“around the north star-fire”

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Short version first:

I believe that your fictional world deserves its own night sky. To that end, I have put together a tool to help you create one for your campaign. Make a copy of the Google Sheet and see what you can come up with.

Stellar genesis spreadsheet

Look, I know. A spreadsheet. But it’s the most accessible I can make this thing, and all of the pain-in-the-ass work was on my end. If you use it, let me know how it goes.


So much of the D&D-ish game relies on a world that runs parallel to the one we know. You could do anything, anything, but the practical limits show up real quick. We rely so much on things that are normal, but for certain exceptions, because every change calls for an explanation. And referee explanation isn’t any fun for anyone.

But, pause. How many constellations can you name? (There are eighty-eight.) How many stars can you name? (There are more than 9,000 visible to the naked eye under dark skies, across the world, but not all have agreed-upon, non-gibberishy names. I mean actual names, like Regulus and Deneb and Antares.) What can you identify on a night with patchy clouds, disrupting the familiar patterns? For folks playing the game, those answers could run the full spectrum.

For the characters, though, in a world without mechanical timepieces and all of our modern conveniences, one should assume a familiarity with the night sky. In addition to being more visible with little light pollution, the celestial sphere has served as an exceptionally reliable clock and calendar for thousands of years. At least. Everyone has a passing familiarity at minimum. The myths and tales of imagined order in the skies tell us a great deal about the societies that created them.

So should your skies not be a mirror of those here on Earth – which is, honestly, plenty interesting enough – consider this an opportunity to quietly expand the lore and richness if your campaign.


Or just have fun and doof about. I’ll explain how this works, and how I imagine using it for my own purposes. Follow the link above, make a copy that you can edit, and if it works for you, awesome!

This is built on an Earth analogue, using algorithms provided by the U.S. Naval Observatory for sidereal time and by NASA for solar position and time. (I have the code and my notes, but can’t find the website for a link. Apologies.) There are a lot of terms to calculate, lots of corrections and adjustments, and hidden sheets so you don’t have to look under the hood if you’re not inclined. So: same year, axial tilt, planet-star distance, orbital eccentricity, etc.

Also the same starting day of the year, so if you’re using a different trigger for rolling over the calendar – like the vernal equinox, maybe – take that into account.

You’ll need a latitude and longitude for your observer, though longitude mostly doesn’t matter here. When nightfall arrives, the stars look the same. You might get some weirdness in the auto-generated star charts approaching the poles, once the Sun no longer either rises or sets.

A year and a reference year, the latter only important if you plan to examine changes over extended historical time. Shifts over thousands of years can have big changes, and maybe you can work with that. What vestiges of the past have changed, such that the long-lived elves never quite adapted?

A time: day of the year, with hour and minute. The sky at nightfall is different than at midnight, and moreso when twilight first glows in the morning. For when you need specifics. The spreadsheet gives you sunrise and sunset times on the selected date if you need them.

Feel free to change the year length, too. It might break everything, or throw in some weird artifacts, but if you want to?

The last is a random seed. Pick a number, any number. It powers a pseudorandom algorithm that the spreadsheet uses as inputs for all of those stars. Write down that number, and it’ll produce an identical “random” sky every time. Go ahead and type in different seeds until you generate something you like.


What you get, then, is a bunch of charts showing dots. Dark backgrounds with white dots to look sky-like; inverted versions should you ever want to print and not hemorrhage toner. On the Sky View sheet, you’ll see a circle showing the entire sky, projected flat, horizon to horizon. That’s the sky at the indicated time, with south at the bottom, north at the top.

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Because you’re looking up, east is left and west is right. Change the time, and you change the stars. If you look closely, you’ll see rotation about a point in the north (or south, if you’re located in that hemisphere). If there’s a star there, it’s your pole star, and a selection of others will turn about it day and night, never falling below the horizon. These are your circumpolar stars. You can see them on every clear night.

The rest are seasonal stars, and only visible for a fraction of the year. They’ll be your timekeepers, the stars whose first and last appearances on the horizon align with annual events. Planting, harvests, the monsoon season, major religious cycles.

