If you have visited my blog previously, it’s probably fairly obvious that I fall into the camp of those who enjoy tinkering around with maps. I spend far more time creating maps and adventures than I do actually playing. To me, it’s another part of the hobby that I find very rewarding. However, I realize that some people don’t enjoy it and others simply don’t have that kind of time to spend on prep.
For those of you who may be short on time or inspiration, one little trick we would use back in the day was to use a real-world map as a template for some or all of your campaign map. It’s a resource that’s versatile and can be adapted with minimal effort for a variety of settings.
My friend Mike used this park map for years to represent the western portion of his campaign setting.
For instance, I grew up in upstate New York and my family would frequently vacation in the Adirondack mountains. Back in the early 1980s when I first got heavily into role-playing games, there were always paper road maps lying around. These mundane maps became the campaign setting for my high school AD&D group. Oh, I made the scale larger and changed most of the names. However, it provided me would a workable map on a very limited budget. A few years later, my friend Mike used a map of Mount Desert Island in Maine for the western side of his Fantasy Hero campaign.
These days there are quite a few resources out there, allowing people to easily craft their own maps. However, real-world maps can still be useful. The geological features in our world have been crafted by eons of history. If you are wanting to create your own map but time is precious, maps from our world can be a great place to start. Simply choose an appropriate area, trim a bit here and there, and you’ll be on your way with geography that makes sense. Using a little artistic license, it’s relatively easy to take a real-world map and sprinkle in some fantasy elements where you see fit. A mysterious forest here, an ancient ruin there, and before you know it, you have a living, breathing world that your players can explore.
Years later I recreated Mike’s campaign world in Campaign Cartographer. As you see, the western third of the map is simply Mount Desert Island.
It occurs to me that since returning to the hobby I haven’t been exposed to much other than my own games. I’m curious to hear what is common for other game masters. Do you lean toward using published campaign settings? Do you run your games in your own world and create your own maps? Alternately, do you tend to leave the overland stuff a bit more abstract and only focus on adventures and encounters?
That’s all for now. Thank you for stopping by and I hope you have a great week. Good gaming!
This week I am going to offer up another entry for the Idea Chest. The Planet of the Apes franchise weaves post-apocalyptic themes with societal commentary. While the TV series and more recent films have contributed to the legacy, for this post I will specifically be focusing on the original 1968-1973 film series that started it all. Before I dive in, consider this a spoiler warning for those who haven’t yet experienced these classic films.
As a young boy, I was spellbound by the “Planet of the Apes” series. I discovered them around the same time as tabletop RPGs and they left an indelible mark on my imagination. I feel that these movies can provide a wellspring of inspiration for not only sci-fi or post-apocalyptic games but fantasy campaigns as well. There are a number of elements of this franchise that can provide inspiration for your games.
A Familiar Yet Altered World
General Ursus. Beneath the Planet of the Apes 1970.
The characters in “Planet of the Apes” find themselves in a world that is eerily familiar yet starkly different. This situation is not just interesting, it’s full potential for fantasy settings. For instance, imagine your party stepping through a portal to a world where orcs are the cultured rulers and humans, elves, and dwarves are seen as primitive. Such a reversal of roles can offer a fresh perspective and challenge players’ preconceptions about “civilization” in your game.
The New Society
If you do expose your PCs to an altered world, it also opens up the possibility to delve into the social structure of that world. This dynamic can be reflected in a campaign setting, where different factions vie for power, influence, and survival. It can serve as a mirror to our own society, offering an opportunity to explore themes of equality, prejudice, and governance.
Echoes of the Future
Cornelius & Zira in a holding cell. Escape from the Planet of the Apes 1971.
Envision the players encountering a future version of their own world within the campaign. It’s a startling revelation that can bring the consequences of their actions into sharp relief. How have their decisions affected the world? What legacies have they left behind? This concept encourages players to think long-term about their journey’s impact.
A Glimpse of the Past in the Present
Conversely, consider the story possibilities if beings from a potential future were to somehow arrive in the current campaign timeline. This twist, akin to what happens in Escape from the Planet of the Apes, could lead to compelling interactions and conflicts. How does the world react to these beings? Are they seen as omens, deities, or threats?
