The outlines of the landmasses would soften, as distances would collapse. Landmarks would be relative, not absolute, as they would be have been seen from sea level and not from space. Coastal cities would be present, but perhaps information inland would be more sparse. River mouths and mountain ranges would predominate. It seemed to make sense to focus it around the central sea - our cartographer might have been on a ship, exploring coastlines or as part of a mercantile journey. The first step was to figure out what I should map. I decided to use the Midgard setting, because I like those guys. A map, as made by a contemporary cartographer, using whatever knowledge they may have. They have embedded histories, clues to a meta-narrative your players can discover. As artifacts, they can be worth more than treasure. As objects, they can become goals of entire story arcs. But all the things that make early maps subjective and wrong are what makes them interesting for a game. They offer strange monsters, terrae incognita, and red herrings. They were highly subjective, highly inaccurate, and rare. Contextually speaking, maps at that time were distinctly not Google. It's a fascinating subject.īut what does this mean in a game? In the traditional swords-and-sorcery setting, the setting's technological level is often sometime between 300AD to 1650AD. There are lots of great books on the history of cartography. Cartographers feared blank spaces, and added monsters and continents. Maps were also scarce and expensive, and the processes of reproduction were flawed at best. Early Western maps took a while to sort out things like annotations, viewing angles, etc. Like language, it developed and changed over centuries. The syntax of maps didn't sprout fully formed. But I think that's probably a silly reaction.īut once I started looking at what I stopped enjoying about the Google style, I started thinking about historical cartography, the nature of exploration, and magical cartography. There's also something about the ease of creation of these styles of maps, using tools like Photoshop or WorldMachine, that started to bother me too. It's difficult to show a map to your players. With abstracted maps, there is less of a chance of the map contradicting DM information. It also complicates the relationship between the DM and the players. Accuracy and representation conflate with Google-style maps: the number of layers of abstraction reduce, the representation becomes the thing, player involvement is lessened. Those blue TSR maps evoked a sense of place, but required player effort to actualize. In the same way, pre-satellite cartography was intrinsically interpreted it suffered and exalted in the subjectivity of the author. One of the main reasons I enjoy tabletop games is that their visuals exist in our imaginations, summoned by the collective storytelling at the table. It's like a satellite photo of this imaginary place, it is the place.īut, for me, that started to be a problem. It gives color and context, and an overwhelming sense of realism. The style connects directly to our modern concept of what a map is, as conditioned by Google/Apple/Bing maps. You can see some of the results in my map for Maillon for Kobold Press. Recently it has become fashionable for fantasy gaming maps to be "photorealistic", a style I've enjoyed and tried out. Early Dungeons & Dragons maps and geomorphs had their unmistakable blue-line grids. Tolkien's maps set the tone for many years. They are such an intrinsic feature of the genre, and seem to have gone through some fashions and styles over the years. Please do not bug us with these sort of requests.If I had oodles of time, I would love to investigate the history of maps in fantasy stories and games. So, how can I donate?Ĭlick here to learn more about donating.
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