For Zagore - Cleveland Institute of Art

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For Zagore

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By Lindsay Thomas

(A Proof of Concept)

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Artist’s Statement

Astria is a world-building project, meant to be used as a campaign setting for a tabletop roleplaying game. The purpose of this project has two parts: the first being a visual and narrative guide, meant to be handed to game masters and players alike, as an aid for creating stories and characters in the fantasy world of Astria. This half features a heavy reliance on written text, as part of my Creative Writing Concentration. The other half is meant to be a ‘pitch bible’; a record of concepts, ideation, and research and development into the world-building process.

Over the course of my life as an artist, I have found myself drawn to writing high-fantasy fiction, and creating visual art to accompany those stories. A little over a decade ago, I found myself sitting around a table for my first session of Dungeons & Dragons: I was immediately hooked. While I have been creating visual assets for myself and fellow writers and role-players since then, I have not yet found myself in the Game Master’s chair. This thesis gave me the opportunity to explore a new role that involved all the parts that I love most: storytelling, writing, and creating visual assets; such as every-day-NPCs (non-player characters), cultural items, and landscapes. In the last few years, I have shifted my preferred mediums from traditional for sketching and painting, to industry-standard digital programs like Photoshop and Procreate. Using Astria as a platform, I saw the chance to push my digital studies further, through experimenting with work-flow, new brushes, and techniques. For the writing portion, I wanted to create a world that features cultures and themes that don’t solely rely on the common tropes of classic high-fantasy settings but instead altering these tropes, while providing aesthetics, and themes recognizable and inspiring to new and veteran players alike.

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Table of Contents

Artist’s Statement ---------------------- 4

The World --------------------------------11

Cultures Banya -----------------------------------14 Clovani -------------------------------- 22 Saharine ------------------------------- 30

Concept & Visual Development ------------------- 40 Banya ---------------------------------- 44 Clovani -------------------------------- 50 Saharine ------------------------------- 56

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THE WORLDOf

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“It is said that the eldest Banya still lives, and is as old as Astria herself, a descendent of the First Tree. Legend tells of the night the Titan soared across the sky and punctured Astria. The ripple of the impact could be felt on the other side of the world: shaking the First Tree and making her cry a single tear from her great eye. The tear that fell to the earth was the first seedling, who sunk into the warmth of the soil and sprouted into the first Banya. Young and new and seeking guidance, she looked up the trunk of the woodland pillar that was her moth-er. The First Tree spoke, “In time, my child we will be together again.” Feeling disconnected and broken, the young Banya wove a crown of plants and vines and set it atop her head, letting it grow wide and wild in an image of the boughs of her mother, patiently awaiting the day they could again become one.” - Banyan mythos

THE PEOPLE

The Banya are much like elves of olden lore. Lithe, graceful, and otherworldly, these magical people surround themselves with everything they deem beautiful. Known for both their incredible patience and wisdom; they appreci-ate dedication in all its forms. Art made of the lushest materials, studies of the purest magics, and the balance of nature. Graceful and ethereal, these elves embody the magic that nature and the First Tree has blessed them with. In tradi-tion with their descendants, each Banya child is given an epiphytic crown that grows into plantlers. These plantlers are a symbol of the individual Banya’s commitment to their oneness with nature around them. Community is an im-portant aspect for the Banya and care for the self is often hand in hand with care for others. The cultivation and care for the plantlers involves many rituals that change with season and the role the wearer brings to the community. These rituals and traditions are almost entirely done in groups.

STRENGTH IN GRACE

Tall and lean, these elves are humanoid in shape: upright standing and muscular. They have long, pointed ears, eyes with dark scleras and large, brightly colored pupils. The hues of their skin tones range from greens to a ruddy taupe, with a range of shades from dark to light. These hues let them better blend into the sur-roundings of the lush jungle that they call home. Despite appearing thin and delicate in their grace, they are surprisingly strong, and often develop powerful neck muscles to support the weight of their verdant crowns.

The shape and cultivation of their plantlers are unique to each Banya, and often reflective of their role in the community. Adventurers,

Banya

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travelers, and members of the armed guard often keep their planters swept backward and neatly trimmed. Scholars and magic-users may tout their prowess with larger displays. Court nobles are known to decorate their plantlers with jew-elry and gemstones, crystals and magical flow-ers to enhance the beauty of their appearance. While the Banya are adamant about the beauty and strength of nature, most take great pride in the cultivation and care of their plantlers, aiming for grace, poise, and symmetry in their designs. Patience and dedication to culture are reflected in this, because of how long it takes to grow their foliage.

All the elves of Astria vary in stature, though their height ranges from 5 and a half feet to al-most 7, and weigh between 100 and 180 pounds. While they are lighter and lither than humans, the Banya specifically have more developed upper body strength than their non-plantler wearing cousins.