Notice that the dots aren’t all the same size, and that tiny ones greatly outnumber those big stars. Size is an indicator of magnitude, the visual brightness. Of the 525 stars spread across the heavens, they’re loosely analogous to those seen from Earth, down to 4th magnitude. Lower magnitude means brighter (blame Hipparchus), and while you can see down to 6th with the naked eye, no one’s making stick figures in the sky with them.

Historically, most of the important stars have been the brightest. They’re the ones which get common names. In constellations, they’re often important to the imagined form. Aldebaran, the red eye of the angry bull, Taurus. Castor and Pollux, the heads of the twins in Gemini. Antares, the red eye of Scorpius, also traditionally known for not being Mars. That sort of thing.

(Reddish stars often stand in for anger or violence – Betelgeuse at Orion’s shoulder as he’s about to swing his club – and are distinctive. The original Python version of this included a B-V color index, but proved too fiddly to port into Google Sheets. You’ll have to introduce those aspects yourself, sorry.)

You also have charts showing the entire celestial sphere, stretched out to fit a rectangle, with the red dots marking the current horizon. See how that curve shifts with day and time, such that some stars are always visible, some occasionally, and some never? Wherever you are, there’s sky you can’t see; equator and poles give odd exceptions.

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The second version of this chart includes a cyan or blue dotted line. (See the header image for an example.) This marks the ecliptic, the path the Sun traces across the heavens throughout the course of the year. This is the approximate area you’ll see the Moon and planets – assuming a flat disc structure like our solar system – and is the region of sky for the zodiac. Note: moons and planets not included.

If you’re looking for star signs in your campaign, one’s zodiac sign is where the Sun was at their birth. Note that the sign of the zodiac is 30°, even when none of the constellations associated with them are a nice, round, even number like that. If fudging the boundaries was good enough for the Babylonians, you may take that as license to play loose, too.

I’ve also included two sheets loaded up with a dozen snapshots of the sky throughout the year. Each is taken 90 minutes after sunset, more or less when twilight has faded, and can stand in well enough for a month-by-month survey of what’s visible. Export, print, make notes as is useful for you.


If you’re going to make the most of all this, print out a full sky on paper. Consider that the Babylonians divided the ecliptic band into a dozen constellations, and see how you feel about size. Keep in mind that this will map onto the inside of a sphere, so the top and bottom of this chart converge to a point.

Enormous constellations are unusual, but no one’s going to stop you from imagining an ourobouros forming a great circle across the entirety of the heavens. They can be tiny – Canis minor consists of two stars, both close together – or even made of disparate parts, as Serpens is bisected by Ophiuchus.

When in doubt, adjust the view in your star chart to see how things stack up.

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Here’s a quick first pass at groups of stars that might make decent constellations, with the zodiac marked with Roman numerals I – XII, and a handful of other possibilities A – K. I’m not going through all of these – exercise for the reader! – but I’ll quickly point out three.

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Zodiac I: Jirda, the Jumping Mouse

First rising at opposite the sunset in late summer, the bright star Aldylfhar at the tip of his long tail tells that the harvest season is not far away. Jirda and his kin grow active, hoarding seeds and grain for their winter burrows, knowing that the hot Sun is no excuse to put off preparations for winter.

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Zodiac VIII: Hakiel, the Great Eagle

Rising at the beginning of the year, first appearing on the horizon around the winter solstice, Hakiel brings a promise from the gods that despite the winds and snow, humans are watched over, and that spring will come once again.

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Zodiac X: The Shadow of Nyx

Following the First Cataclysm, the gods banished Nyx to her prison of eternal night. In revenge, she stole the stars once placed here, that she might have playthings in her seething solitude, and that humans would be reminded of her loss in the cold winter months. The elders say that when the Moon rises full within her shadow, she walks the world again for one night.


This post takes its title from a poem by Manny Loley, star poem. The original is untitled, and in Diné, and I doubt you’ll understand it untranslated any better than I do. Still: follow the link, read, and listen to it as intended. Every day could use a little poetry.

More Crap Maps!

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Because there’s a Blog Bandwagon going on, let’s circle back to the idea of crap maps and make one! Call forth your inner goblin, put on a silly hat, and get your drawing materials out.

