A 13th Age GM recently asked for advice on using Backgrounds in a modern setting. At first I didn’t see the problem—”Former circus performer” should work the same in the modern world as it does in the Dragon Empire, right?

But when I really gave it some thought, I saw the difficulty. “Former circus performer” in the Dragon Empire lets the player do loads of world-building, unconstrained by real-world facts and enhanced by the magic of the setting. Likewise, the GM has complete freedom to use that Background to create adventure and campaign hooks relevant to that character.

However, if your game is set in the modern wold it becomes more difficult, especially if you care about some degree of accuracy, and real-world believability. It’s can be even harder if that Background is connected to a region or a culture you aren’t very familiar with. What, realistically, could a modern-day character with the Background “subsistence farmer” do with it? What if they were a subsistence farmer in New England? Rural Japan? A tiny island near Madagascar? What compelling and believable adventure and campaign hooks could the GM create?

Here’s how I’d handle this.

First, remember that a GM needs to know just enough about a thing to make it believable and entertaining at the table, and no more.

Also, remember that Backgrounds, like other character creation mechanics, exist to generate fun.

Third, recall that 13th Age players and GMs work together to build out the world, and create adventures that are relevant to the characters.

Let’s say I’m running a modern-day campaign set in the United States, where the player characters are a ragtag band of wandering misfits who roam the country, get involved in some local troubles, resolve them, and then head off into the sunset. One player decides that her character, who is Chinese-American, has the Background, “Former circus performer in China”.

For the purposes of gaming at our table we could leave it at that, in which case the player occasionally says something like, “I squeeze through the bars of this jail cell using a trick I learned from the contortionist at the circus.” That’s fine!

However, if that player made the circus Background a +5, that player is telling me she wants this part of her character’s life to be an important element of the game. If it’s connected to a One Unique Thing and/or icon relationships, she might want it to be one of the things that defines the campaign.

In order to find ways to incorporate this Background into the campaign story arc. I’d ask questions like:

  • How did you come to join the circus?
  • What made that circus different from others?
  • Was it successful? Struggling?
  • How long were you in it?
  • What was your role—your job, but also your place in the society within the circus?
  • What was your relationship with the owners? The performers? Other employees?
  • When did you leave, and how?
  • Why did you leave? Was it on good terms, or bad terms? Were you able to leave freely, or did you escape?

Guided by these answers, I would do some research on circuses, especially ones in China—just enough to create compelling story hooks relevant to that character, ones that would feel believable in play.

Hmm. Wikipedia* has very little on circuses in China. Here’s what I found just now:

  • In the 1800s, a Frenchman named Louis Soullier was one of three early circus owners who introduced the circus to China. He was the first circus owner to introduce Chinese acrobatics to the European circus.
  • “Chinese variety art” is the English translation of a Chinese term which covers a wide range of acrobatic acts and other demonstrations of physical skill traditionally performed by a troupe in China. These include plate-spinning, Shaolin monks who resist projectiles thrown or fired at them, kung fu demonstrations, unicycling, balancing on balls, and contorting.
  • “Circus” refers to a Western-style circus, which may include Chinese variety art. The Chinese State Circus is a touring circus presenting these arts to European audiences.
  • Both Eastern and Western circuses have undergone a revival and transformation since the 1970s, with elaborate themed productions, often telling a story through characters which reappear throughout the show. In the Chinese State Circus, this is the figure of the legendary Monkey King.

Whoa. Wait a second. As described in the Ming dynasty novel Journey to the West, the Monkey King rebelled against the divine Jade Emperor and was imprisoned by the Buddha in a mountain. He was released 500 years later, and atoned for his crimes by protecting the monk Tang Sanzang. The Monkey King does all kinds of amazing feats—the kind you’d see in…a circus featuring Chinese variety art.

Not only do I now have some background information to work with in handling skill checks, I’ve made an important thematic connection in my head. I’m reminded that “circus performer” is more than a set of skills: it’s an archetype, an iconic outsider figure who uses skill, cleverness, unpredictability, and humor to overcome obstacles and enemies (often the forces of law and order).