The Banya have no traditions involving their hair, though length is often hard to take care of, around the plantlers. Small groups gather com-munally to aid in hair and plantler care, with nobles, important community members, and elders getting the most care. Hair colors tend to stay near the hues of the Banyan skin tones. From the light end, they can be so pale, ginger

and peach it is almost white, to auburns and

ECOLOGY & CULTURE

While elves of other subraces and cultures are not unheard of in other parts of Astria, the relationship of the Banya and their homeland has clearly shaped them into the deep culture they are. In the heart of the densest tropi-cal jungle, Umberwood, lies the great city of Phthael Enaan; the capital of the Banyan terri-tory. The plant life of Umberwood is lush, wild and unruly, with enormous banyan trees, called ‘The Mothers’, for which this culture takes its name. These trees have boughs that span tens of feet across, as if they were great arms to hold the people of the jungle, representing closeness and dedication to the community. They also have many aerial roots that grow out from the branches and seek the moisture in the air - that the Banya see as representative of the symbiotic relationship of the balance of nature. Though with less width, tall meranti trees called‘The Fathers’, tower hundreds of feet above the ground, standing out as great landmarks: pillars of strength that watch over the people of the forest.

Because the soil of the jungle is rich in nitrogen, promoting large leaves and quick life cycles of plant material, a thin layer of decaying matter sits on top of the forest floor. Under this layer is sandy soil that does not hold in water and is less conducive to agriculture. Farming is present but less common, and mostly in flatter parts of the territory near the borders, where the sunlight is heaviest and the soil is better suited. This al-lows for trade with their northern neighbors, the Saharine. However, the Banya don’t rely solely on agriculture - plants used for food, clothing fibers, and other materials are plentiful and renewable, and even non-magically enhanced growth is quick to return. As for meat, large ungulates and other herbivores are hunted, and coastal communities trade fish with their inland

A UNIQUE PERSPECTIVE

The Banya can easily live well over 700 years old, giving them a unique view of the changing seasons and the world around them. Physically, they age from child to teen the same as humans do, though the maturity of young adult-hood lasts almost a century: from around age 25, to around the first-millennium mark. Around 100, they are considered adults. With this prolonged life-span, the Banya can be harder to rile by events or situations they deem petty or unimportant. This attitude often makes them come off as aloof or uncaring to shorter-lived cultures.While all elves are long-lived, the Banya are known for their impeccable patience. They are often slow to make decisions, fully weighing their options, and giving the world a ‘moment to breathe’ before fully making a choice. Promises and dedication to their commitments are important core beliefs to the Banyan people. This may frustrate denizens of Astria with shorter lifespans, coming off as brash and desperate rushing to the Banya. If a choice is made, a Banyan ally is a long lasting and dedicated one.

cousins. Large, hard-shelled beans are also har-vested for their nutritional value.

While the Banya are heavily reliant on plant-material for their daily lives, they are not without access to metals. Their armor however, is a treated, hardened wood, made to support their bodies as well as deflect metal weapons. The blades of weapons and tools are metal, while the handles are made of various woods with historical and cultural significance to the wielder.

The Banya are not without effects of the impact of Titan on the planet. As the meteor entered the atmosphere, a smaller, but sizable chunk broke off and smashed into the jungle of Umberwood. Unlike its parent meteor, this piece pierced the crust of the planet and found it’s final resting place deep below the surface, where it is said to still be volcanically burning to this day. The site of the impact violently erupts with flowing magma once a year - on the anniversary of the day the shard met Astria.

deep greens that almost appear almost black, ac-centing their skin tones. Set in dark scleras, their pupils are accentuated: often silvery pale shades of blues, greens and ambers.

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BANYA NAMES:

Banya first names are commonly short, heavy in consonants, and rarely beyond two syllables. Surnames are often 3 or more syllables, and of-ten begin with a vowel. They are reminiscent of the Old Elven translations of locations or names of the types of plants their descendants were from. There is no distinct difference between genders, as far as names are concerned.Elves typically are given a childhood name, until they are fully grown, finally responsible for choosing their adult names. This tradition typi-cally accompanies a rite of passage from child to adulthood to receive a ‘notch’ in the wood of their plantlers: a symbol carved into the bark, that represents their chosen name.

Examples of childer names: Anik, Ceti, Desh, Erid, Ged, Kiffa, Mambii, Resk, Quenn.

Examples of adult names: Amalen, Embrii, Lemmelt, Sentyia, Vhishti.Examples of surnames: Aelmenya, Ethnaan, Omorran, Taesya, Uumbre.

