Through the looking glass edition
>Resources: pastebin.com
>Thread Questions
What is your setting's cosmology like? Do other worlds, planes, dimensions, or realities exist?
Are people aware that these places exist?
What methods can be used to access these other worlds if they can be accessed, and how does this knowledge affect how the denizens of your setting view the world and their place in it?
Has anyone tried playing Beyond the Wall? I'm looking at running my first game with it
I prefer to keep my settings to one world + a couple of other planes (after life, realm of the fae, realm of the elements).
I have been wanting to run a kill six billion demons campaign, which naturally includes a bunch of linked worlds - but the players might not get to travel between them that often.
>What is your setting's cosmology like? Do other worlds, planes, dimensions, or realities exist?
There are other planes that exist above, below, and in every other direction from the mortal plane. Sometimes when planes bleed together, it causes the mortal plane to collapse on itself, and suddenly worlds that occupied the same space in different dimensions meld together in an event that lasts all of a millisecond, causing both dimensions to now have a world that is doubled in size and has all the landmasses, and races of both worlds.
>Are people aware that these places exist?
>What methods can be used to access these other worlds if they can be accessed, and how does this knowledge affect how the denizens of your setting view the world and their place in it?
There was one. The precursor race. They routinely fought each other for territory on the planet, taking primitive races, and non sentient animals, and uplifting them into the races that exist today using power from the other planes to basically advance their culture thousands of years in seconds in pockets they built in this plane. In fact many of these races aren't aware, but their pantheons are just the names of the precursors who made them, and the name of their version of heaven is the name of the House/Faction that used them as shock troopers in the 'War of the Heavens'.
>cont.
This constant intrusion into the other plane attracted the attention of the Plane's natives, entities that are basically 'normal' in their home plane, but 'god-like' on the mortal plane. To punish the precursors, they began whispering into some of the thralls unknowable truths, and turned them into power hungry maniacs that nearly destroyed the world by bringing one of these entities into the mortal plane. Precursors narrowly put a stop to it, but the end result saw the god-thing split into countless pieces; pieces that pierced the souls of million of being in the world, tying them and their descendants to the beast and giving it a way to resurrect itself at a later time.
The Precursors, crippled after such a devastating battle, saw the huge hole in reality they made that other mortals couldn't see. So they left the mortal plane, retreating into the other plane through focal points they established long ago, leaving their physical bodies behind as they traveled to this dimension to create what was basically a metaphysical wall to hide the mortal plane from these things that were suddenly very interested in the existence of mortals. Some of these precursors however feel this isn't enough penance for their huge screw up, so they come back to the mortal realm, severely diminished, many of their memories and knowledge deliberately locked away while roaming the mortal world in physical form. They are know by the other races, as elves.
The new races have taken over the mortal world and a few are vaguely aware of these other planes. Some artifacts of the precursors still exists that allow the wielders to alter reality using power from the other planes- anything from rewriting history, removing a continent, or dropping a new one in, all are possible with them; and secret groups among the races actively hunt these artifacts to lock them away, or exploit them.
Elves just go along for the ride. They saw enough shit that nothing phases them anymore.
There was a little bit of interest for this project last thread, so I'll dump what I've got so far.
>if you have any ideas I'll add them to my setting
>feel free to steal my maps if you want to
The world is supposed to be somewhat dangerous, with monsters hunting for prey at night. It's vaguely conan-esque, with somewhat asian themes.
Here's a chart of 'Obaddhya', I'll post the finished area maps as well. If anybody want setting notes / the map of obaddhya without nation / capital names, they can be provided too.
I'm considering whether or not making a short historical timeline would be a waste of effort or totally worth it.
I can see that I was pretty inconsiten when charting the capital cities. I should clean that up, but eh.
Broad question, but is it possible at all to marry Exalted-esque high power fantasy with higher end sci-fi (e.g. megastructures)? I like both, I want to combine both, but I run into the problem of personal vs impersonal. The fantasy part is built on powerful individuals performing actions that have enormous effect (very personal), while the higher end sci-fi part is built on acknowledging the sheer vastness of the universe and how little the actions of individuals matter on such a grand scale (very impersonal). Cutting mountains apart doesn't matter in the face of a relativistic kill vehicle, and armies are tiny compared to the firepower of a Nicoll-Dyson Laser. Is this all just an exercise in futility?