Dr. Zaius discusses the newly arrived Taylor with Cornelius & Zira. Planet of the Apes 1968.
The Forbidden Zone
The Forbidden Zone in “Planet of the Apes” is a desolate and dangerous region that harbors secrets of the past. In a fantasy campaign, such a zone could be the result of a lost civilization sealing itself away, using magic to deter intruders. This concept can introduce an area filled with mystery, danger, and forbidden knowledge, tempting the brave and deterring the cautious.
The Cult of the Lost
Denizens of the Forbidden Zone worshipping the bomb. Beneath the Planet of the Apes 1970.
The mutants in the Forbidden Zone worship a nuclear bomb, a relic from a bygone era. This concept can be mirrored in a fantasy setting. Imagine a group of isolated people who, cut off from the rest of the world, begin to revere an ancient artifact from their history. This could be a dormant magical object or even a misunderstood natural phenomenon. Their worship, based on misinterpretations or half-lost memories, could have transformed this entity into something far removed from its original nature. It becomes a symbol of their identity, shaping their culture and perspective on the outside world. Does the party attempt to understand and empathize with these people’s beliefs, or do they try to reveal the truth behind the object of worship?
Infinite Regression
The concept of infinite regression—discovering that every ‘new’ world is just a layer over the ‘old’ one—could turn a campaign into a multidimensional exploration of history and reality. What if the ‘ancient ruins’ your party discovers are not from the past but from a future that has come and gone?
Conclusion
I’m curious to know if you’re familiar with the Planet of the Apes franchise and whether you’ve ever drawn from its themes for your games. Have these films inspired your campaigns? Have you ever flipped the script on your players with a setting that challenges their notions of the norm? Finally, as someone who’s not caught up on all of the newer films, I’d love to hear if you’d recommend them.
That’s all for now. Thanks for taking the time to visit and I hope you have a great week. Good gaming!
The port town of Hughgrot lies along the southern coast of Archia, on the shore of the Zarhut’lm sea. A forsaken naval outpost, its abandonment became a siren call for pirates, smugglers, and a motley crew of those who preferred life in the shadows.
Made in Campaign Cartographer. I primarily used the Cities of Schley symbol set but added some other touches as necessary.
This coastal haven, colloquially known as “The Underbelly,” bustles with clandestine dealings. An unspoken code, rather than formal laws, governs its narrow, chaotic streets. Leaders of shadowy factions pull strings from behind the scenes, understanding that too much noise could attract the unwanted gaze of Archian authorities.
Nestled along the eastern shore, Hughgrot sprawls around the mouth of the river Alum. Weather-beaten docks stretch into the bay, bearing witness to the constant flow of contraband. A handful of warehouses are located on eastern edge of town, storing the storing various ill-gotten goods. Ramshackle structures and makeshift stalls cling to the shoreline, where dubious transactions play out on a daily basis.
Hughgrot is melting pot of architecture from different eras. Sturdy remnants from the Archian days stand beside hastily assembled buildings of questionable design. Here and there, traces of orcish construction linger-a testament to the time when the orc shaman Grondo-Ri and his warband claimed residence here.
An old church of Mareen crowns the cliffs to the north. Though lacking in followers, it stands unmolested. Superstitious as they are, seafarers offer a wary nod to the goddess of the seas.
Hughgrot’s streets echo with the tongues of many different races and cultures, each telling the tale of trade, and survival. Secrets are currency, and every shadow hides a story. Those who dare to visit are best suited to mind their own business and watch their backs.
Conclusion
This week’s map is another creation that sprang forth from my friend Mike’s Fantasy Hero campaign, back in the 1980s. I have used it regularly in my games ever since. I think a place like this fits into almost any campaign, so I figured it was time to make a proper map of it.
Do you have a seedy town in your campaign? Do your players have a place to go when they need to acquire that rare spell component or elusive bit of information?
I appreciate you taking the time to visit. I hope you’ve enjoyed the holiday season and are getting some much-needed free time to spend with your hobby. Good gaming!
For the lack of a better name, welcome to “Idea Chest”. This is a feature I’ve considered for some time but held off on because I couldn’t settle on a proper name. As you can see, I’m still not there with the name but rather than procrastinate endlessly, I’m going to trudge on.