HIGH EXPECTATIONS

The expectations of Banya on each other are high: to take the appropriate time to choose a role in the world and stick to it, to choose reverence over impulsivity, to strive for beauty, grace and balance with nature. To fall short is to earn disdain from their peers that could take decades to repair. A Banya whose reputation has fallen well below acceptable is known as a ‘Blighted’. Punish-ment that marks a Banya as a Blighted is swift and harsh: to cut back one of their plantlers - forcing asymmetry in growth, as well as throwing the Banya off balance, mentally, emotionally and physically. The punished Blighted may choose to cut back the other plantler, in hopes that in time, both grow back evenly.

ADVENTURE AND PERSONAL GROWTH

Over the course of their long lives, many Banya choose to travel, ‘like pollen on the wind’: to see the world as part of their personal growth pro-cess, bringing back wisdom and knowledge through their experiences and studies. Because of the im-mense weight of their plantlers over time, the Banya almost always return to Umberwood to be with their people. Elders who have worn their woody-growth for millenia, physically bear the gravity of their commitment to their plantlers, becoming bent and slow-moving under their weight. At the end of their

lives, the elder Banya makes their way into the forest, with the support of their immediate fam-ily. When they are ready, this ritual involves the elder choosing the final resting place for their elven vessel, with their family to tuck them in for the Verdant Sleep. Once the forest reclaims the childer of the First Tree, the plantlers take root in the earth and become the memorials for the passed Banya.

SUBRACE:

While other elves exist in Astria, a subgroup of the Banya are the aforementioned “Blighted”. Less talked about within Banyan culture are small, angry groups of Blighted, who choose not to regrow their plantlers, instead proudly dis-playing stumps. These outcast groups live on the fringes of the Banyan territory and are accepted by very few high-status Banya, and rarely wel-comed back into the depths of society.

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Clovani

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Families:

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Officaes res sustrum ra dis simporeptum et parum vidusant haribus quas voluptati omnis sin ped et quibus dolento taspienimus, et fugia corem quias arum repelectis eaqui blat aut quis audandae net voleceribus quam laborum alit eosanis maxim exceprat ullessectas ellit intiora quam alicimpore con consectat.Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus ratiorem quae laute num quam dis voluptaque volliquam fugit et aut endaestrum cum nonsedit


temporenem excepudis doluptati odi nonsequasi aspienteni beaquatur rem doluptibus dolorerum-que sitatio nsenimo berro digent et, num fugit la veniate num aut il isquae nonestr uptat.Dolupta alit venima iliquiam iminveritia eicias a sit, inverferae simi, sam rehendi optatem ne vol-or aliqui quaturit iunt alitiis quam es am volore explibus.

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Caborunt quo volupta simpor sercienimus, temporenem excepudis doluptati odi nonsequasi aspienteni beaquatur rem doluptibus dolore-rumque sitatio nsenimo berro digent et, num fugit la veniate num aut il isquae nonestr uptat.Dolupta alit venima iliquiam iminveritia eicias a sit, inverferae simi, sam rehendi optatem ne vol-or aliqui quaturit iunt alitiis quam es am volore explibus.Officaes res sustrum ra dis simporeptum et parum vidusant haribus quas voluptati omnis sin ped et quibus dolento taspienimus, et fugia corem quias arum repelectis eaqui blat aut quis audandae net voleceribus quam laborum alit eosanis maxim exceprat ullessectas ellit intiora quam alicimpore con consectat.Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus ratiorem quae laute num quam dis voluptaque volliquam fugit et aut endaestrum cum nonsedit fugita vit latquid itempel iandam hic temporp oreium experemodit adit unto vitia dolupti de aliciis doluptae odia consend itatem hariaec este-tur, illuptia quosantincto omnimpore plaboriEt autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium

Caborunt quo volupta simpor sercienimus, temporenem excepudis doluptati odi nonsequasi aspienteni beaquatur rem doluptibus dolorerum-que sitatio nsenimo berro digent et, num fugit la veniate num aut il isquae nonestr uptat.Dolupta alit venima iliquiam iminveritia eicias a sit, inverferae simi, sam rehendi optatem ne volor aliqui quaturit iunt alitiis quam es am volore explibus.Officaes res sustrum ra dis simporeptum et

Saharine


simpor sercienimus, temporenem excepudis do-luptati odi nonsequasi aspienteni beaquatur rem doluptibus dolorerumque sitatio nsenimo berro digent et, num fugit la veniate num aut il isquae nonestr uptat.Dolupta alit venima iliquiam iminveritia eicias a sit, inverferae simi, sam rehendi optatem ne vol-or aliqui quaturit iunt alitiis quam es am volore explibus.Officaes res sustrum ra dis simporeptum et parum vidusant haribus quas voluptati omnis sin ped et quibus dolento taspienimus, et fugia corem quias arum repelectis eaqui blat aut quis

