All of us at Green Ronin wish a Happy Tal’Dorei Day to all Critters! To help celebrate, we’ve turned on ordering in our Green Ronin Online Store for the Tal’Dorei Campaign Guide.
Now that you have the Tal’dorei Campaign Setting in your hands, what can you do with it? Play games, of course. But what adventures? Wizards has released a number of adventure books since 5th edition launched, and some of them are easy to integrate into Exandria.
Caution: Spoilers for Out of the Abyss are contained beyond this point. If you wish to play as a player, stop reading here. You have been warned!
One of the Adventure books that Wizards has released for 5th Edition D&D is called Out of the Abyss. It was primarily written by Green Ronin, on behalf of Wizards. The adventure, as written, is set in the Forgotten Realms, but it takes place mostly in the Underdark, and so requires very little massaging to use it in Tal’dorei.
You may wish to change the names of some of the cities of the underdark. I don’t think it will really matter much for most of them, although many of them have been in use in the Forgotten Realms for many years. There is a rough map on page 19 of the adventure that shows approximate locations of the underdark cites in relation to the overland Forgotten Realms map. You probably don’t need to change this, as the facing page has approximate travel times between the various locations. It’s probably best to use that as a rough guide for travel.
The largest change needed in the book is Chapter 8. The first thing to do is replace Bruenor Battlehammer and Gauntlgrym with Gradim Greyspine and Kraghammer. Then, replace the various Forgotten Realms specific factions (The Harpers, The Lords’ Alliance, The Zhentarim, The Emerald Enclave, and The Order of the Gauntlet) with Tal’dorei specific ones. (I’d suggest The Arcana Pansophical, The Ashari, The Council of Tal’dorei, The Chamber of Whitestone, and The Clasp.) Special note: In the adventure, the Zhentarim have a trading outpost in an underdark city. Have one of the factions that you replace the Zhents with (perhaps the Clasp?) have a similar outpost.
Please feel free to make any other changes you might need or want to. Playing with a toolbox is fun, and can help you level up as a DM. Bonus conversion: here is the sword Dawnbringer (found early in the adventure) turned into a vestige:
Weapon ( longsword ), legendary ( requires attunement by a non-evil creature )
Dawnbringer appears as a golden longsword hilt. When it’s attuned and held in your hand, you can use a bonus action to activate it, causing a glowing blade to appear. Dawnbringer functions as a longsword with the finesse property. You have a +1 bonus to attack and damage rolls with this weapon. It deals radiant damage instead of slashing damage. When you hit an undead or demonic target with it, it deals an extra 1d6 radiant damage.
Sentience/Personality: See the adventure, page 222.
Increase the bonus to attack and damage rolls to +2.
Increase the extra damage to undead or demonic targets to 2d6
Once per day, you can use your action to cast lesser restoration on a target you are touching. ( Recharges each day at dawn. )
Increase the bonus to attack and damage rolls to +3.
On a critical hit against an undead or demonic target, maximize all damage dice. ( Treat them as if you rolled the maximum number on the die. )
The first time each day that one of your allies within ten feet of you drops to zero hit points, Dawnbringer heals them for 2d8+2 damage. ( Recharges each day at dawn. )
Tune in next time for a more in-depth conversion, Princes of the Apocalypse!
We wanted to give you an update on the shipping of pre-orders for the Critical Role: Tal’Dorei Campaign Setting. This is the biggest pre-order we’ve ever had by far. It’s a large and complicated job, so we are using an outside fulfillment company for shipping. This has led to some minor issues that had to be ironed out with our store software and their fulfillment software not being 100% in sync. That got sorted out and shipping began.
If you pre-ordered, there’s no need to worry. Shipping is ongoing and you will get your books. We had said on Twitter that you’d get a confirmation email when your order shipped. Due to the software issue I mentioned above, however, that is actually not the case. We will get tracking info from the shipping company when they have finished the job, but by that point most of you will have your books anyway. The best thing to do is just hang on while the job is processed. You will be seeing your books soon.
Thanks for your patience!
Now available for pre-ordering, The Book of the Righteous provides a complete pantheon for Fifth Edition games.
