The Ancient Lands: The lay of the lands

The Ancient Lands lie on the eastern coast of a large continent, which runs approximately from North to South for about 2,000 miles. The northernmost parts, bordering the arctic sea, have a cold climate with long winters and don’t see the sun for about two weeks. The very south is covered by huge jungles experiencing heavy monsoon seasons. Most people live close to the coast and no more than a hundred miles from the sea, with civilization reaching farther inland only along the major rivers that run from the highlands and mountains in the west to the sea in the east. With wind predominantly blowing from the east, ships can relatively easily up the rivers for considerable distances. As there are very few roads in the Ancient Lands, almost all trade and long distance travel is done by ship. Only the caravans that bring goods from the human lands on the plains in the west form a major overland trade route. In addition to the major population centers on the coast, there are also thousands of islands of various sizes, of which a countless number is inhabited by elves, lizardmen, or humans, but an even larger number is completely unsettled and unexplored.

The Far North: In the very north of the Ancient Lands, between the arctic sea and a long mountain range that forms a natural border to the lands in the south, lies the little known homeland of the Mari, a small population of tall humans with pale skin and rich brown hair. While most humans in the Ancient Lands are the descendants of nomads who have arrived from the west only in recent centuries, the Mari apparently have inhabited this land forever and neither elves nor kaas have any legends of their first arrival. There are few trees in the Far North and very little grows during the short farming season, so the Mari live mostly from herding reindeer, hunting elks, seals, and whales, and fishing. Few traders make the long trip over the treacherous seas, but thick animal furs and whalebone are quite valuable in many lands to the south. The Far North is home to many strange spirits unlike those found anywhere else in the Ancient Lands, whose motives are very hard to understand even for experienced shamans and witches visiting from other lands.

The Witchfens: South of the mountains that protect the rest of the Ancient Lands from the worst of the arctic winter lies a large highland of fens and bogs known to the people of the surrounding regions as the Witchfens. Very few people ever go there as there is nothing to be found that would be valuable for trade and is home to all manners of dangerous and hostile spirits. Fog and light rain dominate the weather and during the summer it’s a breeding ground for huge swarms of insects. Despite being regarded as one of the most inhospitable places in the Ancient Lands, it has been home to a secluded group of small human tribes known as the Katra, who have arrived there less than a thousand years ago. While they look similar in appearance to the Vandren who have settled in much larger numbers in the south, and share a somewhat similar language, their culture has become entirely different and they regard each other and strangers. These people live in small villages made from uncut stones with earthen roofs and have only very little metal, which they seem to get mostly from raids on neighboring lands. A peculiar trait of their society is that each clan is not ruled by a chief, but instead only has a first warrior who is loyal to an Elder Witch. The witches are almost all female and are the real rulers of this dreadful land. They don’t leave their homeland and do not accompany the warriors on raids and it is most likely that their special relationship to the spiteful spirits of this land is the true reason why their people have settled there.

Source
Source

The Western Forests: In the west of the Witchfens the swamps gradually turn into a forest of pines and firs that are part of the huge woodlands that cover most of the Ancient Lands. These forests, together with the northernmost parts of the great plains that lie beyond the western edges of the woodlands, are the homeland of the kaas. These beastmen are taller and stronger than either humans and elves and can wrestle easily with lizardmen – though it is rare that these two peoples meet – and are equally at home in the forests, the plains, and the barren hills they have inhabited for unknown ages. Sometimes they travel along the coast of the arctic sea in boats to trade with the Mari, but there are no roads that connect their distant homeland with the rest of the Ancient Lands. Mercenaries and explorers often travel south to the lands of the Falden and Vandren along old paths, but most of them are impossible to use with carts. To the other people of the Ancient Lands the kaas are a people of strong warriors hailing from a mystical land and they generally seem not inclined to talk a lot about their culture and traditions. There is also a small stronghold of Eylahen elves in the foothills of the northern mountain range, which overlooks the western end of the Witchfens.

