Forum Replies Created
September 5, 2013 at 9:32 pm #5607
I run a Dragon Pass based campaign based on “Sartar-Kingdom of Heroes” as a starting point, but with many home made developments. On of the big stake is the Telmori question, and how it influence and fuel the relationships and politics of the area. Next steps will bring down the heros to the Shadow Plateau, where they are looking for a powerful and mysterious artefact.
For the french readers, the write up of my campaign can be found on my blog (http://laterreetlefeu.canalblog.com/), but the last sessions are missing. The updated version will be posted soon…September 5, 2013 at 9:18 pm #5606
Interesting point, Simon. Thanks for opening this thread.
First, I want to say that I am very honored to be listed with Colin and Jon, and considered as your colleague.
Considering Glorantha creative experiences, I have to admit I did not adventure in such insights in real world culture to capture inspiration as you. My focus have been more so far on conceptual representation and layout. So, in fact, my artwork is more based on rationals than spiritual ;-).
As a first example, my mythology maps and my Outer Realm map (which was the base of Bernard Bittler’s global 3D Glorantha) show a circular Glorantha, and not the traditionally known “lozenge”. As the sky is a (or several) spheres, the surface world is a circle. The global view then change and open some room for creativity. You see it the best on the Outer Realm map where those surroundings of the lozenge are emphasized.
As a second example, the Heaven Corrupted serie challenge was to explain with very comprehensive 3 colors naïve drawings the creation of Glorantha. So brown paper for Earth, black color for darkness, white dots for the Sky Entities was the first idea. Second Idea was to show the spheric aspect of Glorantha as a cross section in an 2D way, slowly evolving to a simple 3D representation, but keeping the basics of the 2D to make it understandable. In the end, showing the movements of Umath with a white strip (done as well on my sky map) is what I like the less because it is too complicate…but it creates an interesting contrast with the brown paper.
Another important work for me is about the colors. I work in a traditional way with ad markers, and I spend a lot of time selecting which marker, or combination of markers, how many layers, etc, to reach the color I feel the best. Even if it is not visible in the end, the process of selection of the reds for the Red Moon map was almost as long as doing the map itself.