The most comprehensive pantheon in roleplaying games is back in a new edition for 5E. This massive tome provides more than 20 pick-up-and-play churches, whose organization and beliefs are described in lavish detail. These churches can be used in any campaign setting to bring a whole new level of detail to religious characters. Plus, for those who don’t have a complete cosmology in their game, The Book of the Righteous provides a comprehensive mythology that unifies all of the gods in the book. The original edition of Book of the Righteous was one of the most critically acclaimed books of the d20 era. Now Dungeons & Dragons Fifth Edition designers Robert J. Schwalb and Rodney Thompson have brought the new edition up to date with the 5E rules and the whole book is in glorious full color. The Book of the Righteous is truly a divine sourcebook like no other.
Pre-ordering is now active for the Critical Role: Tal’Dorei Campaign Setting!
Important! You have three choices of where to start, so please make sure you choose the one you want:
- Pre-Order for Shipping:
This is the option to get the physical book shipped to you once they are done printing. You’ll receive an offer to get the PDF version right away for just $5, but you must choose “Add to Cart” in the pop-up window to get the offer.
- Pre-Order for Gen Con Pick-Up:
This is the option to choose if you are going to be at Gen Con 50 this August in Indianapolis and can come by the Green Ronin Publishing booth (#1321 in the Exhibit Hall) to pick up your book in person, with photo ID. When you check out you’ll be offered the PDF version for just $5, but you must choose “Add to Cart” in the pop-up window to get the offer.
Don’t like lugging books around with you as you search for adventure in Tal’Dorei? This is the option for you.
We have a FAQ set up just for you. If you’re still not sure about something, you can write our Customer Service Templar at email@example.com. But please do read the FAQ first.
The clock is counting down on Kickstarter for The Lost Citadel — Post-Apocalyptic Fantasy Roleplaying. Thanks to our amazing backers, we fully funded in 24 hours, and have been knocking down stretch goal after stretch goal.
Today’s RRT is by guest artist Andrew Law, who decided to share some insight into the process of creating his incredible map artwork for The Lost Citadel! Our Kickstarter has just one week left, if you’re a fan of 5th edition, you should really do yourself a favor and check it out now!
I’ve created hundreds of images during my professional career as a cartographer, but none excite and terrify more than the opening act: drafting the first map for a new setting.
Y’see, the first map is special. It sets the tone and mood for everything that comes after. It will be referenced, and re-referenced many times over by both the creators of the setting and the consumers, so it stands as an oft-trod gateway into the new world that many will come to know and love.
In short, I’m not just creating a map, I’m also introducing an entire setting with a single image.
No pressure, then.
Fortunately for me, The Lost Citadel has a wonderfully detailed writers’ bible that brings the setting, for all the Dead haunt its every corner, alive. So, there was already a wealth of detail to inspire me. All I had to do was draw it.
With all that in mind, I prepared to draft the first map. To begin, I referred to the design brief and did my best to conceive of something that would fully represent as much of The Lost Citadel as possible.
So, what did I have to create?
My brief boiled down to three basic requirements:
1) Create a vertical/portrait map with the same dimensions as the Freeport city poster.
2) Depict the outer city of Redoubt, some buildings of the inner city, and point to other important locations off-map.
3) The style should draw from various Middle Ages to Renaissance sources from East to West, but match none exactly, to best represent the artistic style of the current inhabitants of Redoubt.
That all sounded good. In addition, I worked with a fourth design goal of my own in mind, to help channel my creativity:
4) The map will illustrate some of the setting’s core concepts and historical details, in order support the existing world-building and introduce readers to The Lost Citadel.
And, now knowing what was required, I set to work.
To begin, I first sketched the area to be mapped. It was immediately obvious the city, plus the volcano behind it, would fill a broadly squarish area. This being the case, I’d need extra material to fill the top and bottom of the final image.
The bottom section was easy to resolve — a nice big title plate emblazoned with something like ‘THE CITY OF REDOUBT’ would likely do, perhaps illuminated with some in-game detail — but the top was a little more problematic. What should go there?
To answer, I had a good think about the setting, and what would allow me to add some of the details from the writers’ bible directly to the map. Eventually, I went with what I felt was the obvious answer: I decided to continue the map up into the sky, providing an opportunity to draw some of the setting’s celestial details as well as its terrestrial.
So, with that decided, I sketched it all out then began work on the detail.
Map in the Middle
After completing the preliminary sketches, I developed the central area of the image: the map of the city, the volcano, and the extras surrounding these.