Old-timers will already be familiar with “Appendix N”, a section at the back of the AD&D Dungeon Masters Guide (1e) (1979) listing authors and works which influenced the creation of Advanced Dungeons & Dragons. As a kid I spent countless hours reading books from that list after tracking them down at my local library.
Well, with this feature I would like to showcase some other properties that have influenced my tabletop adventures over the years. Some of these are still fairly mainstream today and some have been somewhat lost to time. With each of these I will attempt to illustrate how bits and pieces may be borrowed to build rich stories and content for your games. Each installment will dive into a specific property, offering insight into its TTRPG adaptation possibilities. Hopefully, you’ll find something that sparks an idea for your games along the way.
As always, I’d love to hear your thoughts on these and please chime in if you have any suggestions of your own.
The Land of the Lost
I am going to kick things off with a property that is dear to my heart. The Land of the Lost was a children’s adventure television series produced by Sid and Marty Krofft. It ran for 3 seasons, starting in 1974-not to be confused with the unfortunate 2009 Will Ferrell movie of the same name. Being born in 1970, I suppose I was in the target demographic for this show and it certainly made an impression on me.
The series portrays the adventures of the Marshall family (Rick and his two children Will and Holly). After an earthquake strikes during a white-water rafting trip, the trio find themselves trapped in a prehistoric world (and likely an alternate universe). The titular Land of the Lost is inhabited by dinosaurs, other curious humanoid creatures, and occasional travelers from other places/times. Each episode revolves around the family trying to survive and find their way home.
A word of caution—this was a television show crafted in the 1970s, for children. If you explore this property expecting something binge-worthy for adults, you will likely be disappointed. While hokey and clearly showing its age, the charm lies in the nostalgia it carries. That said, I believe there are some elements present that are great inspiration for a fantasy ttrpg campaign. Here are just a few:
Stranded in a Strange Land: The concept of having your party find themselves stranded in a foreign place could take any number of forms. While it’s unlikely that a band of adventurers would be white-water rafting during an earthquake, they might easily walk through a magic portal, tinker with and ancient artifact, or even escape a sinking ship, only to wash up on shore of some uncharted land.
Something like this could provide an exciting new arc for your players or even encompass the entirety of a campaign. Exploration and survival would take on a new meaning when faced with the unknown dangers and wonders of this new territory. The party would need to adapt quickly, forging alliances with local inhabitants or outsmarting hostile creatures. Scarcity of resources and the constant quest for essentials like food and shelter would add a layer of urgency, emphasizing the struggle for survival.
The Dinosaurs: Stats for dinosaurs have been common in gaming bestiaries since the 1970s. However, few published adventures take advantage of them. It certainly seems plausible that the prehistoric behemoths could still be found lumbering around parts of your fantasy world.
Sleestak leader visiting the Skull of Wisdom.
The Sleestak: The Sleestak are a reptilian humanoids in the Land of the Lost. They have scaly skin, large eyes, and a distinct hissing language. I recently borrowed these fellows and their underground lair for my Revisiting the Isle of Dread campaign. Dwelling in subterranean tunnels under a Lost City, the Sleestak made for a mysterious and ominous presence.
Sleestak wandering the jungle at night.
Goblins and kobolds are largely played out with most groups. However, Sleestak could easily fill the same role, even in an existing campaign. Their mysterious nature allows for narrative flexibility and you’re not bound to the source material. The party might encounter them as guardians of an ancient prophecy, or they could be the last remnants of a once-mighty civilization with dark secrets. File off whatever you like and use what works for your game.
The Pakuni: The Pakuni resembled early human primates who were nearly fully covered in fur. Indigenous to the Land of the Lost, the Pakuni are initially aggressive and mistrusting of the humans. However, over time, one of their group (Cha-Ka) warms up to the family and becomes a regular.
The Pakuni visit the Marshalls.
