Continuing from Part Three...
During high school, I was reading every fantasy or sci-fi novel I could get my hands on. Drawing had been my primary form of expression - mostly sketches of persons, places, or things in my campaign world. It was in high school that I was assured that I also wrote well. Up to that point, I wasn't really putting much effort into crafting plots or stories for my game. It was mostly just dungeons linked by some overland scenarios. I had created a world for adventures, but not for much else.
It seemed time to give my big, messy creation a sense of purpose. While I've compiled a few versions of my own Appendix N, there were a few select works that pushed me forward in creativity.
Sherri S. Tepper's True Game novels. For the cover art (James Christensen and Kinuko Craft), the characters, the world-building, and the hidden details and history.
The art of Christensen inspired me in other ways. Fantasy could be colorful and even whimsical. Details could have deeper meaning - not just to add layers. I was starting to gain a deeper appreciation for symbolism.
And, there were so many different ways a fairly common mythic/folkloric creature could be represented or designed (Frog and Ogre).
Bold new ways of getting players to the adventure (Flight of the Fablemaker). Yes, flying ships became a definite thing for my campaign.
Unique sites and structures offered for more than just breaking into and exploring for monetary gain (College of Magical Knowledge).
But, the writing affected me most deeply. Not only the shape and flavor of the setting - which was quite unique and captivating, but also the REASONS for why things were the way they were. I won't spoil the surprises for anyone that might be inspired to find these books, but I will say that Avremier became much better for the experience.
In the next installment, I'll discuss how and why Avremier became a Science-Fantasy setting.
During high school, I was reading every fantasy or sci-fi novel I could get my hands on. Drawing had been my primary form of expression - mostly sketches of persons, places, or things in my campaign world. It was in high school that I was assured that I also wrote well. Up to that point, I wasn't really putting much effort into crafting plots or stories for my game. It was mostly just dungeons linked by some overland scenarios. I had created a world for adventures, but not for much else.
It seemed time to give my big, messy creation a sense of purpose. While I've compiled a few versions of my own Appendix N, there were a few select works that pushed me forward in creativity.
Sherri S. Tepper's True Game novels. For the cover art (James Christensen and Kinuko Craft), the characters, the world-building, and the hidden details and history.The art of Christensen inspired me in other ways. Fantasy could be colorful and even whimsical. Details could have deeper meaning - not just to add layers. I was starting to gain a deeper appreciation for symbolism.
 |
| Frog and Ogre |
 | |
| Flight of the Fablemaker |
Bold new ways of getting players to the adventure (Flight of the Fablemaker). Yes, flying ships became a definite thing for my campaign.
 |
| College of Magical Knowledge |
Unique sites and structures offered for more than just breaking into and exploring for monetary gain (College of Magical Knowledge).
But, the writing affected me most deeply. Not only the shape and flavor of the setting - which was quite unique and captivating, but also the REASONS for why things were the way they were. I won't spoil the surprises for anyone that might be inspired to find these books, but I will say that Avremier became much better for the experience.
In the next installment, I'll discuss how and why Avremier became a Science-Fantasy setting.
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