The map itself was created in a simple style reminiscent of many Middle Age maps from the East and West, but without some of the goofier attempts at perspective or scaling often on display in such older cartography. As a nod to these medieval sources, I presented almost all towers and buildings as front elevations, hinting at a simplicity of artistic capability, but drew the surrounding city walls with a little more sophistication to ensure the image didn’t look too abstract. I then set about filling in all the details between, making space for all the outer city’s fields and primary districts. I then drew the inner city, which I presented as a crowded pile, with a small proportion of the many buildings on display. More information concerning the Inner City will come with the next map for The Lost Citadel, one that was unlocked as a poster when the Kickstarter reached its 29K stretch goal, so I wasn’t concerned about the lack of precise detail here.
Outside the city walls, it’s all ‘no-man’s land’ and ‘here be dragons’ (well, the Dead). All manner of dead things are drawn beyond the walls, mirroring the sea beasts of ancient ocean maps, and the dragons/monsters from similar land maps. They demonstrate the ignorance of the artist in question as to what actually lies beyond the walls, and the ignorance of people as a whole concerning the Dead and what they are. This ignorance is reinforced by the map depicting nothing beyond the eyesight of those who walk the walls; i.e.: this is a map of all that is left of the known world to the inhabitants of Redoubt, which is pretty bleak given the small area shown.
In addition to these semi-mythical undead creatures, some ruins and basic geographical detail was added. Also, five hands were then depicted pointing to distant locations (at the four corners of the central map and another at the bottom of the image below the title plate).
That all done, it was time to turn to what lay above the city and the volcano: the heavens.
Drawing the heavens provided an opportunity to depict the two moons of the setting — that’s the moons that are used in the ‘O’ of The Lost Citadel’s logo, if you hadn’t noticed, so I felt it was an important addition. Also, to support one of the central conceits of The Lost Citadel, I associated both moons with the Dead and drew them as skulls. This made sense as the moons are most visible at night, a time of danger, when it’s harder to see the Dead creeping around.
Contrasting with this, I drew the sun rising over the central volcano — and, in turn, the city itself — as a symbol of life and hope, with golden rays reaching out in all directions. This sun hints to the new dawn of civilisation that Redoubt could be should it survive. To strengthen this imagery, I gave the sun a human face as humanity is currently in control of Redoubt, suggesting any potential ‘dawn’ is largely in the hands of the city’s human rulers. Also, for those looking for a bleaker reading here, the sun rising over the volcano also winks at a possible future eruption, which would be cataclysmic in so many ways…
To frame the sun and moons, I drew the heavens as a great arc filled with stars, implying the in-setting artist who created the map knows the world is a globe — or, at the very least, has copied this detail from an earlier source. I chose to do this to show that for all the old civilization has come to an end with the rising of the Dead, some of the high knowledge it gathered still, in some form or another, endures – after all, the time before the Dead rose is still within living memory of some of the city’s eldest inhabitants. So, for all the truth of the world as a sphere surrounded by celestial objects is undoubtedly unimportant to the shoulder-to-shoulder common folk scraping out the barest of survivals within Redoubt’s high walls, older truths are still present in the city’s few examples of art, and such lore is possibly not lost to all scholars.
That done, I added some clouds to the top corners and was ready to move on. Next up, the bottom of the image, and the titles.
The title plate was both the easiest and hardest section to create. First, it’s just a few words bunched together, so what could be simpler? But I wanted it to be more than that – to recall the illuminated letters of many Middle Age documents – so I decided to go a little farther. After some thought, I figured depicting one of the key events in the history of Redoubt – when the Dwarfs who built the city were enslaved – was essential, and I also thought it important to weave the Dead directly into the lettering in some fashion. So, I set to work drawing the capital ‘R’ of Redoubt with a whole bunch of extra details.
If you take a look in the hollow of the ‘R’ you will find a small illumination. There I drew a collared Ghûl (the dog-like creature), a crowned Human in purple robes, a servile brown-clad Elf, and a defeated Dwarf being chained. This is an illustration of the aforementioned enslavement of the Dwarfs, and also stands as a quick guide to the four, sentient species inhabiting the city. I then turned to the letter itself, and drew a skeleton turning its back on the life illustrated within the R (and the word Redoubt as a whole), showing how the Dead were antagonistic to the city and life as a whole. Further, I cut the skeleton off at the legs to stand as a metaphor for the city’s ability to stop the Dead in its tracks (no legs, no ability to progress), but not defeat it, for the skeleton’s back is still strong and its ‘eyes’ sharp. Further, the skeleton is incorporated directly into the capital letter to hint the city itself has the Dead within, which is a very real danger that all fear.