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The Ancient Lands: A world of savage heroes and mythical beasts

Some may remember the name of the world from an RPG setting I’ve been working on last year, and which I used for a campaign this summer. With my interest in gamemastering significantly going back, I am now shifting towards trying my hand at writing stories. My current love in fiction is Sword & Sorcery, which conveniently focuses on a format of stories of shorter lengths and serial adventures instead of a single epic story arc, which personally suits me just fine. It seems much more practical for writing as a hobby instead of a profession. The more I looked into the craft of writing, the more it became apparent to me that worldbuilding for stories (be it book or movie) is very different from worldbuilding for a campaign. You can run campaigns in settings originally made for a book or movie, but that’s usually the most interesting for settings that have a lot of stories written for them. You probably wouldn’t run a campaign in the setting of Princess Mononoke, but Star Wars has everything a GM might ever want. In practice, a story setting, even an extremely detailed one, requires much less information on many things than a campaign setting. Even what Tolkien did was overkill, but writing The Lord of the Rings was really just the last thing he did with the world he had originally created just for the fun of creating a world. And in the end, 90% of all that material never gets even mentioned in the novel.

What I am planing to do here is to assemble a big toolbox of elements that I can use in stories and make references to, and also as a background that provides its own story hooks. I often find it a lot easier to come up with a story that involves the Sorcerer Kings of Dark Sun or the Priests of Set from Conans world, something that has to do with the Sith of Star Wars, or a plot dealing with the Daedra of The Elder Scrolls, than to come up with a story in a vacuum. I also find that it makes the stories feel more real. The plot does not just happen for a single reason and everything that is encountered or described in the story is in some way directly connected to the plot.

So what I am doing here with this series of articles is not about making an atlas and travel guide of the world, which enables a GM to pick locations a group of player characters can visit and how long it takes to travel between two points and what areas the journey would cross through. When you write a story, those are things you can just handwave. Maybe the journey took 10 days or 20, maybe they did have to cross a major river or mountain range, maybe not. In a game, those things are important. In a story you simply don’t mention what all happened between two scenes if it’s not relevant for the plot. Maps don’t matter. Instead, this is going to focus much more on the social and cultural side of worldbuilding. How do people from different population live and what is their relationship with each other. Where do they get there food from and what type of clothing do they wear. What technologies do they use in everyday life and what kinds of weapons and armor can they make or trade. These are all things that in most games really don’t matter or ever come up at all. In a story, they can be just as important as the plot, and in many cases have direct impact on the plot. And when a reader notices that there is a connection in a story between two things that have already been mentioned earlier, it makes the story feel a lot more realistic and unique. That’s why worldbuilding for books, movies, and videogames matters a lot. The Ancient Lands setting presented here is very heavily based on the Ancient Lands campaigns I ran in the past, but a lot of it has been shuffled around or been discarded completely, with a good deal of new elements being added to it, that make it a rather different world. Perhaps a bit like how the Forgotten Realms changed between the 3rd and 4th edition of D&D.

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Book Review: The Sword & Sorcery Anthology (Part 2)

Part 2 of my review:

I want to say it here again, that I really love Sword & Sorcery and hope that I will be reading something great every time I begin a new story. And when it doesn’t start well, I keep on reading hoping it gets better and I am really looking for things to like about it and that I could recommend favorably. I was really hoping this second part of the review would be much more positive and make the book at least a decent anthology overall. But my reaction turned out to be something else:513573755_o

It’s just going to get a lot worse.

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The Witcher finally fully translated to English

Overlord at Fantasy Faction shared the news that the deal for the translation of the rest of The Witcher series has come through.

The short story collection The Sword of Destiny will come out this May, and the two remaining books of the novel series The Swallow’s Tower and The Lady of the Lake in 2016 and 2017. The English translations seem to have a rather weird history, with a rather irregular schedule to put it mildly.

