesome way possible.
In the mythology of Kaendor, fire was brought to a world of darkness and water in the Era of the Primordials, when they angered the demons whose flames turned the world to ashes. After their rage has subsided and the demons left the world, one last glowing coal was found by the Moon, who breathed its fire back to life and created the Sun, to cast away the darkness of the Void. The other planets saw the new light that she had created and made the surviving primordials flee into the darkest depths of the sea. And they also gathered around the Sun to find protection in its light and warmth. The role of fire in the mythology of Kaendor is an ambiguous one. It was brought to the world by demons as a force of destruction, but it also is a necessity for all mortal life that followed. Unlike the Moon, the Sun is not a god. It simply is a vast fire that casts back the darkness and creates the space in which the natural world can exist.
Magic is a force that has the reality to alter the world in ways that go around the laws of nature. It can do and create things that are not naturally possible. But the natural laws are far too complex for any mortal mind to fully comprehend. And time magic is unleashed upon the world, its full effects are unpredictable. Even when the effects appear clear and not causing any immediate harm, magic can still cause countless of very minor and completely invisible changes to anything it touches. Ever so slightly, it can disrupt the internal complexities of any living things. And even if no effect is immediately noticeable, repeated and continuous exposure to magic will gnaw and tear at what makes a living thing function until it becomes sickly and twisted by magic’s corruption. The common spells taught by priests and shamans to their apprentices have been refined for many generations and are the product of centuries of careful work to reduce any unintentional side effects and make them safe and predictable. As such, they are an incredibly powerful tool to do good and make civilization possible. But many sorcerers, ambitious and always searching for greater power, experiment with new spells of their own creation and are reckless in their use without restrained or caution. They often allow magic to spread unnoticed beyond the intended effects of the spell, causing the spread of corruption.
In the world of demons, magic flows freely everywhere. It is part of the nature of the demonic realm. And as such, demons have no restrained in using magical powers and are unaffected by corruption.
Fire and Magic mirror each other in many ways. They have the power to transform and create miraculous things but also the ability to cause terrible devastation. They are very safe to use when used with caution and restrained, but will quickly escape control when wielded recklessly. And then they will continue to spread, consuming those who thought to control them and everything around them. They destroy life, ultimately leaving behind nothing but ash.
What really is the difference between fire and magic? Perhaps, fire is simply one of the most basic manifestations of magic? One that can be used by anyone?
The idea of a great past Golden Age that had far more advanced magic and perhaps even technology is quite common in fantasy, but one that has never really worked for me. It explains how the heroes find all those amazing magic items deep in ancient ruins, but current archeological understanding casts serious doubt that any such cultural apocalypse has ever really happened in history, and usually the idea pops up in the context of nostalgia for a past that never was, in which the person in question would have been one of the few people who supposedly benefited from the injustices and inequalities. And in recent decades, a consensus has been emerging that empires in general are a horrible thing that are to blame for most of the greatest evils in history. Not really something to celebrate romantically in fiction.
Kaendor is a world of vast open spaces and barely explored wilderness, with society consisting largely of various city states and tribal confederacies. There aren’t really any major kingdoms comparable to nation states and certainly no great dominant empire. However, the concept of empire and conquest is not unknown to the people of Kaendor. But it is one that is widely feared and despised and inherently associated with sorcery and demons.
The coastal lands of Kaendor have seen a number of empires in the past, and all of them are seen as dark periods in the myths and stories of their current inhabitants. The first mythological empire is that of the Tower Builders, who destroyed the civilizations of the Rock Carver and the Tree Weavers with their sorcery and the help of demons. The Tower Builders ruled the coastal lands for many hundreds or perhaps thousands of years, keeping the early clans of the mortal peoples hidden deep in the forests and mountains, until they came into contact and conflict with the Naga empire of the southern jungles. The Naga eventually emerged victorious, commanding terrible sorcery of their own, and destroyed the civilization of the Tower Builders. But they had suffered greatly in the centuries of war as well, and when mortal shamans rediscovered the secrets of sorcery from the ruins of the Tower Builders, they conquered the coastal lands for themselves. Inevitably, these mortal sorcerers desired to create an empire of their own in the lands that they had conquered. But unable to agree which one of them should rule over the others as emperor, they soon turned on each other, continuing the endless wars and unleashing more demons and corruption upon the world.