Beneath the text, a brief note to the renaming of the city to ‘Redoubt’ is also marked with the following: ‘Named by the Accord of the Last Redoubt’. This provides a reference to another key historical event for the city, when the old Dwarf name for Redoubt – Elldimek – was abandoned by its new human rulers. Lastly concerning the title, the continent name is also marked for the reader’s information: ‘Last Citadel of Zileska’.
That all done, it was time to turn to the image as a whole and finish it off.
Firstly, I drew a border to compliment the central map, and then set to work scuffing it up a little, to give the impression of use and age.
I did this because I presumed the map’s original creator drafted the image a few decades in the past. This allowed the map to be worn, reflecting the recycling of all things in Redoubt, a fact of life in the over-crowded city where every resource is precious. So, I spent some time creating a tired, worn, bloodied, folded-up on itself finish for the whole image, all standing as a metaphor for the people of Redoubt themselves, who are not in the best of shape.
Then I added clouds and skulls to the four corners. These represent the four winds blowing death at the city, reinforcing the idea that the Dead come from all sides, and that the curse of the Dead is everywhere, nicely subverting more typical Breath of Life imagery.
I then revisited the entire map and added extra labels where required. To do this, I used three languages (at least) to show the multiculturalism of the depicted city.
The first language I used was English. This stands in for the most common language in the city, a tongue of Venmir origin (the Venmir are one of the Human tribes). This is used for the title plate, all the important labels, and the very simple poetry concerning the winds I added to the four corners.
The next language on the map also uses Latin letters, and is presented as a higher/older version of Venmir (from Angati origin – another Human tribe). It is used to show the sunrise at the top of the map – Svitanus: ‘Sunrise’ – and to drop a reference to Elldimek, the old name for Redoubt, at the bottom of the image – Malnova Elldimek ripozas kun la Mortin: ‘Old Elldimek lies with the Dead’.
Lastly, one or more languages are deployed with characters with a strong Eastern influence (Tibetan and similar), with two paragraphs at the bottom of the map beneath the title plate, and several labels elsewhere. The exact meaning of these is left to others to decide.
And, then, after a tweak or two more, it was finished, and I sent the final image over to Green Ronin.
So, after all that, I dearly hope you like the end result. It was a joy to create.
Now I’m looking forward to later in the year, as I’m enormously excited to be drafting the detailed plan map of the inner city of Redoubt.
Andrew Law, June 26th, 2017
Jaym Gates, Nicole Lindroos, and CA Suleiman sat down together at the Origins Game Fair in Columbus, Ohio, and talked about The Lost Citadel, answering some questions backers have posted to the Kickstarter project page while they were at it. Hal Mangold caught it all on video, so we can all watch and enjoy.
In other news from the City of Redoubt, we have unlocked the Double-Sided Poster Map stretch goal, and are on our way to achieving System Hack: AGE, in which we hire Gary Astleford to create a system conversion document so you can adventure in The Lost Citadel using our Adventure Game Engine as featured in Fantasy AGE, Dragon Age, Titansgrave, and more!
If you’d like to learn more about The Lost Citadel before (or after) backing, check out these free previews!
- “The Bone-Shaker’s Daughter,” a short story by Mercedes M. Yardley
- “Requiem, In Bells,” a short story by Ari Marmell
- Example race: The Ghûl
As always, thank you so much to all our backers (and future backers)!
Sometimes, as we juggle our various projects, we mention several things at once, and sometimes one link doesn’t get as much attention as it deserves. In case you missed it, you can download two really great short stories from Tales of the Lost Citadel for free, and get a glimpse into the setting of our current Kickstarter campaign, The Lost Citadel RPG.
And in case you’ve missed this, too, please check out our Kickstarter campaign for The Lost Citadel RPG, and consider backing.
So, at the beginning of May, we announced we’re going to produce the World of Lazarus, a guide to roleplaying in Greg Rucka’s SF-feudal Lazarus comic series. We noted it would be a setting for the Modern AGE roleplaying game.