The play here I would think would be to introduce another culture for the PCs to interact and exchange knowledge with. Fantasy cities are often very diverse, with NPCs of varying ancestries. However, how often does your party come into contact with a group that has been lost to time? Adding a group like the Pakuni would offer a unique opportunity for cultural exchange and learning within your campaign. As the party gradually earns their trust, they might uncover valuable information about the region, hidden dangers, or even ancient secrets. This interaction adds depth to your world and creates opportunities for quests, alliances, or conflicts based on how the players navigate these newfound relationships
“Grumpy” the T-Rex visits a pylon.
Unknown Technology: The pylons were one of the most captivating parts of the show for me as a child. These metallic obelisks were larger inside than out (like a TARDIS from Dr. Who). They contained stone tables bearing colored crystals that served various purposes. The exact mechanics governing the use of these crystals was never fully explained in the show, contributing to their mysterious nature. The Marshalls often experimented with different crystal combinations, leading to unexpected adventures and encounters.
Introducing unknown technology to your campaign can be a good way to keep your players on their toes and add an element of discovery. These could be magical in in nature, divine, or truly alien (as was the case with S3 Expedition to the Barrier Peaks.) Ancient, structures similar to the pylons could be scattered across your world, waiting to be explored. These structures might house forgotten knowledge or powerful artifacts. The party could stumble upon an underground complex filled with arcane machinery, or perhaps a floating island with a dormant device. The mystery surrounding this technology offers you the flexibility of having its true nature be anything from a simple diversion to a central pillar of your campaign world.
Conclusion
It’s possible that I simply have fond memories of this property from my youth. However, I suspect I’m not the first to find some inspiration within The Land of the Lost. Hopefully you can find some use as well.
Have you ever borrowed from The Land of the Lost? Do you have any properties that are dear to your heart and often find their way into your games? Please take a minute and let me know. This is the stuff I love about gaming.
That’s all for this week. The holiday rush has taken a bite out of my writing time but I’m now free from work until the new year. Thank you for taking the time to stop by and I hope you have a great week.
For posts Cross Tree, my starting village go here.
Nestled in the deepest jungles of the southern continent, Gowandian tribes live among the ruins of ancient civilizations. Gowandian scholars frequently take pilgrimages to distant lands in order to record major events but many secrets still lay hidden away in the wilds of this remote nation.
Treading through the jungle’s heart, the silence is broken only by the rustling leaves and distant calls of unseen creatures. The air is thick with the enchantment of magic, and the path ahead is veiled in mysteries waiting to be unraveled.
This map reveals a forgotten sacred site where ancient tribes once sought the blessings of Ka-Zaa, the god of magic. Weathered standing stones form a mystical triangle around a statue of the deity, depicting the harmonious blend of mind, body, and spirit required to master arcane powers.
Nature has claimed these ruins with a lush overgrowth. Vines and ferns intertwine with remnants of a mysterious past. Among the crumbling stones, a spiral staircase tempts adventurers to descend into Wakou M’baque, a lost city swallowed by time and the gods.
Conclusion
Keeping this one brief, as I’m hoping to build on it in coming weeks. I had originally intended for the party to be attacked by axe beaks outside the ruins. However, it felt like an empty combat so I opted to just let the tension build as the adventurers investigate the scene. That’s all for now. Thanks for stopping by and have a great week!
In part one of The Altar of the Green Man, the party visited the village of Novos. The residents of this small agricultural community hired the adventurers to get to the bottom of some strange happenings.
Farmers harvesting their crops noticed that something was wrong with the soil. Others reported signs of an odd blight. Evan more puzzling was the fact that grain dollies (crude dolls made of grain to represent the spirits of the harvest) have been disappearing from people’s homes.
Following some investigations around the village, the party learned about the Green Man, a revered figure who represents the spirit of nature and fertility in the region. Followers of the old ways once left offerings at an ancient altar to the Green Man, to ensure a bountiful harvest.
A village elder suggested the party travel into the forest to seek out the old altar and leave a humble offering.
A less reputable villager also mentioned having seen strange little creatures coming out of the woods at night.
The journey out to the location of the altar should only take a couple hours. However, the villagers will gladly supply the party with any mundane gear needed for the trip. In addition, Sister Elena will provide the party with a number of remaining grain dollies to take with them as an offering at the altar.