Here’s what I might challenge this player character with:

  • Physical obstacles that put these skills and qualities to the test, and which resemble the sorts of challenges overcome in Chinese variety arts and circuses.
  • Enemies who are their opposite number: solid, straightforward, and serious.
  • Enemies who are their distorted mirror image: skillful, clever, and unpredictable outsiders. Maybe this includes a recurring villain, someone who’s very much like the PC but with an important difference that puts them at odds.

Maybe you’re thinking, “That’s fine for circuses, which are fun and interesting. What about the boring Background, ‘I am a former page in the United States Congress’? How do I give that depth, and find story hooks for it?”

Just as we did in the example above, you learn a bit about how it works, ask questions, and find the fun. You might find out he got the highly-coveted job of page because his late father blackmailed a senator who had ties to a powerful Mob boss. If that’s the case, you could run an adventure where the group arrives in a town to discover that the character’s father, who vanished recently, now lives there as part of a witness protection program. And guess who else just figured this out, and sent a car full of hit men?

This works for auto salvage yard owners, tax preparers, homemakers, and every sort of life path.

If a character’s Backgrounds are really just bundles of skills, summarized in a sentence, that’s okay. But if inspiration strikes, your players might be incredibly entertained when a shadowy conspiracy comes after the former tax preparer because the client he helped five years ago was a time traveler from the future, changing history one tax return at a time.

*Wikipedia is sufficient if all I’m doing is running a game for my friends. If I’m turning this into a published adventure or campaign, I’m going to do a lot of thorough research, and take steps to ensure I’m representing real-world cultures accurately and respectfully.

13th Age combines the best parts of traditional d20-rolling fantasy gaming with new story-focused rules, designed so you can run the kind of game you most want to play with your group. 13th Age gives you all the tools you need to make unique characters who are immediately embedded in the setting in important ways; quickly prepare adventures based on the PCs’ backgrounds and goals; create your own monsters; fight exciting battles; and focus on what’s always been cool and fun about fantasy adventure gaming. Purchase 13th Age in print and PDF at the Pelgrane Shop.

13th Age Logoby Ryven Cedrylle

13th Age’s move from a Skill-based system to a Background-based system has far greater reach and power than is immediately evident on the first pass. The mechanics can handle a multitude of interesting nuances better than the standard d20 skill lists despite being a much smaller amount of information. In order to make the best use of Backgrounds, there are two key concepts to understand and master.


1) Backgrounds reify story. If you don’t like the word reify, try thingify – they’re synonyms. Backgrounds add mechanical weight to the story you give your character. They’re sort of the 13th Age Higgs boson to use a weird metaphor. You were a low-level imperial soldier before you struck off on your own? Cool. Imperial Soldier +2. You ran an inn before other adventurers showed up and burned it down? Awesome. Resentful Barkeep +3. Anything you did before taking up the adventurer’s mantle is easily converted to a Background.


2) Backgrounds can’t break the game. Go back and read that again. Get it good and deep in your head. Many problems with skill lists in other d20 systems showed up in skill substitutions. It might be super easy to get a crazy Arcana score and then take feats that let you use it for Diplomacy, Bluff, Rope Use, whatever. Suddenly you’re better at all these skills than the people who are supposed to be good at them and are going the normal way to get there! 13th Age’s hard +5 cap prevents that. Skills rolls stay within a predictable range of bonuses and while having a bonus is still better than not having one, not being ‘trained’ in a skill (by having a relevant Background) isn’t going to shut you down.


What about Extra Backgrounding? What if one character has 20 Background points and everyone else has 8? Isn’t “more points” better?  The answer is no.. sort of.  A character with a single overly generic Adventurer +5 Background could sit down at a table with another character who has 400 Background points in 80 different Backgrounds, but if every roll is limited to a single +5 bump due to Background they’re effectively equal in mechanical power. Neither of these situations are recommended of course, but the hyperbole is helpful in pointing out the resiliency of the system.