This setting is pretty uni-world right now, but souls pass onto the path to heaven, where they must avoid being tempted by Mara, and where the gods act as guiding beacons.
I think it's hard to maintain both the personal and impersonal aspects of such a setting. What would probably work best is to place powerful individuals at the 'top' of every solar system or superstructure or whatever.
So, for the map I need to finish the zoomed in version of the plateau. Then I'll leave the nearby areas sort of uncharted (from the elven lands to the east, the badlands to the west, the desert to the north and the mountainlands to the south).
The rest can be filled in play.
And, of course, this last map needs to be charted.
Quick question. Do your guys' setting have a light after death? If so what is it like?
Mine depends on what race you are or more importantly who's allegiance you've chosen or rather have not chosen. It's a triangle really.
"The Light"-"The mortal plane"- "The dark"
Two of those relatively keep your soul safe for the most part and those being the light and dark. The light being a place of warmth, jubilation, and Active in general. The Dark being Cold, Utterly Quiet, and Restful. The mortal plane is what you have to worry about. This is where necromancy and soul fuckery resides. To ensure your soul is safe on this plane you have to be careful either through rites of peace or really through securing it in some form.
In my setting, all souls are sent along the Path to Heaven. Here each god has a station, which act as an illuminated beacon to those who have followed the ideals of said god. You need to pass through each station to make it to heaven, otherwise you're doomed ot eventually be tempted by the Mara, and either reincarnated (if you're lucky), reborn (worse) or enslaved / consumed by the Mara (worst).
You usually do get something out of pacts with the Mara, maybe they'll reunite you with your lover or give you a chance for revenge - or maybe you're just tired of struggling.
>What is your setting's cosmology like? Do other worlds, planes, dimensions, or realities exist?
Yes. The Material Plane of my current setting is in-universe understood to be an island in a vast sea of worlds. These worlds can be see by looking at the stars, but physical travel isn't possible like in (theoretically) RL.
>Are people aware that these places exist?
Most. The main faith of the isles understands that they are a mote in the universal maelstrom, safeguarded by the Gods. And most folk won't ever be bothered by extradimensions at all in their daily lives, so they typically don't think much on it besides in a very distant, philosophical way.
>What methods can be used to access these other worlds if they can be accessed, and how does this knowledge affect how the denizens of your setting view the world and their place in it?
Naturally occurring portals of varying sizes can form due to the influence of leylines, akashik energies, and the physical manifestations of random karmic, chakric, and psychic resonations within the biosphere. These typically last a few weeks to a few months, creating a sort of Planar Gold Rush/Boom Town effect every so many years. For clarification, my setting specifically builds off hokey spiritualist and debunked mysticism from the 19th and 20th centuries, and mixes it with a healthy dose of bio-punk and swashbuckling for flavor.
This is something I was very specific about when making my latest setting. Once electrical activity in the brain ceases, you're dead for good. No afterlife, no souls, no resurrection.
This has the dual purpose of keeping resurrection out of my setting, because I've had games where past a certain power-level death had no consequence, and it's in keeping with the setting's cosmology in which creatures from higher planes promise an afterlife to mortals but in reality just syphon energy for their own purposes.
>What is your setting's cosmology like? Do other worlds, planes, dimensions, or realities exist?
The World With No Name is a nexus of planes and alternate worlds. Kind of like the GURPS basic setting.
>Are people aware that these places exist?
Some are, yes. The safest way to travel between planes and alternate realities is through The World With No Name, but safe is relative. Shit leaks through all the time, and the way that Hos set up the universe, people who would fall out of it end up in The World With No Name.
>What methods can be used to access these other worlds if they can be accessed, and how does this knowledge affect how the denizens of your setting view the world and their place in it?
There are many ways to travel between planes, but they are very difficult and rare, usually limited to stronger gods and powerful/clever inventor/wizards.
Try looking at the Halo lore, it could give you a few ideas. If you watch all the terminal cutscenes from halo 4 you get an idea of what powerful individuals can do in a sci fi setting, such as the Didact and his Composer and the Rings themselves. I think you could do it it'll just take a lot of thought put into it.
What would a good name for Germanics be, that's isn't just a word taken wholesale, like with Tolkien, or a word with a letter taken off, like GURM
Doing writing for a setting with a not-HRE, Arabic Persia, spartans and Spartacus-zulus
Or should I come up with various tribes names and fuse them like you had Angels, Jutes and Saxons becoming Anglo-saxons
Anyone here getting setting ADD I'm typing up rules for a survival focused setting but got ideas I wanna implement in my dark fantasy now and am more and more having a hard time keeeping focus on my more developed project.