A green hag by the name of Agatha Verdantmire is behind the blighted crops. Taking great delight in corrupting the natural order of things, the twisted fey creature is feeding upon the misery and suffering of the village. Her plan is to spread a blight across the region until the people of Novos are forced from their homes. To assist her in her cruel machinations, she has enlisted the aid of some creatures from the fey realm. These foes are unique to my game, so I will provide you with a brief description and you can create stats as you see fit.
The Gnarr: Standing nearly 10’ tall, this creature resembles a misshapen tree. It plods along at movement rate of 15’ (3 squares). The Gnarr swings its branches for defense and also has the ability to cast entangle twice per day. Damage from fire sources will cause double damage to this creature.
Toadstool Sporelings: These diminutive horrors are what Agatha has been using to spread her blight to the nearby farms. At 30” in height, these creatures are what Anton saw dancing around in the farm. They move at 30’ and could be considered as minions (will drop with a single hit). While not physically intimidating, the Sporelings drip a contact poison that affects anything they touch. In addition, they have circular rows of sharp teeth under their caps. On a hit, the sporeling attaches to the target. While attached, the sporeling doesn’t attack. Instead, at the start of each of the sporeling’s turns, the target loses hit points due to blood loss.
Agatha stumbled onto the altar of the Green Man months ago and has been working to corrupt it ever since. The Green Man’s influence over the region has long ensured bountiful harvests. By tainting his altar, the wicked hag aims to weaken his power and clear the way for her magical blight to spread unchecked across the land.
In a desperate attempt to seek help, the spirit of the Green Man caused the grain dollies to disappear from homes across the village. This unexplained phenomenon was a plea for aid, a sign that something was terribly wrong.
The gully where the altar is located is fairly easy to find. However, the party likely won’t be expecting what they find when they arrive.
After crossing a small creek and arriving at location #1, the characters will be aware that things feel a bit off. The sounds of their movement and any conversation that may be taking place is oddly muffled here. Looking forward into the clearing, describe the trees and any other vegetation as having a bizarre appearance. The colors are unnatural and vibrant shades of pinks and lavender. Finally, characters who are sensitive to such things will be aware that there is primal magic at work here.
While game statistics should not be altered, the audio and visual abnormalities will increase as the party nears the altar. Views seem to elongate, colors become more unnatural, and sounds more muffled.
Ahead, the party will see Agatha situated behind the altar, gesticulating wildly. She appear as an emaciated woman, with mossy green skin. Her long, tangled hair is an unruly mass of leaves and twigs, and her claw-like fingers are tipped with sharp, jagged nails. She is dressed in tattered robes. As she sees the party she will bark out a command in a guttural language. At this point you should instruct your party to roll for initiative.
Two tree stumps (areas #2 & #3) will flare with an eerie yellow light. From each of these a toadstool sporeling will emerge and move to engage the party. The stumps are portals to the fey realm and will each produce another sporeling at the top of every round. These little combatants only have 1 hp each. They are easily dealt with but will add up quickly if the party is not careful. If the stumps themselves are targeted and dealt 5 hp of damage, the portal will be destroyed and prevent further combatants from joining the fray.
The Gnarr will step out from behind a small tree (location #4) and start moving to get between the party and the altar. The creature has been instructed to protect the hag and it will act accordingly. Its initial strategy will be to use its entangle ability to root the party, creating a situation where they are overrun by sporelings.
Agatha Verdantmire is cowardly. If it appears that her minions have the upper hand in the struggle, she will use her at will vicious mockery ability to hinder the party. However, if the tide shifts she will flee immediately, using invisible passage to make her escape.
The Aftermath
If the party succeeds in defeating (or running off) the hag and her minions, the strange audio and visual effects will fade immediately. Furthermore, placing the grain dollies Sister Elena gave them onto the altar of the Green Man will fill characters with a feeling of peace.
Over the course of the next 4 hours, the trees in the area will slowly revert back to their natural colors from the bizarre shades of shades of pinks and lavender. While there will not be any immediate proof of this, the crops in the fields surrounding Novos will heal over time. The following year’s yield will be off by a bit. However, it will be nowhere near as catastrophic as if would have been if the hag’s plan had come to fruition.