Armed now with this perspective, here’s a few interesting tricks you can do with Backgrounds to ramp up the detail, flexibility and fun of your 13th Age games.



Item and Relationship Backgrounds

Backgrounds reify story – any story. They point out the things that help your character succeed at adventuring. Why can’t Backgrounds be items, then? This was exactly the case at one of the official PAX East demos this year. A new player picked up the Bard sheet and after a moment of consideration wrote “Eldritch Flute of Destruction +4” as one of his Backgrounds.  After a moment’s explanation to the table, the bard proceeded to tunnel through walls, bend bars, blow open treasure chests and generally be a one-man wrecking crew with his custom “magic item.” It wasn’t helpful in combat of course (you need to get a good twelve, maybe fourteen measures of music out of the thing before stuff really gets shaking) but that didn’t matter. He had a ton of fun laying waste to the dungeon and had there been an actual dwarven miner in the party, they would have been on about equal terms.  Consider also a wizard whose backstory may not itself be very interesting (standard academy training and all) but shows up with a Crystal Orb of Scrying +3, a Robe of Illusions +3 and some Ritual Incense +2 as her gear!


If Backgrounds can be items, they can also be other characters.  Throw Peter Parker into 13th Age and one of his Backgrounds is bound to be “Uncle Ben”, probably somewhere at +3 to +5, for all those times he needs to call on his dear departed uncle’s wisdom. For a slightly more in-genre example, Mulan might have a “Mushu +2” Background for when she needs to steal a small item, make someone laugh or start a fire.


Temporary Backgrounds

If the number of Backgrounds available to a character  and the resulting power of that character aren’t mathematically related, a GM could allow rolls during non-combat scenes to create multiple temporary Backgrounds as resources for the party. The ranger tracks some desired quarry through the woods and since her roll was well over what was needed for the tracking effort, earns a “Clear Path +3” temporary Background. Later, the mummy escapes from the tomb and the PCs need to hightail it to safety. The Ranger probably doesn’t need any help navigating through the trees but the Cleric and Paladin clad in plate mail would probably love to use that +3 to further secure their getaways. Before the group goes back the Wizard researches the mummy’s magic, picking up a “The Mummy’s Illusions +2” temporary Background. That Background saves the Fighter’s hide when confronted with what is supposedly a GIGANTIC red dragon. These sorts of little boosts are nice rewards since 13th Age isn’t terribly interested in mundane treasure and the economics of arms manufacturing.


Negative Backgrounds

A tip of the hat is due here to Quinn Murphy and his excellent post on the idea, which you can find here. The idea, in short, is that some Backgrounds might be negatively applied to represent curses or long-term injuries. The adventurer who lands the last blow on the night hag sustains a “Stuttering -2” Background that comes into play whenever social skills are needed. Whether the Stuttering Background replaces the character’s normal Background or merely stacks on top is going to be a call by the GM but could work either way. Perhaps a player dropped to 0 HP and who fails two death saves also racks up a negative background such as “Cracked Rib -2” or “Broken Foot -4” to represent chronic injury. As a quick and dirty fix assume each such Background drops by 1 during a full heal, though a GM should feel free to play with the rules a little so long as everyone knows up front how things are going to work.



A 13th Age game that is flexible with its Backgrounds can even handle more complicated ideas like sanity loss. Imagine a party of heroes staggering out of some portal somewhere. They’ve seen things Mortals Were Not Meant To Know and faced Evils From Beyond Time. You don’t just walk away from that unscathed. Any hero who is down at least two Recoveries needs to make a standard save. If down more than 6 Recoveries, it’s a hard save. Alternatively, have everyone make a standard save but include whatever negative Backgrounds they picked up along the way. Whatever the method, if a character fails that save, he must rewrite one of his Backgrounds to reflect the experience. Thus the Wizard with the “Giant Grimoire +2” now has a Tome of Forbidden Magic +2, the “Treasure Seeker +1” Thief now “Smells Gold And Danger +1” and the “Eager Evangelist +4” Cleric has become an “Apocalyptic Prophet +4.” The characters have maintained their numerical strength, but the change in Background wording affects how skill rolls are explained. Even more amusing, the incremental advance these characters earn could be explained as being ‘unlocked’ or ‘uncovered’ by their slow descent into madness!