If it hasn't been yet said if also recommend lord of light by roger zelaney as well
/wbg/ beginner's quesion: I've just begun to design a couple of settings (to be used in fanstasy TTRPG, possibly of my homebrew system, possibly not). I'm torn about how derivative of history and existing fiction I should be. Has anyone else given this some thought?
I want the worlds to feel fresh and make exploring them novel and interesting (and I don't want to waste my time creating a worse version of something that already exists), so I don't want the settings to feel like not!Earth and/or not!ForgottenRealms. However, I'm worried that:
1. Without familiar themes, players will find it hard to connect to the world and its flavor
2. I'll end up making stuff "different" for the sake of being different, and the settings will feel unique in a bad special-snowflake sort of way
3. I simply won't be able to come up with enough good ideas to fully flesh out the worlds without borrowing heavily from stuff that already exists.
I'm starting to explore real-world cultures and philosophies and historical eras that are less commonly used in fantasy as a sort of compromise, but I'm curious to know if anyone has other suggestions or advice.
>Thread Question
I'm trying to create a feeling of ambiguity in my world, with competing religions and theories about cosmology, etc.
There is evidence that other planes/levels of reality exist, but their precise nature and relation to the world are matters of contention among scholars and theologians. Most common people don't care to ponder the possibilities though.
Some think that these other planes of existence are obtained through spiritual enlightenment, others contend that they are physical places similar to their own world and there must be some physical/magical means of reaching them.
It is! I have been working on that same question for a while now. The great thing about Exalted-tier abilities is that megastructures actually give you worthy opposition without having to always resort to other demigod enemies to fight. If you are worried about the grand scale seeming impersonal, then have the powerful individuals fight against those forces, either by dismantling the Nicoll-Dyson laser from the inside with mountain-cleaving swordplay or building their own superweapons (actually let the players do this!) using god-like crafting skills. A superpowered PC can meaningfully go to high gravity methane world and whatever, which are normally off-limits in virtually any other setting context. This is a fantastic combination, and I hope you do not give up on it.
I like the idea of creating a parallel to historical Germanics by creating a variety of tribal names with somewhat distinct identities, but have them all fall within the broader category of "Germanic". Could even borrow/modify some German terms to build the names, if you look at the construction of German words many of them are just separate descriptive terms mashed together: something like Oestervolk meaning "the folk of the East".
The French call RL Germans Alemann.
Bamp for advice.
>Not using the cumstain method
Keeping it really short, setting's cosmology floats in Great Emptiness, counter-intuitively inhabited some vague beasts and beings called Beasts of Void.
The setting itself is formed within such wounded, vegetative beasts, whose essence split into two sources of creation, Chaos and Pattern. Life originated from chaos, and deities etc. from pattern.
Out of fear of living, deities created physical world as barrier, seperating the 'higher-plane' into Sheol and Gan, barrier residing in middle.
Some living beings can access Sheol with of training, usually by thaumaturgic means. Gan is usually off-limits, strictly watched over by deities. No thing living or deity can go into Great Nothingness.
Then there are some bubbles of world that erode from physical realm, albeit rarely.
How do i make realistic country names? I need one for a not!Spain/Portugal mix. So far i have
>ulbenia
>valkany
>northerland
>Zwaebia
>Tsvenya
>Opium wars against tiger chinks
I like it
Start with Latin roots, or just study Latin superficially and put some common syllables together that sound decent. Maybe use the Spanish and Portuguese words for their respective countries as guidelines or a starting point.
Mashing words from both languages together? Is there an equivalent of this en.wikipedia.org
Hey /wbg/, I'm the guy who posted a couple weeks ago about the generators I made a while back I decided to work on a small new generator that someone here might find useful.
procgenesis.com
It's a naming language generator based on Martin O'Leary's naming language code, which is the code used in my map generator to create names for cities. Basically you can create procedural naming languages that have certain random characteristics like allowable characters, syllables, and phonemes. From those characteristics the generator creates some morphemes that it puts together to form words and names. One of the big benefits of this is that it produces names that sound like they came from the same language or culture. You can also "mutate" a language, creating a descendant language that has a few randomly chosen mutations. A language can have any number of descendents, leading to language families that get plotted on a chart. You can save the chart as an image and save the data/morphemes/names from your languages as a text file. You can also edit the names of the languages on the chart, drag them around, or box-select them and move several at a time. So really you can use this to set up a tree chart for anything at all, you'd just need to change the text in the boxes. You can also delete languages on the chart, although it won't delete that entry in the language list on the left.