Quick recap: a crap map is an in-game map which is, in some aspect, informationally incomplete. This can range from physical damage (missing portion) to willful obfuscation (false information, treat as a puzzle) to non-portable (scratched in sand, tattooed on an orc) to incompetent communication (a goblin specialty). Maps are information, and like other sources in the game, it’s up to the players to make use of those which are partial and unreliable.

Every aspect of the game has the potential to be an interesting challenge, maps included. If you’re going to put in the work to make something, let it be better and more engaging than some rumor in the tavern.


Okay, my players: time to skip this post. We haven’t playtested this, but we very well might, and it’s much less fun if you see how the sausage gets made.

It’s all hooves and snouts below, headed for the grinder!


Step One: Referee Reference

If we’re going to outline a process for generating crap maps – you don’t really need this, right? – let’s codify it a little bit. Pretend it’s an organized endeavor, run through once or twice, then huck the whole thing out as soon as you’ve got your own take.

The first and only essential step is to create the actual, factual, true and reliable referee materials. An unreliable map requires a fixed reality to reflect poorly.

Unkeyed dungeon map.

Here we have a map, not yet fully keyed. Detailing that out is a secondary project, not necessary for this exercise, but I’ll quickly mention a few aspects. I’m using standard B/X everything, just on the off chance someone feels like testing this out. Way easier to port elsewhere than my bespokedly hacked Whitehack setup.

It’s a tomb, containing lost riches, with a trapped false tomb to protect from the greedy and foolish. Now in disrepair, word of its possibilities and fragments of a map have surfaced.

Area 01 contains giant spiders which use the cavernous space to hang their desiccating prey. Flush with explorers of late, they fail to notice when the troglodytes lairing in the caverns below (area 10) steal the plumpest to devour.

Area 04 is a great pit, once containing a timber structure and stair connecting the levels, now rotted and collapsed. Level 2, the lower, has a great mechanism which rotates to reveal only a single door at a time, each of which is trapped to deter thieves.

Areas 07 and 08 are the showy false tomb, shiny and fake. The entry is trapped; the tomb contains a wight in a golden mask ready to corrupt tomb-raiders into servile undead.

The remaining areas on the first level contain shrines to Sun and stars, a moldering library, and the mechanism granting access to the spaces below. They contain clues to finding the true tomb, and currently a cohort of hobgoblins bickering over which way to go. Those not currently strung up by the spiders, that is.


Step Two: Pick a Flaw

What’s the trick? Unless you’ve got a devoted puzzle-solving crew (I don’t), keep it simple. Stick with one thing.

Make a schematic drawing of the crap version of your lovely map above. The players need to see their map as a right and proper thing in its own way, not just the referee’s version with redaction bars all over it.

Our flaw will be a fragmented map, reassembled incorrectly, with the intent of highlighting an incorrect (and trapped) location instead of the true tomb and its treasures. Will we get there? Probably not; these things have a way of evolving through the iterations into their own beast.

Printed referee map, cut into pieces and reassembled out of order.

First iteration: print and mangle with scissors. Just playing with ideas of how this might work. Or not. No crap map can withstand real exploration, so I’m looking for an alternate means of laying it out, encouraging a focus in the wrong direction. They’ll get it eventually, of course, and there’s no railroad to constrain them.

So I position a few things in the right places, close enough that it’ll seem like just a bit is missing, so the other details might brush up against the truth for a little support.

Ink drawn schematic of previous cut map.

Second iteration: a quick scrawl of the pieces, with the first clues laid down. If we have pieces that have been reassembled incorrectly, one clue might be that the notes alongside shift direction. When some of it’s running on a tilt, that’s an indication that some element is out of place. We’ll also be missing some areas, because they’re secret and remain so, or because the previous explorer didn’t poke into those corners.

At this point, I’m leaning toward a murky map, something incorrect and unreliable, yet with a few guiding kernels of useful information in there. The hitch is that they’ll need to explore to see what’s correct and what isn’t. The first obvious sign of trouble’s going to be that staircase: it no longer exists, having already collapsed into the bottom of the pit. Could it generate enough interest to explore further?