Collections

  • The Sword of Destiny (Pol. 1992/Engl. 2015)
  • The Last Wish (pol. 1993/Engl. 2007

Novel Series

  • Blood of the Elves (Pol. 1994/Engl. 2009)
  • Times of Contempt (Pol. 1995/Engl. 2013)
  • Baptism of Fire (Pol. 1996/Engl. 2014)
  • The Swallow’s Tower (Pol. 1997/Engl. 2016)
  • The Lady of the Lake (Pol. 1998/Engl. 2017)

Without any guarantee that the translations would ever be finished, I certainly wouldn’t have bothered with starting a five book series at all. Fortunately, I can also read the German translations, which had been completed four years ago. I don’t have the slightest clue why the English version was taking the longest. Even the Spanish, French, and Lithuanian translations had been finished years ago.

I reviewed The Last Wish last month, which I consider an excelent book and probably the best pick to get into the series. To me, it’s the best example of modern (post-80s) Sword & Sorcery and reaches even up to Conan in quality. I can’t recommend it enough.

I also happen to find the original announcement from the publishers site.

Book Review: The Sword & Sorcery Anthology (Part 1)

The Sword & Sorcery Anthology
The Sword & Sorcery Anthology

Now this title is a boast as big as it can possibly get. Swords & Dark Magic called itself the new Sword & Sorcery and fell disappointingly flat in that regard. “The Sword & Sorcery Anthology” can only be read in two possible ways: Either “The Complete Collection of Sword & Sorcery”, which obviously it isn’t, or “The Ultimate Sword & Sorcery Anthology”. I am more than willing to judge a book by its content, but when the publisher puts such a claim into the very title of the book, I will judge it by that measure as well.

Since getting through this book is taking a lot longer than I thought, I’ll split this review into two parts, covering half of the stories each. (The second half may take another week or two, though.)

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Book Review: The Last Wish

I’ve been reading a lot of Sword & Sorcery books recently, both classic and (relatively) new, and I now got around to finish The Last Wish by Andrzej Sapkowski.

Spoiler for the end of this review: Oh boy, am I happy!

The Last Wish was released in Polish in 1993 and contains stories written both before and after the release of Miecz Przeznaczenia (no English translation) the previous year. The stories also take place earlier, which makes The Last Wish both the second and also first book in the series, depending on how you want to count it. The book consists of seven stories of Geralt of Rivia, a professional monster hunter from an old but fading orders of warriors who have acquired special powers through magic and alchemy. Six of the stories are conventional narratives with a beginning, middle, and end in the correct order, while with the seventh Sapkowski did something rather unconventional and quite clever. The Voice of Reason is about as long as all the other stories in the books, but split into seven different parts, between which the other six stories are inserted as flashbacks. It’s not like Geralt sitting down and telling another character a tale from his past, but instead we cut to those other stories so that Sapkowski can give us the necessary background info we need to understand the context of the next scene in The Voice of Reason. May sound strange, but in practice it flows very smoothly and works perfectly well.

Even though the book is kind of an anthology, I am not going to go into detail about each story individually, as they are all by the same author about the same character and they do form a single coherent, if very loosely connected work. In my previous Sword & Sorcery reviews there were always two things that really had me disappointed in a story: Lack of evocative descriptions and lack of thrilling action. While the former is mostly a personal preference, action, passion, and thrill is what I consider the most fundamental essence of Sword & Sorcery. You can change and experiment with all the common archetypes and conventions, but if there is no passion and fury, a story will always just be Heroic Fantasy. The Witcher has all the hallmarks of a Sword & Sorcery hero: An outsider who uses descisive action for selfish gains. And at least in the first two books, the tales of Geralt use the classic short story format as well. (The other six books don’t.) So I gave The Last Wish a try, hoping to find something for my Sword & Sorcery craving. And does it deliver?

Oh yes, and how!

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