Keep in mind that hags are vengeful creatures. Assuming that Agatha Verdantmire made her escape, she will not likely forget about the party of adventurers who meddled with her plans. She will start plotting immediately, trying to devise some wicked way to make them suffer.
Conclusion
That is all for now. Thank you for taking the time to stop by. I hope you find the seeds of something here that you can use for a future game. If you do, please take a minute to let me know in the comments below.
Finally, as of this writing (11/9/23) I have a couple invite codes for Bluesky Social. If you would like one, please let me know.
As the harvest season draws to a close, the simple people of Novos traditionally fashion crude dolls made of grain to represent the spirits of the harvest. They welcome these spirits to spend the winter in their homes. In the spring, the dolls are returned to the soil and ploughed into the first furrow of the new season. It is through this simple act that the people of Novos honor the Green Man, a revered figure who represents nature and fertility in the region. They believe that this ensures that they will have a bountiful harvest and will be able to survive the harsh Borean winters.
This year, however, something has gone awry in Novos. Farmers harvesting their crop have mentioned that the soil does not seem right. Others report signs of an odd blight affecting the crops. What is more puzzling is the fact that the grain dollies have gone missing. Homestead after homestead report that the effigies have disappeared and all agree that this must be an ill omen.
The village of Novos. Created with Campaign Cartographer.
What the Party Knows
The party has arrived in the mid-sized farming community of Novos and acquired rooms at the Harvest Hearth Inn (location #1). After stowing their gear in their rooms, the adventurers settle in for a hearty meal in the common room.
During the course of the evening, the party will notice the somber atmosphere at the inn. The locals’ faces are etched with worry and apprehension. A successful passive perception check will pick up on the fact that they speak in low voices about the problems plaguing the harvest. They mention how the soil feels different this year, as if it’s lost its vitality. Others express concerns about strange blights affecting their crops and causing them to wither prematurely.
The disappearance of the traditional grain dollies, used to ensure a bountiful harvest, is particularly unsettling to the superstitious villagers. It is likely that the party will not be aware of this tradition, though the villagers will gladly share the tale if it appears that the outsiders are interested.
As villagers notice the newcomers and, sense that they might be adventurers, they will approach the party. With a mixture of hope and desperation in their eyes, they explain the situation and implore the party to help uncover the mystery behind these disturbing events. The villagers promise fair compensation and the gratitude of the community in return for the party’s assistance.
Investigation
In order to get to the bottom of the issue, it is likely that the party will need to carry out some investigation of the local area. The patrons of the Harvest Hearth will suggest the following locations.
Mikhail Kozlov’s Pumpkin Farm (location #2): Being the farm closest to the village itself, the party will be advised to start their investigation here.
A stout and weathered farmer with a grizzled beard, Kozlov greets the party as they approach his farm. The party will notice a sense of despair in his eyes and voice. He mentions the troubled state of his pumpkin patch, explaining that despite all his efforts, the pumpkins have been stunted and shriveled this year, far from the healthy, robust crops he usually reaps.
Upon investigating the pumpkin patch, the party notices several peculiarities. Most of the pumpkins are undersized, withered, and look like they’ve been drained of life. They’re deformed, as if something has sapped their vitality. A successful perception check will reveal that some of the pumpkins seem to bear odd carvings that resemble symbols or runes. These symbols are not part of any known local traditions that the farmer is aware of.
Borea. Created in Campaign Cartographer using the Herwin Wielink overland style.
Church of Ladina (location #3): Since she plays an unofficial leadership role within the village, the party may be advised to pay a visit to Sister Elena Novik, the cleric of the church of Ladina. A dignified woman with silver hair tied in a bun, the priestess expresses her deep concern over the blight that’s affecting the harvest and reveals a few more details.
She informs the party that she has been conducting ceremonies and blessings to seek Ladina’s guidance and protection for the crops, but her efforts have had limited success. The goddess has been silent, which troubles her deeply. She has visited a number of the farms and reports feeling an unnatural presence there.