Step Three: Obfuscate!

Now’s the time to turn this from a minor twist into a Car Talk puzzler! Embellish with extraneous detail to draw attention from the map’s primary flaw. Conceal beneath a hearty layer of distraction and obfuscation, like glints of shiny pyrite. If at all possible, leave little crumbs about that they can pursue elsewhere. Hooks elsewhere, a fragmented story, something to give it a little vibrancy, and maybe a little misdirection, too.

Depending on the flaw you’ve worked in, following the side clues and marginalia may be a good way for the players to spend time correcting their map. Figuring out exactly how not to trust it.

Scrawled map, in color, as schematic but torn and set on paper.

Third iteration: in color, with quick notes. Needs work, of course, and I should make the notes a mixture of useful information and incorrect distractions. The ideal would have notes which seem false in this arrangement but reveal a helpful truth when reordered. This is not that, but I’m operating on the margins of real-life spare time here.

I’m also now at the point where I’m considering whether this should be the map of a previous explorer, or the secondhand scribblings of another. A would-be tomb robber taking notes from a rambling drunk in the tavern, each layer a game of telephone away from reality. All of this is referee-only, but a vague sense of how this map came into its current state can be helpful when planning hooks and improvising in a session.


Step Four: Make It Look “Good”

Not necessary, of course. Do whatever works for you, your skill set, your available time. Making the physical object is an opportunity to add some secondary texture to it all. Include color if you can – borrow crayons and markers from the kids! – because it really helps usability. Think about size and how that affects detail. Add smudges and stains and singed edges. The more “important” the artifact appears, the more likely they are to take it seriously.

Redrawn, torn, and scanned atop an old cloth napkin. Suitable for printing a player hard copy (they always get one on cardstock), then uploaded to our shared drive.

Final player map of torn pieces, misassembled.

And here we are: one hastily-assembled, off-kilter map. Clearly I’ve shifted from the “here’s a false path” plan to a map which is visibly broken. Which, given the shambling, sandboxy nature of our table, is probably just fine. There’s information on here, both helpful and not. Verifiable details on compass directions. A dungeon spring the former explorers chose to drink from. An emerald door? A false door? A library yet un-ransacked?

I can work with this. At the very least, I have a hook with a tangible object for extra draw.

I mean, it’s a map to a tomb full of riches. There’s real information that I don’t have to recite. It’s a rumor table, all ready to go. Hell, I can have the NPC demand coin to hand this over, and they’ll cling to it for that alone. My players are as susceptible to the sunk cost fallacy as the rest of us.

Scroll back up, revisit to the referee map, and see how they compare.


Bonus Map: Lizardfolk Legos!

I can also highly recommend maps which defy easy use, and those made of physical objects the players can’t take with are among the best. You can use anything, of course, but I like to meander over to the toy room and make these out of Lego bricks.

They stick together, so you can tuck a set in a box without too much worry. They’re non-perishable, so they can wait around until needed. (I do, however, applaud your efforts to make a cookie version that the players can then eat. Please do that. Post pictures!) They’re simple to modify on the fly. And given that we’re all deeply invested in our suspension of disbelief already, you can declare they’re stones and twigs and whatever else, set upon the sand, with lines scratched about them.

I mean, that’s what I do when the lizardfolk make maps. Set out the Legos, narrate as I go, draw on the wet-erase mat like it’s a stick through sand. If they want it to be useful, they’ll need to sketch their own version and take notes.

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Cobbled together in a few minutes more than it took to brew a pot of coffee this morning. Lizardfolk and orc villages. An army encampment. Ancient ruins perched on a hilltop, beside the sprawling swamp. Twisted rock spires where previous explorers went and never returned. And the imposing, wyvern-infested mountains, with their daunting white peaks. Explore!

Crap Maps!

I adore maps. Good maps and architectural plans do so much heavy lifting for a referee, and I require my players to map the dungeons and wilderness of their adventures, lest they become hopelessly lost. Fine, require is a bit strong. They can try to keep a mental image if need be. (One regular has a significant aphantasia thing going on, so mapping is crucial to PC survival!) I describe, they scribble notes, and even a simple schematic guides their plans and escapes well.