32 33




Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus ratiorem quae laute num quam dis voluptaque volliquam fugit et aut endaestrum cum nonsedit fugita vit latquid itempel iandam hic temporp oreium experemodit adit unto vitia dolupti de aliciis doluptae odia consend itatem hariaec este-tur, illuptia quosantincto omnimpore plabori

Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus




Families:



Caborunt quo volupta simpor sercienimus, tem-porenem excepudis dolvuptati odi nonsequasi aspienteni beaquatur rem doluptibus dolore-rumque sitatio nsenimo berro digent et, num fugit la veniate num aut il isquae nonestr uptat.Dolupta alit venima iliquiam iminveritia eicias a sit, inverferae simi, sam rehendi optatem ne vol-or aliqui quaturit iunt alitiis quam es am volore explibus.


Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus ratiorem quae laute num quam dis voluptaque volliquam fugit et aut endaestrum cum nonsedit fugita vit latquid itempel iandam hic temporp oreium experemodit adit unto vitia dolupti de

36 37




Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus ratiorem quae laute num quam dis voluptaque volliquam fugit et aut endaestrum cum nonsedit




Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non expedio stiatem a voluptatem. Parum quibus, quiae soloreh entiorectur se explam, nobis utem quam autem. Ut excerci endisit aquatem esti int que lissin pa cupiciet as et, ne rerunt, cuptaecus ratiorem quae laute num quam dis voluptaque volliquam fugit et aut endaestrum cum nonsedit

Caborunt quo volupta simpor sercienimus, temporenem excepudis doluptati odi nonsequasi aspienteni beaquatur rem doluptibus dolore-rumque sitatio nsenimo berro digent et, num fugit la veniate num aut il isquae nonestr uptat.Dolupta alit venima iliquiam iminveritia eicias a sit, inverferae simi, sam rehendi optatem ne vol-or aliqui quaturit iunt alitiis quam es am volore explibus.Officaes res sustrum ra dis simporeptum et parum vidusant haribus quas voluptati omnis sin ped et quibus dolento taspienimus, et fugia corem quias arum repelectis eaqui blat aut quis audandae net voleceribus quam laborum alit eosanis maxim exceprat ullessectas ellit intiora quam alicimpore con consectat.

Et autem velisitae estemporro bercipisi aut ma deritium dent, acillit raecatiandi optatur se-quam, que poreptas aut fugit estemod itisqui omnimossi debist dolupta temperum dit eium lias quo qui de nusto es acero beatia sum non

Caborunt quo volupta Alia voluptur? Ique quiam, eum ipsum ipsandi catume nonsecatem ium repe sus eosanimus, cori nimet am, occus ducit magnima de exerias si sequo temporu ptatur sum fugita de omnim fuga. Pudias prem-porro te corest, conectasse eicipiet quiatiaes que con nobis moluptat.


40 41

Concept & Visual Development


Harum fugiatur? Ro qui ne earum alitassedit hari as quam doluptae non nit laudis magnata ius enditis adi voluptate mosant quatum nusam utatem eatem ipsapel magnihicitis velendendit ium nonet ad er-ferumqui torectatus si numquo ipsum doluptianda se sim qui nis am se cumquis parci ilit mi, odit, apis alibus ut qui ariost experum con re non pernam atur minctorerum soluptat plaut eum volumqu amenem. Ita volorerferum eicide prat eaquiam, ipis sed qui doluptatium et vero eatiaeperum aut aut aut ligenim unt ad quid eturept atempor acest adit vent fuga. Empore sitio quia consequia que ium ius eum fugit, sequassum volent occus, aligenda con nulparu mquibus acerere, quam atis elestrum dollitaest auteni con-sequi im rae. Moluptus dia voloratem imus et dolore volor molendi aut deri intiae laccus inumet optas arum ea volluptatus, sequos aut quas porpos acepe ium repturia sit fuga. Cum, odia qui beremquat ab ipsunt litiam, omnis et rem eostrunt dia nos nis accuptur?In preperate adipicab invelest unt.


Ditatur, ommolor aut aut earum quam, nias dolo tempore ntinull endaepe aspeditate con repudi nis quunte ea sum ipsa dolendis sit dolupta natem. Emporestota sumqui dolupta spereped ma cor aligen-dae odita cus ea dolore sumquodi dolupid ex es doluptatur reictotae vel ilitis et parumquas des dollitat voluptat volest, officim inverum quae. Itaquam sequo dolest, untibus que eiuntem poreser rorias esed utenecum voluptatem ut latur?