It was only when priests of the moon goddess Temis led an uprising against the Old Sorcerers that spread throughout the coastal lands that the demonic influence was finally banished from Kaendor. With the Old Sorcerers gone, numerous small kingdoms formed around the remaining cities, each of them weary of becoming the next target for a new conqueror who was dreaming again of an empire. This common fear has brought rivals and enemies together many times to join forces and shatter the forces of any new potential new conqueror showing ambition that went beyond securing a few towns and river crossings along the borders of their realm.
The mortal people of Kaendor have seen enough of Empires in the past and it is seen as a great evil that should never be allowed to return back to the world.
After the great wars of the Old Sorcerers had left the victorious armies badly shattered, and the surviving sorcerer kings ravaged in body and mind by the corruption of the demonic powers they had unleashed on their enemies, a great revolt led by the priests of the moon goddess Temis spread over the coastal cities of Kaendor to overthrow the evil tyrants and banish their demonic servants for good. After thousands of years of despotic rule by the Tower Builders, the Naga, and the Old Sorcerers, the mortal peoples were finally freed of the corrupting influence of demons. The ancient cults of the gods reemerged from hiding, and numerous new kingdoms were established under the rule of wise priest kings.
Though the tyranny of the Old Sorcerers and their demonic servants had been broken, sorcery had never been fully banished from the world, with many sorcerers fleeing to hidden lairs deep in the wilderness, and scattered secret cults pledging themselves to demons for personal wealth and power. And among the priests of Temis, many realized that they would have to dedicate their lives to eternal vigilance to prevent the return of demons taking a hold over the people. The Cerulean Order traces back its lineage to the old priests who led the people in revolt against the sorcerer kings,and all its members of the order are ordained priests of the moon goddess. However, the order exists separate from the hierarchies of any of the temples and is not under the authority of any high priest. Priests of the Cerulean Order follow the same traditions and use the same symbols shared by all the temples of the moon goddess, and most people are not aware of any difference between them and traveling priests from other temples. However, their robes typically include very little white and instead are made almost entirely from shades of dark or medium blue, and they are most clearly identified by blue tattoos covering their hands and wrists.
The Cerulean Order sees itself as a group of scholars first, and priests second. Their sanctuaries are usually closed to visitors and they rarely perform any public rites and ceremonies, though as ordained priests of Temis they have the power to do so. As the old priests who led the revolts against the sorcerers, the order sees its role as that of guides and advisors, and inquisitors who seek to uncover the influence of demonic magic wherever it is hiding, rather than as warriors who purge demonic cults and slay corrupted sorcerers themselves. By the very nature of the order, its members are always suspicious of possible demonic influence and looking for signs of corruption wherever they are traveling, and have somewhat of a justified reputation as being prying and a nuisance. However, the deep respect given to all priests of the moon goddess gives them a certain leeway not typically granted to visitors at courts or other outsiders. When direct warnings or appeals from members of the Cerulean Order go unanswered by a king or lord, they typically bring their concerns to the local priest or high priest. Such situations often put the priests into awkward positions that don’t help with the orders complicated reputation among the priesthood. But when a member of the order calls upon the name of the goddess to assert their certainty of a demonic or sorcerous threat and that they are not acting on mere suspicion alone, their warnings or accusations are typically taken extremely serious and the leaders of the local temple will use all their reputation and their entire influence with the local lords to see the threat purged.