Anyway, hope someone can use this to add some flavor to their worldbuilding. I was thinking you could use it to loosely model how different languages/cultural groups are related as people move from place to place and populations become isolated.
/wbg/ is a rabbi thole and people like you just keep adding layers... bless you all.
I'll have to try it out.
So /wbg/, how much lore is too much? I'm designing a sci-fi world for a wargame I'm making, and I've got 300 years of history down, down to macroeconomic forces and rewritten folk songs which the two sides have. How much of this should be available to the players in the main rulebook? I want to include enough to give flavor to the gameplay (which, considering it's gonna be played with NATO boxes-with-lines on a hex, is gonna need a whole lot of flavor,) but I don't wanna overload the players. What's the golden mean you guys typically go for?
I would say start with enough broad-strokes flavor to justify/support the game play- maybe use it to explain why faction X uses Y to accomplish Z, while faction A would never even consider Y or Z. Then add sidebar comments that go a little deeper into specific events, misc. tidbits, etc. Make the deeper information that is more nuanced or less relevant to game play available in supplemental material for those who are interested.
Bump
So lets say i have a country at roughly american civil war era technology, do i just come up with basics like what spawned the tech, whose in charge, places, basic history of relations , religion and recent important events? I feel like we should make a template.
More or less yeah, say what nations are what, power players that sorta stuff.
>Not getting that that part of the world is supposed to be not!India
>What is your setting's cosmology like? Do other worlds, planes, dimensions, or realities exist? Are people aware that these places exist? What methods can be used to access these other worlds if they can be accessed, and how does this knowledge affect how the denizens of your setting view the world and their place in it?
It's literally our universe set a few hundred years in the future with a few caveats to allow for a post-apoc setting that also has space colonies in orbit around the earth and a few out around Venus, Mars, the asteroid belt and Jupiter.
Just do what's fun and interesting user. Hit the radom page button a few times at TVTropes and use the pages it loads as inspiration for your setting (works rather well in my experience).
My current setting specifically has no other planes. Everywhere that would be classified as somewhere supernatural would be somewhere you could hypothetically walk to. Demons live in magma caverns deep below the earth, the hidden elven city is just deep in the forest and masked by illusions. Gods simply have enough magic,to hang out above the clouds all day.
I felt like it would help things feel more grounded.
How would one make a map of a setting that almost entirely consists of underground caverns and tunnels branching every which way?
Overhead showing main tunnels with larger side tunnels, have additional layers for sub/over tunnels.
I feel that. I've got a pretty concise setting that I've been trying to flesh out nations,and cultures for, but I keep getting tempted to make it more and more of a kitchen sink to the degree that I'm not sure if I wouldn't be better off just taking the bits I like and scrapping the rest.
Yeah, i just wasn't sure how well that would work depending on how many layers there ended up being, and it felt like it might be odd to look at.
I'm tempted to just have a mental map of it and have the players be tasked by a cartographer's guild to chart their own way.
I've got a similar problem, trying to balance developing my home brew world for a D&D 5e game I hope to start back up soon, as well as a home brew TTRPG system and a setting to go with it (both in their infancy). I feel like I should focus on the 5e setting since there is a much higher chance of actally putting it to use, but whenever I hit a roadblock it's so tempting to just ditch it and tinker with the new system. I try to think of it as a good way of recharging my creative batteries though- if I'm tired of writing setting fluff I can spends some time fiddling with crunch for the new system, and vice versa.
Depends how you drew it really. If you wanted to go incredibly complex look up how ant nests look, and i dont think it would be odd to look at, maybe look at real life cave structures and mine layouts or such for ideas.
Maybe. The reason I ask is because I did a one-shot where the players basically fell into an underground cave complex, and it ended up being great since tunnels spiraled out everywhere and there wasn't really a strict destination or boundary in most places.
I'd like to be able to do that on a larger scale, but I feel like in the long term it'd be important to have charts and maps so they could retrace their steps.