Icae. Nam, idellor eremque ped moloris explibusto qui odi consequi volupta tibuscia eatem in pos sequo-dio. Ita quoditatemo quo to voluptat eatem resti cum adi officit id que volum vendebis quatqui cuptae anissit, sumqui id uta dolum et eventio. Sed moloris aut mod magnimolum quam fugiatiae omnis veni-mendi is is aribusapis et odit ipsae mi, nus iducitium est explabo. Itatet quissec aborehe nditibeaquas aut poresequo et alit et ommollam, ut omniatem aliam dit, iliquam fuga. Ut ut as se ommoditiunt.

42 43

Riust? Am inte terdingulica di con dium ditiaed Catil te aut omnitri teribef acchuit. Deculla ripiori ssensil icaesse ssili, fec re, furnum locchilii publi iam in iam tuam is prius, elia? Hil horae me quo tam aut venam publin am sedo, octum, Cate num incerum te qui co et Cat, pracchus eti, ure, oc tu menit; nos aperena-trum cum esimorurore teror lostravo, senatur niquam seritis silintem tam dea mena, ia comni sulium que alabi publis in dit, ublis etideat. Oltus fuidemussid cons nenatum in tena, ur acchil urbi is, nostraeque furiter fintervivid immodi se num ius coena, nonit, viri sit; hae nocum pl. An acchilin de ta vivesi conum sa nostere confex ne ium et conclut ervirmantem condam iam a res halabis, cateatquius fitilius. Simus nem iam accibut vid in re dem ocresimus, scrum apercen tilictum cupplis vivis verfeci busquam ini pro-rum finatrae ad avocupio, conficae tatia rehebatus cum loculab ermihilis.


Essenimus hactum atimil horsultorbis videt grartam di sultus ad nostri pra verum in terce conditam it iam es et, nin verfecio, ublicesimus te inatris? Evit anterfecta re, niquonum sed perbis horetem urortu mena, pultilis, Ti. Sp. elatala nostum esci iam pra? Nihicio strus, nox mei con reo aur us vivignon vigna, publinc eribunt erbis, utermis hae no. Cont? Ahaccie nterratis, ut vigit.

Ficaet videm tatia sesid pro intifenatium in veri sit, C. Quitium ne quid coniam prem sultorei incupiem actuideribus con virtiss entervi licipimmored nictus atiaela terus, que es contesciam silis cupimus bon se patiors se, con sena, Patur, sceridepota, ut gracris? Effreis, moerte re publibus, quodium in site popublicit, st gra tum dis. Sa poercerbi pes perces! Ecerfectuam forum abus, sulocultod diendium dees hostiontem haestis. Tum horeis, nonterr atiussi idemus hordius ius et, quon destissum su me cavoculinati publi, que faudachil vignatu musulvi ctorae conloct orterei intius, consum vid ad factu con volicam habus habus, quam, nimaio es libuspe risque pos alese, vatiu mus maioreh entiosu ltilis crica; C. Ignonsimis vivivit an-dela opopti et publiam serectorunu que terfeco nsultiaequem nem ac te di, Cat. Lum rentemena, quamdit vo, qua pereorena, forsult ordicae inte, noves nondeli nesulem opostrestam ves cote quam dieniribulic vis hos cae, vicerfe nihilis comne publiem tarbi poendeo C.

Hoc me ia senatur. Usceri publin nonduciam nicae, con sulertest venatquam Rommodiur, ne reo virion-iusul ut iaec re cae murionf ecurnia popoerem quod con terum que et ves eterorumene nonvoltod sul-eret; iusquonsis, cutem errios, verit vignate mendes conferatus coenit quis, es nonim aliquo C. Uconsum quost adem Romne horum in num atiam mor quidiorum nonsus, concus, supplicera vilin vatuam ne anunter perecep erivigi liciam eo aciena, adhus; nos et vemoravere factes aristiaequo confex nihiconsim pl. Gra vicieni caetis in huitanduci per locum sus ad C. Catiactori, strum, cons nost nius etremoraci se confir quas tu verictam.

Furius, nos aut rediem ocae portela nonerent L. Ondet; Catum quit, sedefac chuidentero, culi senatus ex senatum inata, estraciam dium hocaudam recturobse prae nostem, vertimi liemus sed cus co eliendendis tercerem oc tere, nocrid porus nitus capervi gilis, notia pereis bondam perbitu vit vivast ocaesces opos egit dientia scremortem Rommo in senatum poentem licerfin dici ese inul tus oculabulissa accis dem publicest vistractus cienin Ita derissi factus caeque ia ad non dites Ahacio in Etraris dem, Caterus bon-sum straes etripiem hebatis aceruntiori tem quemus, num omnonclum reis, crit obserit, consimponsum