I am also not above refusing to give specific distances and dimensions. I use that which they can observe and measure, because they have yet to ask about purchasing a tape measure. (That would offer precision at a cost of time and random encounter risk.) How big is it? About three paces wide. Farther apart than your arms outstretched, but barely. Wide enough for three of you to walk abreast. Further than the torchlight reaches. Occasionally, I’ll point to something in the room or the next one, and say, about from me to that chair. Sketch quick, friend; those monsters are moving in quickly.

And in the very specific case of jumping? Horizontally or vertically, the dimension isn’t in feet and inches, but whether a reasonably fit and able person can manage it while uninjured and unencumbered. That’s what we care about: how much effort to overcome this obstacle?

Remember the Pareto principle? 80% of outcomes from 20% of efforts, more or less? Your hasty schematic has most of the useful information on it. Don’t waste time with the rest unless that last 20% really matters. But enough about that. Let’s talk about the other kind of maps.


You know what I enjoy more than good maps? Bad ones. Intentionally bad ones. Incomplete ones – by cartographer design or lack of information or by damage. Difficult ones. Well-intentioned maps by incompetent makers.

Quick examples:

  • An intentional bad map might conceal pirate treasure, with information intended to guide thieves elsewhere. To be good and game-worthy, the proper information should be there, possibly hidden in a puzzle. These are the Operation Mincemeat of maps, and a tactic I recommend canny players consider.
  • An incomplete map might be found on a dead body, washed up along the riverbank, lacking the crucial details of what danger awaits beyond the final notes. Or one torn in half, the other piece demanding time and effort to locate, which could be spent searching for treasure, instead?
  • Difficult maps cannot be taken along, not easily. A tattoo on a dead orc. (Or a live and uncooperative one?) Scratched in mud or laid out with sticks and pebbles. Chalk on stone. To be useful, PCs will need to transcribe as best they can, and may never see the original again.

And those incompetent maps? They’re my favorite. Goblin maps, well-intentioned and riddled with flaws.


There are many ways in which goblins fall short of being entirely helpful. Though they are as varied as humans across many axes of possibility, the median goblin – in my imagination – has enthusiasm which outstrips common sense and the attention span of a child on Halloween. Assuming no malicious intent – the baseline – what sorts of trouble can we expect from a goblin map?

Better yet: an example. The PCs receive this from their goblin ally, requesting their aid at a location deep in the jungle. (Actual from the campaign, not just hypothetical!) They’d never been there, nor that far from the city, but, hey, a map!

Crappy goblin map.

Scrawled text, in case it’s hard to read:

walk toward the setting sun / until you see the red hand

sight through the stones for the path / until you reach the stream

along the bank to the crossing / by the obelisk

keep to the worn trail / beside the marsh / in the grassy clearing

until you see the old stone / building with the thatched roof

Do you see the problem? There are several, but there’s one substantial issue that should stand out.


Quick aside here: I was writing this up when I noticed Asking for Directions in an RPG at cryptickeyway, which covers some of the same philosophical ground. How do you provide information for PC travel which allows for agency without rendering interpretation pointless? And do so without being obtuse in a way that makes the game frustrating?


The map offers landmarks and directions, with some specific details. Go west from the city – presumably you can manage that by mid-morning, without having to wait for sunset and possibly getting lost at night – until you reach a landmark. That one points you onward to a creek; follow the creek to another landmark; obvious trail to final destination. All good, yeah? The PCs managed all of this just fine.

Then, having had their adventure, bandaged their wounds to return home. Which took much, much longer than anticipated.

Because, as they did not notice until backtracking, there’s no indication of location or direction to get from the creek to the sighting stones. It’s a one-way guide. The return trip took substantially longer than planned, with a detour through lizardfolk territory, a frozen waterfall cave inhabited by a demon breaking its imprisonment, an ogre and his entourage, and more. It got weird.

Lessons: Inspect those maps. Plan ahead. Logistics and supplies are critical considerations. And of course, anything the referee offers might come with a twist for the unwary.


Hopefully I can toss up other questionable maps as an irregular series. Maps are good and useful, but bad maps are something special.