Whether you take all or some of these ideas back to your table, the bottom line is to remember that Backgrounds shouldn’t be static. Backgrounds represent vital information about your character’s behaviors, beliefs and situations. Use them boldly to give meaning to the events of your journeys.

A 13th Age/Archmage System hack by ASH LAW

The lich-king Mordred is on the throne, Merlin is imprisoned, and Arthur and his knights are over a century dead. Undead grail-knights roam the land dispensing the king’s ‘justice’, and plague-zombies terrorize the peasants. Welcome to the 13 Knights of Camelot – a setting for 13th Age’s Archmage System.

This ‘hack’ allows you to play as renegade knights and freedom fighters under the tutelage of Morgana (or called by the Lady of the Lake, or summoned by Merlin). Here are the important things to know about the setting…


All of Arthur’s knights are dead, and Arthur himself is dead. After the Battle of Camlann, Arthur was carried by the last of his surviving knights into the care of the Lady of the Lake. Arthur remains in a magical slumber on the Isle of Avalon. It has been a generation since Camelot burned. The legends of the round table live on and give hope to the people of Britain.


Mordred survived the Battle of Camlann, though like his father was mortally wounded. Mordred was carried by Sir Agrivain to the care of his mother Morgana who used the magic of the grail to grant him a permanent suspension of his final death – making him undead. King Mordred then used the power of the grail to create the undead grail-knights.


The grail is an ancient artifact, predating the coming of men to Britain. It holds the power of life but has become corrupted by the evil of Morderd to become an instrument of undeath. The grail causes monsters to arise, crops to wither, and plagues to run rife.


The rebel kingdoms of Cornwall and Devon are still free, though they must fight to remain so. Together they are known as Dumnonia.

Across the Celtic Sea from Dumnonia lies Dyfed, where the Council of Druids calls upon ancient magics to animate the trees.

The forests of Mercia and Gwynned are teeming with the Fae, returned to Britain at last.

London is an independent city (more on that next).

Mordred controls Powys, Gwent, Wessex, Sussex, Kent, East Anglia, Northumbria, Strathclyde, Fortriu, and the Orkneys …(don’t worry – there is a map). Control is perhaps too strong a word – it is the area from which he extracts tithes, terrorizes the people with his undead grail knights and zombie army, and maintains castles and keeps. A lot of people who live in his lands bravely resist his rule, spurred on by memories of King Arthur and his Knights of the Round Table.


Bran of the Ravens rules London, though he remains but a head buried under the Tower of London. His birds fly far, and see much.

The war deity Mórrígan Queen of Terrors leads her warp-spasming armies across the Irish sea from the Kingdom of Connaught to invade Britain, and already controls Dal Riata.

The new god’s priests must contend with a resurgence of the power of the old gods.


Morgana’s machinations have returned the throne to her family line from her half-brother Arthur. Mordred the undying is far from what she wanted and she lives in exile on the Isle of Man, protected from her son’s vengeance by her fading magic.

Nimue (the lady of the lake) trapped Merlin, and freed the ancient magic. Now she finds herself living through an age of constant warfare and monsters.

Merlin is trapped in a cave of crystal, able only to communicate via dreams. His power has flowed from him, drained by the land from which he once called it.


I’ve left bits of the map empty. I don’t tell you about Ireland really – what is going on in the kingdoms that are not Connaught? For that matter what is happening in Europe now that the old magic has returned? Even those bits I have described briefly here are bare-bones as they can be. Go invent, explore, be awesome.

Map by ASH LAW


**** CLASSES ****


Classes in this setting are restricted to six choices:





(British, Norse, and Irish)

All knights (save those from the Orkney Islands) are built as Fighters. Only humans can choose to be knights.