In Dragonbane: Priests of the Cerulean Order are typically trained in both Animism and Mentalism and at least know the spell Banish or even Purge. Farsight, Divination, and Scrying are also commonly used spells, as well as Dispel, Protector, and Magic Shield. Their priority is to destroy demons and undead and protect those who are fighting sorcerers and demons from their magic.
Campaign preparation with ADHD can be challenging. Especially when circumstances keep delaying the start of the campaign and you have plenty of time in which you can’t keep your creativity occupied by building and expanding upon what’s happening in the current adventure. Instead, thinking of alternative ideas that you could use becomes a very inviting creative outlet.
When I started working on my “current campaign” (whatever that might actually mean at this point?), I wanted to make it a Classic Dungeon Crawl West Marches sandbox running Old-School Essentials, because that’s a very simple campaign structure to apply. The PCs go to places holding old treasures, overcome the obstacles in the way, carry out the treasures, and gain XP to become more powerful and able to go into more dangerous and fantastical places to search for even greater treasures. It’s very much a game structure. The mechanics of the game provide the incentive for the players that makes engaging with the obstacles attractive. But three months ago, Dragonbane was released and it turned out to be just the kind of game that I had wish existed before I settled on starting an OSE sandbox campaign. And with not being able to get a campaign launched for still two more months at least, exploring how a potential Dragonbane campaign in Kaendor could be set up is just something that I literally have to do.
Among the many differences between Dragonbane and OSE is that Dragonbane does not have the mechanical incentives that OSE does. Characters advance their skills by using them and may gain an additional Heroic Ability whenever the party has completed a significant goal. This does not in any kind suggest or incentivize any kind of objectives for the players to pursue. When anything you could do is as good as anything else, then nothing is inviting to engage with. And at the start of a new campaign, especially when playing in a new setting, the players don’t really know anything about the world and what kinds of activities are even feasible or will lead to interesting and fun outcomes. When starting a new campaign, the players need to have some kind of guidance which goals and activities will be the most likely to lead them to the most interesting and exciting parts of the setting. In a Classic Dungeon Crawl, that suggested starting point is to look for old ruins and search them for treasures because of how the game mechanics work. In a Dragonbane campaign, and many other games, you have tell the players how they can set out to find the most interesting things in the world that you have prepared.
This reasoning led me to my first question to pursue to hopefully lead me to an answer on how to reach an overall concept for a campaign: “Why is any of this interesting?”
Why would players want to play a campaign in the Kaendor setting? What are the elements of the world that are the most interesting to engage, explore, and interact with? Now I can’t read the minds of players I’ve not even pitched the campaign to yet, but instead I can ask “What are the elements of the Kaendor setting that I find the most interesting?” As these will of course be the elements that get by far the most attention and details during its ongoing creation. The things that I find the most attractive in my concept for the world are the old ruins of the various ancient civilizations, the different typed of spirits and demons that lurk beyond the borders of civilization, the mysteries and possibilities of sorcery, and the numerous secret societies and cults.
Playing RPGs, and what makes them so fascinating and unique as a medium, is all about interacting with things. Questioning and negotiating with other people. Poking at things to see what they do. Opening doors to see what’s behind them. Investigating what the enemies are doing and interfering with it. So after having identified those most interesting elements, a logical next question to ask is: “How can the players interact with these things?”
All these elements have in common that they are things that the people currently inhabiting the world really don’t know that much about. They are mysterious and either inherently supernatural in nature or strongly influenced by it. So the very first thing to do on encountering them is to find out more about them. What is it that players could learn and would want to know about these things:
What is inside this ruin?
What was this ruin originally build for?
What is this unknown creature?
What is this creature doing here?
What does this magic item do?
Where does this magic item come from?
Who is this secret cult?
What is this secret cult trying to do?