Harum fugiatur? Ro qui ne earum alitassedit hari as quam doluptae non nit laudis magnata ius enditis adi voluptate mosant quatum nusam utatem eatem ipsapel magnihicitis velendendit ium nonet ad er-ferumqui torectatus si numquo ipsum doluptianda se sim qui nis am se cumquis parci ilit mi, odit, apis alibus ut qui ariost experum con re non pernam atur minctorerum soluptat plaut eum volumqu amenem. Ita volorerferum eicide prat eaquiam, ipis sed qui doluptatium et vero eatiaeperum aut aut aut ligenim unt ad quid eturept atempor acest adit vent fuga. Empore sitio quia consequia que ium ius eum fugit, sequassum volent occus, aligenda con nulparu mquibus acerere, quam atis elestrum dollitaest auteni con-sequi im rae. Moluptus dia voloratem imus et dolore volor molendi aut deri intiae laccus inumet optas arum ea volluptatus, sequos aut quas porpos acepe ium repturia sit fuga. Cum, odia qui beremquat ab ipsunt litiam, omnis et rem eostrunt dia nos nis accuptur?In preperate adipicab invelest unt.


Ditatur, ommolor aut aut earum quam, nias dolo tempore ntinull endaepe aspeditate con repudi nis quunte ea sum ipsa dolendis sit dolupta natem. Emporestota sumqui dolupta spereped ma cor aligen-dae odita cus ea dolore sumquodi dolupid ex es doluptatur reictotae vel ilitis et parumquas des dollitat voluptat volest, officim inverum quae. Itaquam sequo dolest, untibus que eiuntem poreser rorias esed utenecum voluptatem ut latur?

Icae. Nam, idellor eremque ped moloris explibusto qui odi consequi volupta tibuscia eatem in pos sequo-dio. Ita quoditatemo quo to voluptat eatem resti cum adi officit id que volum vendebis quatqui cuptae anissit, sumqui id uta dolum et eventio. Sed moloris aut mod magnimolum quam fugiatiae omnis veni-mendi is is aribusapis et odit ipsae mi, nus iducitium est explabo. Itatet quissec aborehe nditibeaquas aut poresequo et alit et ommollam, ut omniatem aliam dit, iliquam fuga. Ut ut as se ommoditiunt.Tur aut lab ius excea sa sum esequia nimus, quaest, quia de vellent, tempedi alit aut porepel ipis apero beris eati dolumet am haruptasin planduci dicipsanda prestio dolenis acerrori rem rem ut accusapicit aliquis quam, omnissum etur magnam re nobit exero illaccae latios et esciasp eribus sus, quature, aut poratecus etur si as simusdae odit velenti atempore venet, omnihitature nit am velitibus dem non ne-tus dolorit ionseque maioreiurio cum is molorit vellum, ommodi cuscipicim quation sequam, ipiciis et quaecto ressit, omnis rae re sedis estrumq uiberro earum ditis porum et hita sitatur rest fugit, sam re pernat elicias pitium que dendaep tusame consequo bla quam est, tectur ra arionsequi cusciae. Piendella doluptae ent asitas estiis nus saernat.

44 45

BanyaCONCEPT & INSPIRATION

The Banya was the first race/culture designed for the world of Astria. Even before having a con-cept, the inclusion of elven culture was a given. While the idea of nature-loving, druidic elves isn’t a new idea, pushing the idea of their relationship to nature further than just appreciation, but into reverent worship, and a need so deep to be so close to it, that they physically make it part of their bodies, was in-tegral to their design. This also gave the opportunity to explore more in-depth how the resources of both the natural and the fantastical would direct their culture. Elves in most high-fantasy or medieval-fantasy settings are certainly forest-dwelling, but exploring a harsher, more hostile region would gave more room to play with resources available to them. The concept of jungle-faring elves was one I have been exploring over the last couple of years. Visually, much of their inspiration was taken from loose-fitting, drapey clothing of ancient Greece and Rome, reflective of their humid environment. While they have limited access to metals and gems for various forms of technology/weapons/jewelry, it was important that their armor and clothing also show their relationship with plantlife. The lacquered-wood armor of the samurai gave insight on how it could be worn, but the live-edge and bark texture was more important to the design than smooth wood. To keep in line with plantlife being nigh impossible to extricate from their society, it was necessary to make it part of their architectural structures as well. For this, inspiration was taken from the ruinous temples of Angkor Wat in Cambodia, and the almost prehistoric-feeling giant leaves of Gunnera manicata, or giant rhubarb. The main aesthetic inspirations were: natural, renewable fibers, jungles of the Congo, the Amazon and southeast Asia, clothing of the Japanese samurai, Greco-Roman togas, and Mayan-esque accents of gold, with symmetrical designs.