(Fae and Changelings)

Those fae who are not magicians are built as Rangers but MUST start with Fey Queen’s Enchantments, Ranger ex Cathedral, and Ranger’s Pet.


(Orcadians, Norse, and Irish)

Pagan bezerkers or pagan knights from the Orkney Islands are built as Barbarians. If you are playing a knight from the Orkney Islands you build your character as a Barbarian but gain the chivalric aspect advantages of knighthood (more on that later).


(British, Orcadians, Norse, and Irish)

Peasants and woodsmen and common soldiers are built as Rangers but may NOT choose Fey Queen’s Enchantments, Ranger ex Cathedral, Ranger’s Pet.





(British, Orcadians, Norse, Irish, Fae, and Changelings)

Magicians who follow the old ways are built as Bards.


(Fae and Changelings)

Fae who come from deep in the enchanted woods of Mercia and Gwynned are built as Rogues.


**** RACES ****


Races are likewise restricted:



THE BRITISH are known for their mental and physical toughness so are either Humans or are re-skinned Dwarf-Forged (pick which when creating your character).

THE ORCADIANS and THE NORSE are known for their size and ferocity and so use the rules for Half-Orcs or Dwarves (pick which when creating your character).

THE IRISH who are blessed by the Mórrígan are reskinned Dark Elves (don’t call the racial power ‘Cruelty’ – it is ‘Warp Spasm’).


THE FAE are reskinned Gnomes, and CHANGELINGS (fae raised by humans or humans stolen by the fae) are reskinned Wood Elves. Fae can not be knights.





*** ICONS ****

The icons rules work slightly differently. Instead of the icons being people they are aspects (both good and bad) of chivalric behaviour. Instead of representing powerful external figures the chivalric aspects represent world-views. Rolling a 6 or a 5 works normally, but instead of help from an external figure coming to help it represents divine aid from either the new god or the old gods. The aspects of chivalric behaviour are set up so that it is possible to have conflicts within a character – Lancelot for example had a negative relationship with ‘vital’ (falling in love with the queen no matter the outcome) but that led him into conflict with his positive relationship with his ‘faith’ (he made certain oaths to his king which he betrayed by following his heart).


CERTAINTY – Positive: There is good and there is evil, and you stand in judgement over both. Negative: Deliberation is always needed, even if it means opportunity might pass by.

COURAGE – Positive: Do what is right even if it is dangerous, tedious, or unglamorous. Negative: Do what will gain you glory and honor in the eyes of others.

DEVOTION – Positive: Spend time and effort in support of a goal, pursue that goal no matter the cost. Negative: Know when to quit.

EXPEDIENCE – Positive: Take the path of least resistance in pursuit of your goals. Negative: When pursuing your goals follow the rules even if it costs you success.

FAITH – Positive: Keep your promises and vows, and hold oaths as sacred things. Negative: Extract vows from others and take hostage that which they care about, it is the only way to ensure peace.

GENEROSITY – Positive: Share not just of your wealth also share your time and experience, even if the generosity is unlikely to be repaid. Negative: Your honor demands vengeance.

GRACE – Positive: Protect the weak, use might for right – even if it means losing face. Negative: Show no mercy.

GRANDEUR – Positive: Never show weakness or fear, always look your best in order to inspire others. Negative: Respect and/or obey only those of higher station.

HOPE – Positive: Inspire others, show that there is good and light in the world. Negative: Be realistic about how dark the world is.

JUSTICE – Positive: Uphold standards of behaviour by your good example, and be an exemplar of virtue. Negative: Every law is equally important, even those that may lead to bad outcomes must be enforced.

NOBILITY – Positive: Uphold convictions at all times, even when nobody is watching. Negative: One’s fate is preordained… if you are born to glory so be it, if you are born to poverty there you must stay. Your actions are just playing out a pre-written script so you really don’t have to accept responsibility.

STRENGTH – Positive: Wise application of force is a swift-working tool. Negative: Might makes right, even when that might is used cruelly.