And looking at this list, a possibly very interesting and compelling campaign concept already suggests itself. This is a world that very much lends itself to provide a lot of interesting material to engage with for characters who are a combination of demon hunters and archeologists. Which really isn’t that different from the typical Classic Dungeon Crawl PCs. They go into ruins to explore, looking for relics of ancient civilizations, and confront the supernatural horrors from the past.
But the incentive structure is rather different. It’s not so much to personally enrich themselves and gain a life of luxury, but because the PCs believe that it is important to learn the secrets hidden in the wilderness and understand the supernatural forces and entities at work in the world. They can be motivated by being worried about possible threats to the mortal peoples, or a deep personal curiosity about the supernatural unknown. Or, if a player wishes so, by the fact that the powerful NPCs who also share these motivations are willing to pay a lot of money to anyone who can bring them such knowledge.
It has always been bothering me a bit that the generic oldschool treasure hunters are only motivated by getting rich, which doesn’t lend itself to interesting social complications. And the typical adventuring heroes who constantly risk their lives to fight evil for strangers out of a sense of compassion or chivalry don’t very much lend themselves to players being proactive and determining goals for themselves. Such characters are kind of compelled to help every possible person in need they encounter, which doesn’t leave them much choices in setting out their own path. But PCs whose guiding motivation is to learn about the unknown and to determine if something might be a possible threat that could cause great damage in the future seems like a nice middle ground between those two extremes. They are characters who you can simply let become aware of a secretive society existing and it’s something that they might want to investigate. You don’t need to have them see the cultist murdering people or stealing a magic artifact to make it clear that they are an evil that needs to be smited immediately.
It’s an interesting approach to what PCs could be and how a campaign could be structures that I am eager to explore further. Any maybe it will be useful to other people to develop a concept and structure for new campaigns by asking “What about this world is the most interesting?” and “How could the players be interacting with it?”
Looking proudly at the sandbox map I made over the last two weeks from first rough layout sketch to mostly finished version, I made the disappointed realization that I had once again prepared a D&D campaign. Despite my joy at having found a game in Dragonbane that is free of the underlying mechanical framework shared by all D&D versions and with a bit more substance than Barbarians of Lemuria, and writing a whole post about needing to approach sandbox preparation differently, I was still falling in the old established patterns that I’ve trained myself to adopt for the last ten years or so. Trying to fill the new sandbox with all my favorite D&D dungeons that I always wanted to use one day and taking a new shot at the old Forest of High Adventure concept surely didn’t help with that.
I feel a cleaner break is in order. To really approach a Dragonbane campaign with a fresh perspective on Kaendor.
Seven years ago, I wrote Project Forest Moon, a list of new design principles that I wanted to put at the center of the worldbuilding for a Sword & Sorcery wilderness setting. Which I still consider a huge success and my biggest breakthrough in really finding the right focus and tone for my following work. I think writing down a similar updated concept paper might be really quite useful for me now. When I think of new ideas how I can manifest the style I am aiming for in concrete setting elements, I often remember that I already did come up with something great a few years ago, but it somehow slipped from my mind at some point and I didn’t do anything with it. This post is a collection of many of these ideas for myself, to look up again when I’ll inevitably get lost in the weeds again.
From Nate Simpson’s Nonplayer.
Tone and Style: One thing that has always been core and center of all my worldbuildilg is that I wanted it to be a big forest setting from the very start. And it soon developed into a desire to give it somewhat of a pulpy lost world style. Influences have come and gone over the years, but I think a really good foundation for my own mental image as I further develop environments and cultural elements is “a Sword & Sorcery jungle world collaboration by Frank Frazetta and Moebius”. If they had painted and drawn such a world, how would I translate what I see into descriptions and scenes? Another huge influence I mention all the time is of course Morrowind, which really set the standard for me for fantasy settings that feel like different worlds than slightly rearranged versions of European folklore. And more recently, Kenshi has become a major influence on what I want to accomplish with the setting. While not actually a fantasy setting and very much a desert world, it’s such a fascinating example of small warlord societies on a desolate alien planet.