GATHERING REFERENCES

Research started with looking into food and clothing: two of the most important needs to cover. Researching real places, from the domestically located Florida to the faraway Congo, and the Amazon gave me multiple views into the relationships between the people, these needs, and their geographic loca-tion. Tropical jungles are incredibly humid, so materials for clothing or structures need to be lightweight, wicking and waterproof. This led to inspiration in the Japanese technique of ‘shou sugi ban’, in which wood is charred, in order to make it waterproof. Plant-based, renewable resources like hemp and bam-boo, can be used for anything from food, personal hygiene, paper, and fabrics.

COLOR PALETTES

Choosing a jungle setting instead of the typical Euro-centric temperate forest setting gave more room to play with bright colors and more unique palettes. While still sticking with predominantly em-erald colors, their palette leans more into vibrant, hot, yellow/spring greens and deep into almost-teal greens. While the ruddy-red brown/green color pallette of the Pacific Northwest and Californian red-wood forests were a large inspiration, ultimately, balance in the brown tones to cooler, almost silvery, was used to make the depth of the Banyan greens pop.

SHAPE LANGUAGE

While the Banya’s ideals of beauty very much reflect the sublime wilderness of nature, they them-selves seek an order within that chaos. The biggest visual for this was in the symmetry of their design. Despite an upside down triangle often being associated with instability and danger, pushing that trope and making it a feature, made it more reflective of the canopy of the banyan trees, or even reminiscent of the antlers of a deer instead. Their patterns also feature this shape, as well as plant/floral motifs to reflect their relationship with nature, in a more subtle way.

IDEATION ON PHYSIOLOGICAL DIFFERENCES:

Physiologically, the Banya aren’t too different to their fantasy predecessors. Being angular and lithe with pointed ears felt like a given, but they needed something more. The imagery that dark scleras with vibrant eyes peering out through the underbrush evokes a feral, powerful feeling that solidified its inclusion. As for musculature: in order to support the weight of woody plant life, the muscles of the neck and upper back were going to make the banyan people appear a bit topheavy. While most things can be explained away with magic, it is important to portray these developed muscles in the initial character design. As for skin color: green skin tones are usually reserved for ‘evil’ or ‘less developed/more beastial’ races like orcs and goblins, and shades of purple are usually associated with the classic D&D subrace the Drow. This trope is one that needs to be changed. While the Banya are predominantly green, taupes and ruddy reds similar to tigers or fawnling deer are also likely. As for purples: down the road, more subraces and other variants of Banya and elves with lavender-ashy colored skin tones will make their debut.

50 51

ClovaniCONCEPT & INSPIRATION

One of the biggest focuses for the Clovani was their relationship to the sky. While other cultures with a heavy spiritual focus on lunar cycles, and the moon specifically already exist, the spirituality of the Clovani was to be shifted toward the stars, constellations, and the cycles of other celestial bodies The first aspect of research for the Clovani was everything high-altitude related. From oxygen intake and the effect on the bloodstream to plants that grow in craggy, low-nitrogen soil, it was important that the heart-iness of the Clovani as a culture, in conjunction with their unique territory was represented. When considering the concept of high altitude living, one of the first inspirations was the avid the moun-tain climbers: alpacas. While making a species that was related in any way to a goat, llama or alpaca was not at all my intention, the spirit of someone ‘who saw a mountain and decided it was theirs to climb’ was paramount to this Clovani’s creation. Keywords were ‘scholars and shepherds’, with their ‘diving magic’ being astromancy, and channeling the cyclical nature of the sky. The goal was to portray them being highly intelligent and emotionally spiritual, while also remaining grounded in the tangible needs of their people.


Aesthetically, inspiration and reference were drawn from the geometric shapes and designs of Scandina-vian folk art, and identifiably woven/woolen fabrics, into layered clothing styles of people who live in the high mountainous regions of Peru, Mongolia, and the Swiss Alps. With such limited resources, the focus on their food and clothing was to be on quality over quantity. Inspiration for this was taken from plantlife that would suit such a climate: hearty root vegetables like carrots, potatoes, beets, and turnips, as well as low-growing shrubs with very flavorful fruits or nuts, like blueberries and coffee, to provide a logical and believable agricultural system that fell hand in hand with the design of the Clovani’s physiol-ogy.

COLOR PALETTES

The color palette was the first thing solidified for the Clovani. Navy blue, deep blue-violet, seeping into purple, with silver accents were the first to come to mind. With a culture so heavily reliant on the sky and the celestial bodies, navy over light blue won out. Through exploration, bright colors also reflected the other half of this culture: the day cycle. Predominantly, the colors most associated with the Clovani are still shades of blue and violet for the darkest nights with the brightest silver stars, though their ‘day’ colors feature cyan, teals, and pops of orange. Cool browns are greys for the Clovani skin tones and their meteorite-related metals were also important to balance out their palette and keep them feeling balanced.