They need to either be shorter if they're large regions, or named for prominent families or figures if they're smaller. For example, there's an entire plain in my setting called the Urmesh lowlands where, wouldnt you guess it, the Urmesh people live, but the sections of it have grander names associated with their specific denizens. For example, the largest city in the Urmesh lowlands is Kvaaromarch which was once a hillfort home to the Kvaar tribe, but one winter several other tribes came to join them after their villages were destroyed by raiders and it bloomed into a city from there.
To get away from ending in -a, -ia, -y, or -land, remember that in cultures with less history, or poorly recorded history, things are just named for who lives there often just called their lands, territory, or clay.
I've left it ambiguous, though some religious groups believe the rapture happened centuries ago and the people left are the descendants of the unworthy
Stop me if you’ve heard this one.
Vampires = Insects.
...proceed.
Thanks user I thought Oëstervolk would be like Bavaria which has no relations to parts of its word
>not using the shred papers and then throw it everywhere method
This is a Christian board user
Yeah already got my NotHRE calling the Persian Arabians 'dervils', whilst the Persian-Arabs call themselves Dervishes, and will be based closely to that cult but also zoroastrian because why not
Classical heroics is always about the hero acting in the face of vast undefeatable gods and forces beyond their control.
It was never a question of 'beating' the universe, it's a question of doing what you can before you lose.
...
Darkest Dungeon (vidya) kinda did that, insects and mosquitoes in particular.
skeeters?
Does anyone have the link to the symbol generator from a fee generals ago?
I'm thinking more like hornets. Or one of those wasps that bury their babies inside their victims.
One bump.
Problem I think with making PCs that powerful would be that the scale is not terribly big. Instead of appreciating just how absurdly huge a dyson sphere/swarm is, the megastructures would then just be set dressing. Kind of like Halo I guess, with Forerunner construction being ECKSBAWKSHUEG just for the sake of looking cool.
So, I finally decided to sit down and start writing down my setting idea, and i'm sure this has been covered before, but I was wondering...If you are developing a fictional language, but some words have direct translations to regular English, should I write them in English, in my fictional language, or maybe both?
What makes something less annoying/more fun to read? I was writing them all in my fictional language, and trying to be descriptive so as to make it obvious what they are, but i'm having doubts as to whether anyone will want to get used to weird fictional words.
I would suggest against using such writing, unless its done in a single sentence or mixed with english. For example you can have something like "Damn you Shatul" While Shatul makes the reader/player etc interested in what that mean and its clearly an insult atleast from the person saying it, it can also be very useful if there ISNT a word for something you are trying to express, though these will often be names which you usually want to have quiet unique in your setting, Hope it helps.
People dont want to have to read a dictonary to be able to understand what is being said, If you have something like the word "Shatul" that i just used then if one is interested one can learn what that actually means, and the usage of it sparks an interest in the reader etc. Dont make them have to KNOW things, the less they HAVE to know the better, having the option to learn more is great however and will contribute into make your world both deep and rich. Good luck!
I will try to keep it to a minimum then, mostly for names and the occasional word here and there. Thanks :)
You're welcome, happy world building!
>What is your setting's cosmology like? Do other worlds, planes, dimensions, or realities exist?
Yes planes, maybe dimensions, no realities unless you create them
>Are people aware that these places exist?
By and large, no
yeah i totally wanted to accidentally click 2px away from the text box and post that right then
>What methods can be used to access these other worlds if they can be accessed, and how does this knowledge affect how the denizens of your setting view the world and their place in it?
Almost always just a teleportation spell, but for the novelty or if you're commuting often you can enchant a door, but you have to keep magical energy flowing through the door either by using it or hanging onto the knob and transferring some of your power into the door to strengthen the butt tunnel to the plane of naked girls or whatever
The knowledge doesn't really affect anyone because nobody knows about it but for the few million wizards and stuff that use the information, who don't tell anyone about it because nobody likes wizards. Especially not wizards that start dicking off in other planes because it means they're getting at controlling and using magic, and that shit makes people uncomfortable.
Like, torch and pitchfork uncomfortable.
Mozzies
How do you justify a monarchy beyond tradition and divine right?
Magical bloodlines is a good one. The king and his family being able to breathe fire certainly makes them seem like they have something going for them
Might makes right.
Literally nobody else can become a monarch, see The Elder Scrolls.
>Basing civilizations off geography instead of geography off of civilizations.