The Forest Moon: The term Forest Moon comes of course directly from Endor in Return of the Jedi. The visuals in that movie and The Empire Strikes Back have left a giant impact on my imagination since I saw them for the very first time. There are no sci-fi elements in Kaendor, but a lot of classic pulp art blended fantasy and space elements together with no clear separation, and the idea of Kaendor being an alien world around a huge gas planet really resonates with me to evoke that amazing pulp style. It means very little in practice since conditions on the moon are identical to Earth and nearly any fantasy world, but one way in which such a setup would logically manifest itself is in frequent and long-lasting eclipses. I did work out a complete 16-year cycle calendar with 24 months of 16 days and three leap years of 23 months, that also indicates likely eclipse days at some point. I think I need to make renewed efforts to incorporate this into the culture of the world. At least the eclipses that can happen multiple times per year should have some dramatic impact.
Permian Pangea: Dinosaurs are extremely cool. But they also kinda on the nose. Barbarians riding on dinosaurs can be great pulpy fun, but they don’t really evoke a sense of a plausible alien world. I found that a great solution to this is to instead populate the world with animals from the Permian and Paleocene periods directly preceding and following the dinosaurs. They are still very realistic animals, because they actually did exist, but are mostly unknown even to people who can name dozens of dinosaurs on pictures. They seem like they are made up to most people and a bit alien, but nothing exceptionally weird. I think I worked out the main predators and livestock animals for Kaendor years ago and still don’t feel like there’s any more work to be done. Just make frquent mention of drohas and krats as pack and farm animals in places that the players are coming through. I only need to stat them for Dragonbane, which is really quick and simple.
Human Civilization is new and small: I don’t really believe in the idea of lost golden ages and actually find the concept somewhat offensive. It’s the conservative moaning about a better past that never was, and a rejection of change as a matter of principle. But impressive ancient ruins are really cool, and post-apocalyptic anarchy can be a lot of fun. To eat my cake and still have it too, I very early came up with the idea that the past great empires that build monumental castles and made the magic treasures were otherwise actually really terrible and their disappearance a good thing for the world and its people. Kaendor is full of ruins and treasure hoards from the naga and shie who enslaved the early humans or drove them into the most remote regions of the wilderness. Now that they are mostly gone, humans can build civilizations of their own, but they are way too small to fill out the vast territories ruled by the elder peoples, and so numerous huge, empty ruins still cover what is now again wilderness. Still largely untouched and unexplored. Human civilization consists only of a handful of relatively minor city states, separated by vast stretches of wilderness full of terrible beasts.
Nature Always Wins: People always seem to think of themselves as the masters over nature who have taken control over the world they live in. But that perception is simply the result of a limited perception. They see the changes to the environment within sight of their homes and think of history on the scale of decades and centuries. But on the global scale, and the cosmic scale, none of the works and accomplishments of mortals mean anything. Eventually, everything will be reclaimed by the wilderness and forgotten, leaving behind only a few mysterious traces that hint of something that came before. And even those will completely fade away eventually, when the mountains still stand and forests still grow.
Bronze Age Technology: Bronze age weapons and armor, and architecture and administration. Because it’s a cool style.
A World of Demons: Unlike many other fantasy worlds, Kaendor has a clear separation of the natural and supernatural. Creatures are either ordinary animals, even if huge and deadly, or they are supernatural monsters. For many people, the common term for the later beings is demons. They don’t come from some other dimension or realm and are creatures of flesh and blood that are born, need to eat, and can be killed. But they do have magical powers and age very differently, if at all. Another class of creatures does exist that are pure spirits without physical form that come from another world, and they are typically referred to as demons as well, but they are actually a completely different type of beings.