TITLE – Positive: Along with the entitlements of any kind of power come responsibilities to those with less power. Negative: Hold those of lesser station to high standards of behaviour, uphold the social order.

VITALITY – Positive: Live life to the full, wisely enjoy the many privileges that you have. Negative: Follow your heart in the present, no matter the outcome of your actions in the future.


Those who have taken knightly vows can call upon chivalric aspects in battle. Once per battle knights can roll their relationship dice. Any 6s may be used to add +2 to a roll, any 5s can be used to add +1 to a roll but will involve a chivalric quest quest.


Spending a 5 in battle means that the knight feels a need to undertake a quest to prove their worth to the one god (or the many gods), and the quest is always directly tied to the chivalric aspect that they used. Failure in the quest or failure to undertake the quest means the knight can not call upon his chivalric aspects in or out of battle until he or she next levels up.



Yeah yeah, traditionally knights were male and females were relegated to roles as noble ladies or enchantresses. The 13 Knights of Camelot has zombies, grail-powered undead knights, fae, gods who walk among mortals, etc. Why not women knights? It is only logical that the Lady of the Lake would call to all who can take up a sword.





**** DUMNONIA ****

A good starting point for your campaign are the twin rebel kingdoms of Dumnonia – Devon and Cornwall. Important places in Dumnonia are Stonehenge, the Isle of Avalon and the walled cathedral city of Exeter.

The landscape is a mixture of dairy farms and orchards (from which comes a very hard cider known as ‘Scrumpy’ – there are no roman roads in Dumnonia and the local joke is that once the Romans reached the land of scrumpy they could no longer build in a straight line), but further from civilization Dumnonia is a mix of ancient forest and windswept moorland. Local non-farming industries are tin and silver mining and fishing.

Stonehenge is an important site of magical power, guarded by a cadre of magicians and enchantresses – and by priests of the ‘new god’ who recognise its value in protecting Dumnonia.

Exeter is a walled city built around a port and containing both a castle and a cathedral – servants of the ‘new god’ take refuge in the city in times of trouble.

The Isle of Avalon is a magically hidden island where King Arthur slumbers, recovering from his wounds.

The two kings are King Drogo who rules from Tintagel Castle on the northern coast of Cornwall and King Mapp who rules from Okehampton Castle in the middle of the mystic and windswept moorland known as Dartmoor.


MORDRED STRIKES – The stinking undead hordes of King Mordred are massing in Wessex for a big push into Dumnonia, and Stonehenge is somehow missing! Where is the henge, and why is it missing?

TOURNAMENT – The Lady of the Lake has found Arthur’s magical scabbard to and has decided to give it away to the most worthy knight. She has arranged a tournament on the cathedral green of Exeter.


Excalibur’s Scabbard (belt). The legendary sword-belt of King Arthur, it prevents wounds from bleeding. Always: Any sword sheathed in this scabbard does an extra dice-type of damage on its first successful hit (if it would normally do d6 damage it will do d8 on its first successful hit). Recharge 16: When you become staggered you may immediately heal using a recovery. Quirk: Careless with material possessions.


COURTLY LOVE – A fellow knight has fallen in love with one of the player characters and seeks to prove that love by questing to prove his or her love.

**** MONSTERS ****

GIANTS – A staple of Arthurian legends, giants are especially prevalent in Cornwall (Jack the Giant Killer is a Cornish tale).

SAXONS & VIKINGS – Almost any humanoid monster can be reskinned to become a raider from the continent.

DRAGONS – Another staple of knightly adventure, dragons come in many shapes and sizes.

FAIRIES – The fairy folk come in many shapes and sizes, almost anything can be reskinned as a fairy monster.

UNDEAD – Mordred’s forces are almost entirely undead, though some living knights serve the dark king too.