I hope none of you do this for something you're serious about.
Please elaborate? So you write civilizations first then draw a map to suit them?
Well the parasitism thing has been done. IIRC one or more of the vampire courts in the Dresden Files is similar to this concept.
I was just being fucking around with making my post an absolute and pretending to take on a position of authority, I haven't actually tested it because I don't make maps. I only figured this out today.
I think the concept of working through a world like this is very solid though. It should cause both a more interesting world and more interesting people in that world.
Basically you make an interesting culture with a nice aesthetic and then you think about how geographical conditions could create that culture. This leads to problems which you can find interesting and creative solutions to, improving your world on a whole. You're thinking "how does this desert civilization get water" rather than "where would there be a civilization in this desert?" The answer to the former can be anything, they get it from underground, they get it from their god, they have it delivered because the site is really important to them, they're near a rare river, they're near an oasis, they only get it once a year and have to store it over a very long time or they do a ritual to become basically mummies so they won't need water. Whereas the latter question you're much more likely to answer "Near that river" or "Near this oasis"
Even Exalted-tier characters are going to feel the scale of a Dyson sphere if you handle it accurately; it is simply so much more massive than anything a terrestrial hero would ever encounter that it is hard to trivialize. Think of it this way: having extremely powerful PCs gives them an actual chance to appreciate how big the megastructures are, whereas a normal human would be so limited in their exploratory capabilities that they could see only a tiny fraction of it in a lifetime.
I think it's an interesting topic to think about. Think each approach can serve a different purpose I think.
If you've already got lots of ideas for your setting's history/cultures/other fluff, it definitely makes sense to sculpt your map around it. But if you're struggling to come up with more ideas, you could try the reverse approach and draw an interesting section of map and wonder "what happens here?"
Think of those old monarchies who claimed descent from dragons, giants or deities, but true. Also, making the ruling line popular amongst the people is a good way ensure continued rule
Hmm...I see what you mean by that. I think the latter approach based on geography would certainly fit low fantasy better, as you'd naturally put towns near places they'd be in real life, while the former works better when you want to have several interesting towns, cities, and other locations, and then build the world around them to have a lot of places where there might only be a city because magic or some other extreme factor is the cause.
I think either way it's good to remember that not every city has to be in a perfectly optimal spot.
Nice, I have a bunch of stuff I need to name so this will come in handy. Thanks for posting user
hey wow its WBG I've been waiting for one of these
Alright so I'm making a dumb anime setting full of dumb shounen tropes but it's really shaping up to be fun now.
I've got a semi-sentient blood virus that sort of corrupts but also enhances the ki of anyone who gets it that the secret ninja cults use, and I'm struggling for a good name for it. Each one has its own variation so it's an umbrella name I'm looking for and it needs to be in japanese for flavour.
Anyone got any ideas?
Just write in English, leave made up words for things have no English equivalent.
I'm also looking for a name for the groups of ninja. Just like a collective noun for a lodge of shinobi.
>try my hand at map-making
>world map ends up being rip-off of Mediterranean
>again
Rate scripts pls (mostly WIP)
same my man.... same.
...
>1-1 of the latin alphabet
Kinda lazy.
Try looking up some of the other alphabets around the world. The latin alphabet really doesn't cover half of what's going on.
Visually it's fine, though.
I'd recommend looking up phonology and phonotactics of the language
of the country whose equivalent you are making, it's easier than getting familiar enough with how the language sounds to make nonsense words that would sound right to a native. Here's a few that could pass at least as town names in Spain:
Lorecia (c read as /θ/, stress on the second syllab), Mapila (stress on first syllab), Almesía (stress on "sí", "a" is a separate syllab) or Alamesia ("ia" is a diphtong, stress n the third syllab), Cantabral (Stress on the first syllab).
t. spaniard
Can someone help me make a world? I Need a program other then inkarnate. Im going crazy over this because I want to provide my players with something fun and unique and also hand crafted
My main issue is that this is what the gameplay looks like. There really aren't models to give flavor, and everything's on a macro scale, so stuff like special abilities can't give flavor. So I want this to have some level of players being able to identify with the absurd abouts of troops they're gonna be sending in.
Hakusho's Hands
Looks okay but I don't really see the point of doing this.
Hexographer, or pillaing maps off of google. If you're a mad man you could practise your drawing skills and just draw a map by hand.