Yes, this means we’re making a Modern AGE game. We said so in a sort of soft, sneaky way, but today, we’re going to dig into what that means.
Modern AGE uses the Adventure Game Engine to power stories set in the “modern era,” a period we’ve designated as running from the 18th or 19th century, through the present day, and into the near future. That means guns and computers, transoceanic empires and raucous democracies, and the Cold War and beyond, into the great geopolitical realignments of our time. But it also means urban fantasy, psychic powers, conspiracies and all the speculative and strange sources that fuel modern stories.
The Adventure Game Engine is the system you first saw in the Dragon Age roleplaying game. You witnessed its evolution into Fantasy AGE with Wil Wheaton’s Titansgrave setting, and into Blue Rose: The AGE RPG of Romantic Fantasy. Modern AGE might be thought of as a counterpart to Fantasy AGE, but if you’re familiar with one of these games, the rest will come easily. Modern AGE adds some new things to the system, and revises a few solid concepts to make them easier to use.
Developing the game, it’s been important to me to stick with the A.G.E. system’s core concepts: ease of play, strong tools for character development, and most of all, stunts.
Stunts and Areas of Interest
Stunts are the system’s “killer app;” where other games often struggle to integrate special actions and exceptional results, the A.G.E. system uses stunts to make them emerge during play. Modern AGE introduces some new stunts, but we also recognize the decision paralysis that can happen when doubles hit the table. That’s why we’ve designated go-to core stunts and places stunts into shorter, focused lists.
Putting stunts into categories means thinking about what characters do during the game. Accordingly, we’ve mapped out three core areas of interest: action, exploration and social play. Action encompasses combat, chases and other physical challenges. Exploration combines its counterpart in Fantasy AGE with investigation. Social play develops the “roleplaying” category, acknowledging that modern games often require heroes to present themselves properly in all the scenarios thrown up by complex contemporary cultures.
The three areas of interest act as a focus throughout Modern AGE’s design, not just stunts. Heroes with abilities covering all three can take on nearly any challenge the GM cares to throw at them.
Character and Genre Modes
Fantasy AGE presents broad classes, archetypes in that genre, and provides advancement options that allow you to lock in more specific elements over time. Modern era games don’t have the same archetypes, however, and don’t need the same niche protection vital to the feel of fantasy adventure gaming. So, we’ve gone classless. After developing a background, a profession and a drive that pushes your hero out of obscurity and into the story, you’ll select ability advancements, talents and specializations freely.
In some games, a private eye is someone who uses a car, camera and laptop to find evidence for divorces and lawsuits, while in others, they’re a two-fisted, iron-chinned stalwart with a talent for getting tangled in murders. The difference? Genre. Not all modern games feature the same degree of realism, so we’ve included specific rules modes to fit the stories you want to play through. The three basic modes are gritty, for stories where violence is unforgiving, pulp, where a battered hero can, say, claw their way out of danger, and cinematic, where protagonists achieve the competence often reserves for fantasy heroes and the most outrageous action games. These modes affect character toughness and stunt access, and guide advice you’ll read throughout the book.
In upcoming columns, I’ll talk more about Modern AGE’s design foundations, and the details that make them work. Until then, let me ask you something: What clicks for you about the Adventure Game Engine RPGs you’ve played? What do you want to see down the line? I’m developing it even as we speak, and things are getting locked in, but I’d love to read your conversations–and ever so sneakily, have you spread the word that Modern AGE is coming . . .
And in a Further Manipulative Move
. . . oh wait. It’s not all about me. While you should indeed talk about Modern AGE until it’s a breakfast cereal, I have been reminded that our Kickstarter for The Lost Citadel — Post-Apocalyptic Fantasy Roleplaying is in full swing. I was actually one of the authors in the short story collection that inaugurated this shared world, which we’re transforming into a setting for 5th Edition roleplaying. But if you’re an Adventure Game Engine fan, know this: If we hit $32,500, we’ll unlock the A.G.E System Hack, which converts the Dead-bound Zileska setting to A.G.E family games.
And if you’re curious about the setting and stories of The Lost Citadel, we have a sample short story available for FREE on our website. Check out Requiem, In Bells, by Ari Marmell.