Sister Elena will stress that the villagers are greatly distressed at the disappearance of the grain dollies and strange malady affecting the crops. She shares the tale of an Anton Baranov who has gone quite mad, reporting seeing odd creatures in the outlying forest. The cleric will explain that Baranov may often be found at the public market (area #5)
If questioned about the odd carvings found on the pumpkins at the Kozlov farm, she will not recognize them. However, she will suggest that the party seek out the aid of an elder in the village named Yevgeny Borislav. Yevgeny is known to be the keeper of traditions and folklore and he might have knowledge about these ancient symbols and their significance. He resides in a ruined tower to the northeast (area #4).
Ruined Tower (area #4): Sister Elena or some of the other villagers might suggest that the party stop at the ruined tower to the northeast of town. This is the residence of Yevgeny Borislav, a dignified figure within the village of Novos. He is an elderly man with a flowing white beard. His eyes still hold a spark of wisdom and he is usually dressed in simple, weathered robes. Yevgeny is a repository of traditions and folklore and has a deep understanding of the village’s history.
The elder recognizes the significance of the failed crops and the disappearing grain dollies. He will tell the party about the Green Man, a revered figure who represents the spirit of nature and fertility in the region. Followers of the old ways used to travel deep into the forest. There they would leave offerings at an ancient alter to the Green Man, ensuring a bountiful harvest. However, this year, it appears that something has disrupted the harmony with the Green Man’s spirit.
Should the party mention the strange carvings seen in Kozlov’s pumpkin patch, Yevgeny will be quite concerned. While he is unable to read the marking, he does recognize them as being Fey in origin and suspects that something unnatural is afoot. He suggests traveling into the forest to seek out the old altar dedicated to the Green Man and leaving a humble offering there to restore the balance between the village and the spirit of nature.
Public Market (area #5): If sent here by Sister Elena or merely passing through, the party will be hailed by Anton Baranov. Anton is a lanky, middle-aged man with unruly, salt-and-pepper hair. He sports a disheveled look, and reeks of ale. The man gesticulates wildly as the party approaches.
“I’ll tell you. I’ll tell you all about ‘em.” He says.
If the party gives the poor soul a moment to speak, he will inform them that he has heard that they are investigating the blight and he knows what is behind it. According to Baranov, strange little creatures have been coming out of the woods at night. He claims that he has seen them dancing little jigs out in the fields. If pressed for a description of the creatures, he will confess to it having been dark when he saw them but that he’s certain that they were goblins, or gremlins, or something of that ilk.
Other townsfolk will gently explain that Anton is known for enjoying his drink. However, the direction that he claims the creatures came from does happen to line up with the direction in which Yevgeny would have pointed the party in, in order to reach the Altar of the Green Man.
End of Part I
That’s all for now. Part II is already complete and you may find it here. Thank you for stopping by.
For the 3rd week of October, I have another encounter that is perfectly suited to fill a Halloween game night. With a few minor tweaks, there is really nothing that would stop you from using this at other times of the year.
This is typical of something that I might throw together for an in-between session, on the heels of the party completing an adventure and deciding what to do next. This does not require a great deal of prep and works great for times when your session may need to be shorter than usual. It is also handy to have something like this ready for times when some of your players will be absent.
Made with Campaign Cartographer SS4 Dungeons of Schley.
The Festival
The premise here is simple. The party stumbles onto a harvest festival being held on the outskirts of a settlement. This is a joyous time and the whole community has turned out to celebrate a bountiful harvest. The key to this type of encounter is to really sell to your players that there is a lot going on.
The are a number of activities for your party to explore but I suggest that you weave in bits from your own campaign. This is a great place for the party to bump in to an NPC that they haven’t seen in quite a while. Someone might notice them from their previous exploits. Perhaps some lackeys from the BBEG turn up to spoil the fun. There are all sorts of possibilities.
Your party should hear the sounds of the festival as they approach. Even if you do not normally incorporate music into your sessions, I think you should consider it for this encounter. Simply playing an appropriate track in the background will go a long way toward setting the stage. There are countless options but in the past I have used this Joyful Festival track from The Ambiance Channel on YouTube. They have a lot of great stuff and are worth a listen.
There will be a number of food and drink vendors at the event. Be sure to at least jot down a few different culinary delights that might tempt your party members. If you want to go the extra mile and actually prepare something for your players, I have included some suggestions in this post.