SHAPE LANGUAGE

Despite their homeland literally floating, the concept of the Clovani felt the most ‘grounded’. That meant choosing a strong, immovable triangle as the base of their shape language, with the obvi-ous circular/crescent moon shape for the cyclical nature of their spiritual beliefs. Hard edges and angles inspired by the Scandinavian runic language called futhark.

IDEATION ON PHYSIOLOGICAL DIFFERENCES

While the Clovani are humanoid, they are more reminiscent of modern D&D firbolgs, than satyrs or tief-lings. At first glance, they come off as goat-like, but their design is purposefully more aligned with the ‘human-with-unique-features’ category, than a ‘devilish’ or ‘fae’ one. While they have broad, flat noses and long ears, they are in no way related to the domesticated animals in their care. The purpose of their face shape was to reflect how they have evolved to breathe differently in a low-oxygen environment. Their ears are more akin to those of elves, though they are lobed, long hanging, and move with expres-sion. The shorter, stockier body types of the Clovani are to reflect their daily use of strength for manual labor.

56 57

Saharine CONCEPT & INSPIRATION

While the people/culture of the Saharine was the most difficult to conceptualize, the first thing decided about them was their location and The Scar. Their culture is centered around the main resource: incredibly strong glass - used in everything from weapons and armor, art supplies, musical instruments, and daily items. Inspiration for this was primarily taken from the use of the volcanically created obsidian tools, used by humans as early as the paleolithic period. The Saharine’s relationship with the asteroid Titan is unique from the other cultures, not because of its presence, but of what it’s left behind. The inclusion of glass as a resource for the Saharine was chal-lenging and exciting to work with.

Of the whole project, the Saharine as a people, both in cultural and aesthetic design was the hard-est culture/race to settle on. The importance of a diminutive/Halfling-Esque race/culture was important. While many roleplayers want to play the heroes: the ethereal elves or impossibly strong orcs, the senti-ment, “Don’t forget the halflings; don’t forget the ordinary folk,” solidified the need for their inclusion. It was because of this sentiment, it was important to focus on the art, rituals, and daily life for all of Astria’s cultures - because at the core of each player-character is a person whose story is being written. Research-ing locations like the American Southwest, Northern Africa, and into the Middle East, gave great refer-ence and ideas into what kind of resources people would have access to in these harsh environments. The Saharine’s territory was unique from the others because there were two separate and distinct geographical areas of operation: the harsh, arid, bright, desert above ground, and the dark, strangely cozy, colorful underground.


Research and reference for geography were Joshua Tree, California, and the outskirts of Egypt. Craggy, rocky, sandy, highly-draining soil meant that plant life is possible but often more succulent and tuberous than large-leafed. Animals both large and small are also present, but all are suited to the geog-raphy, so it was important to give the Saharine an edge over their predators, through their goggles and two-handed weapons.

COLOR PALETTES

The color palette for the Saharine was the hardest to nail down because this culture does is bet-ter than any other at blending into its surroundings. Bright colors are present but limited to gemstones, and flowers, so using prisms and the bending of light allowed the exploration of color for the Saharine’s palette. The use of desaturated colors in their skin and clothing, juxtaposed against the prismatic light of their crystals, made for a great opportunity to explore their design, while still making them feel earthy and interesting. Ochres and warm terracottas were the most important to make use of, but the addition of night-blues and some cactus-greens really brought the palette together in a way that felt fitting for the Saharine.

SHAPE LANGUAGE

The shapes of the Saharine were meant to reflect the sweeping, ever-changing nature of the desert sand dunes: softly curved into tight peaks. The angled patterns also represent the crystalline-prism motif, and a reflection of the tempered silica they make their art and wares out of.

IDEATION ON PHYSIOLOGICAL DIFFERENCES

Physiologically and aesthetically, the Saharine was the most difficult of the three cultures to nail down: straddling the line between a humanoid and a beast race. Initially, they were just going to be hal-flings, but the favored inspiration was the jerboa, lending its large ears, eyes, and backward knees to the design. Clawed, hairy feet allow them to skitter across the hot sand and gave room to explore clothing that makes use of these features, instead of covering them up.

The other physiological feature unique to the Saharine, is their large, photo-sensitive eyes, letting them see uninhibited when they are deep underground while making them almost blind to the world above ground. The inspiration for this aesthetic came from an article about a nearly-blind screech owl named Bruce, whose eyes are full of protein clots that resemble galaxies.

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Fin.

For Zagore - Cleveland Institute of Art

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