A World of Heroes: Just as there is a clear difference between ordinary animals and monsters, there is a clear distinction between heroes and ordinary people. Like monsters, heroes are in some way connected to the supernatural. There are countless different beliefs of what makes a person a hero, from being blessed by the gods or chosen by fate, to circumstances of birth and the heroism of ancestors, or that it is something that can be attained through devotion to the divine or a form of enlightenment. None of these might be true, or all of them might. What is clear is that all heroes are destined for greatness, be it for good or for ill. And it usually does not take long for people to recognize heroes for what they are. All PCs and mages are always heroes, as are many kings, chiefs, and warlords. Rulership is often inherited in the lands of Kaendor, but close relatives who show the traits of a hero are almost always seen as more legitimate successors than those who do not. (In Dragonbane game terms, all PCs and all NPCs who have Willpower Points are heroes.)
Sorcery is corrupting: Magic is a power that does not come from the natural world but from outside of it. It is not inherently evil or destructive, but it is not bound to respect the natural laws that govern and sustain all living things. In the presence of poorly controlled magical energies, living things become corrupted and warped from the inside out until they become sickly and twisted and eventually die, or continue to exists in a state between life and death, sustained by the very magical forces that are destroying them. Even rocks and metals can become brittle and crumble after long exposure to extreme corruption. The spells most commonly known and taught by most mages are the result of many centuries of careful study and research and dangerous and costly experimentation to minimize any unintended corrupting effects on their surroundings and nearby creatures. But those with the ambition to explore and discover new and greater magical powers rarely take the caution to have the care and patience to keep their work from corrupting their surroundings and themselves. Making ambitious sorcerers seen as very dangerous and rightly feared.
Everything is a Cult: In the lands of Kaendor, every gathering of people with a common purpose prays to one or several gods to protect them and bless their efforts. In some places, all groups, factions, and organizations might pray to the same god worshiped in the local temple, while in others there might be dozens of different gods and spirits, which might be so obscure that barely anyone outside the group has ever heard of them. But every group has some kind of altar in their main gathering place, and members show their status as initiates with talismans displaying the symbols of their cult.
Gods are not People: I have still not yet fully decided on the actual nature of gods in Kaendor, but while they might be depicted as such in iconography, they are definitely not people or even individuals. They are more like divine forces or powers that are believed to have a real influence on the world and who can be influenced through worship and rituals, but they are not beings with a defined shape or who exists in precise locations, and won’t directly communicate to mortal creatures through words. Ultimately, priests with magical powers are mages who have studied and mastered spells just like sorcerers do, but who pursue the advancement of their magical skills within the teachings and philosophies of their faith.
I hadn’t been quite happy with how the first draft of the map for the Forest of High Adventure campaign came out and so I did some big revisions to it that still mostly stuck to the original sketches.
It’s still a 10-mile hex map, but the area it covers has now been reduced to one quarter the original size. This is still a very sizable area about the size of Northern Germany, but I feel that the density of major settlements feels now much more plausible at this smaller scale. It’s still a 300 mile journey up the river from the coast to the northwestern mountains. Going there and back again could easily turn into a two month expedition. It’s not Lewis and Clarke scale, but actually still a really major undertaking when you think of it.
The black dungeon markers now look much more dense as well. This sandbox feels packed. There’s a pretty empty region on the eastern side of the coast, but that area is supposed to be the region that’s been somewhat settled by civilization, so there’s not being a whole lot of exploration adventures to be done there doesn’t seem like a problem.
And so far this really is just the big impressive ruins and cave systems with a backstory. I have not even added any regular small monster lairs yet. With so much stuff going on, I feel I’m probably not even going to need to skip over the middle part of long journeys. One random encounter check for every hex of travel still shouldn’t result in an overwhelming amount of encounters when traveling between any two hexes.
Fire is of course dangerous with the potential to destroy and hurt. But it is also incredible useful and key to all human tools beyond sharp rock, pointy stick, and rope. Fire has rightfully been recognized by ancient myths as the basis of technology and civilization, despite its power to destroy everything people have and take their lives in the most gruesome way possible.