The Hedge Maze
The main attraction of the festival is the hedge maze. Depending on the size of your party, either break them up or start each member at one of the 4 different starting areas. Once you are ready, they will race to see which group or individual can be the first to make it to the center.
Have each group roll for initiative and from there I would run it like an old school dungeon crawl. Starting with the first group, describe what they see, up until the need to make their first decision. For instance, “The path goes east for fifteen feet and then turns south. You now have to decide whether to proceed to the west or east.” While they are deciding, move on to the next group and continue on like this until someone makes their way to the center.
The winning team will be presented with:
The Medallion of Autumn’s Grace: This intricately designed bronze medallion is adorned with autumn leaves and acorns. When worn, it grants its wearer the ability to cause colorful autumn leaves to whirl around them once per day as a bonus action.
Puppet Show
There is a raucous puppet show set up in the center area of the hedge maze. There are a couple fun things that I like to do with this. The puppet show can be used as an opportunity to lay down some foreshadowing for future events in your story. Perhaps it helps to illustrate just how downtrodden the people are by the BBEG of your campaign. Alternatively, you might use the puppet show to tell the story of some local legend or some bit of lore that you want your players to have.
The other thing I occasionally do is have the puppet show actually be telling the story of some of the party’s exploits. This becomes extra entertaining if the puppets accidentally mess up the story in such a way that it embarrasses some of the party members.
Apple Bobbing
Also located in the center of the hedge maze is an apple bobbing station. Full disclosure, I have seen oodles of takes on this over the years. I do not want to copy anyone but the easiest thing that comes to mind would be to give each player 5 attempts at a DC 12 dexterity check. Every success indicates that the character successfully grabbed an apple with their teeth.
The character with the most apples at the end of the contest will win:
3 Packets of Pumpkin Spice: All nonmagical food and drink sprinkled with one of these spice packets will be rendered free of poison and disease.
The Hatter & Haberdasher
I know that this seems incredibly mundane but trust me on this one. Yes, your players could potentially buy a hat or new clothing pretty much every time they are in a town or city. No, these are not magical hats or clothing.
However, unless you run with a group consisting solely of jaded power gamers, give this a shot. Describe some fanciful hats and garments. Create a colorful NPC, who is hawking his wares and I will bet that you hook at least one of your players who suddenly becomes interested in some new finery.
The Portrait Artist
This one is more of a slow burn but it really pays off in the end. I have done this twice now and it was a hit on both occasions.
A skilled artist calls out to the party and offers to create a portrait, either of them individually or as a group. The artist explains that they only need the party to pose long enough to make some charcoal sketches. Once that is complete, they will work on the piece over the following weeks and produce it for the party once completed.
I have used this as a great opportunity to commission an actual picture of the party from an online artist (of course I do not tell them this at the time). When I present it to them a few sessions later, it’s usually right around the holidays and everyone gets a big kick out of it.
Made with Campaign Cartographer SS4 Dungeons of Schley.
The Tattoo Artist
While some systems feature magical tattoos that enable various abilities, this is purely mundane. However, much like with the clothing options above, I find that this is a hit. Presented with the idea of getting tattoos for their characters, players often take the bait. I enjoy seeing what they com up with, regardless of whether they opt for something to make them look fierce or something in remembrance of a fallen comrade.
Fortune Teller
No Halloween themed harvest festival encounter would be complete without a fortune teller. You can go as deep with this on as you like. If you want to use props, a quick Google search should yield plenty of ideas for using a deck of playing cards, tarot cards, or even something more customized. Alternatively, you could just have the fortune teller use a crystal ball or simply “feel” the spirits.
I like to have fortunes ready for each player ahead of time. Fortunes do not need to be accurate; it’s all in good fun. However, I have found it best to weave in little bits of the story while leaving things vague enough to allow the players to draw their own conclusions.
Conclusion
Those are just some ideas that you could include in a Harvest Festival encounter. Have you ever done anything like this? What else would you add to the mix? Leave me a note in the comments.
That is all for this week. Two more weeks until I head up to the Irvington Halloween Festival in Indianapolis, IN! Thank you for taking the time to stop by and have a great week!
Talaraska 