[[For more on the art used here look up the pre-raphaelite brotherhood – a bunch of artists in the 1800s decided they really liked drawing rpg art, over 100 years before there were any rpg books to draw the covers of. The map of Britain and the shield of Dumnonia are by me, ASH LAW. I also wrote the words. The actual historical area of Dumnonia I’ve extended to the east to include part of Somerset, and I’ve changed or avoided some place names for the ease of our American cousins who may not be used to Welsh, Irish, or Scottish spellings. The shield is a combination of Cornish and Devonian flags with the flag of Somerset as an inescutcheon and an ermine pattern to suggest a link to the duchy of Brittany which lies south across the water.]]

The Prince of Shadows is part thief, part trickster, and part assassin. To some he is a hero; to others a villain. He has squandered the riches of the dwarves, murdered the hopes of a dragon, and plundered the dreams of a god. His exploits have changed the world, but none can tell you his ultimate goals or motives.   –From the 13th Age icon teaser description.

The Prince of Shadows, our final icon.  Who doesn’t love an international man of mystery?  I do, and I certainly love how Lee Moyer painted this piece.  I’m hesitant to post my pencils, because it makes me look like a slacker, but there’s a lot to be said for the less-is-more philosophy when it comes to evocative illustration.  As I see it, RPG art is meant to stimulate the imaginations of those playing the game, and shadows can be useful in that endeavor.  Speaking of RPG art, I’m delighted to announce that select pieces of interior art from 13th Age will be included in a show at Krab Jab Studio in Seattle.  I plan to attend the reception on August 30th as it coincides with the weekend of PAX, but the show goes up August 11th.  Here are the details.  And here’s the promotional flyer:

Here are my comparatively uneventful pencils for the Prince of Shadows.  (I’m glad Lee used his imagination!)

Here are some early thumbnails before we decided the Prince should go play outside.

And now a little teaser of things to come!  Amidst this sea of thumbnails for the interior art of 13th Age (reduced to maddeningly illegible sizes) you’ll find the thumbnail for an illustration that relates to the Prince of Shadows.  Check back for more excitement in the coming weeks as we rev up for the official release of 13th Age.

“The Elf Queen rules the Court of Stars, the one place where wood elves, dark elves, and high elves come together as peers and allies instead of as rivals or enemies. Honed by centuries of experience, the Queen’s innate magic at least equals the Archmage’s spells.”–From the 13th Age icon teaser description.

I am left with the final two Icons for my behind-the-illustration posts, and evidently I’ve been reluctant to finish them off (astute readers may have noticed that postings were delayed for two weeks).  But there are so many 13th Age illustrations yet to be revealed that I need not hesitate.  The show is just beginning, in fact!

The Elf Queen is Lee Moyer’s favorite icon, and I think that passion is easily recognized in his digital painting.  She’s a wonder to behold, and if Lee hadn’t already claimed her she would probably be my favorite illustration — but I’m going to be a tease and say that next week’s icon is my favorite.

The Elf Queen was another icon that took some “ratcheting up” on my end.  The progression of thumbnail to final pencils ends up looking  like a narrative of the elf queen from adolescence to queen.  Lee and I had a chuckle over the thumbnail of the “schoolgirl” elf queen that I knew wasn’t going to work, but submitted because she was just so darn cute!  Take a look at the thumbnail and try to tell me she’s not about to burst into song.  She’s the Snow White of elfdom in that stage, but as you can see her true form is much closer to The Queen, minus several degrees of vanity, one would hope.

“The Great Gold Wyrm is the world’s protector and the inspiration for holy orders of paladins and independent heroes. Although the Gold Wyrm’s physical form seals the gap that prevents the Abyss from erupting into the world, its dreams and the agents it employs still move through the world, helping those who will fight and even die for what’s right.”  –From the 13th Age icon teaser description

The Great Gold Wyrm brought to life by Lee Moyer’s mastery of digital painting.  This was another one that floored me when I first saw it.   You’ll notice that the painting really goes beyond my  pencil drawing (below).  It’s not just thousands of scales for vanity’s sake, though.  I’m sure  in the modern world of dragons there are those who have their scales multiplied to fulfill some concept of beauty, but the reason the Gold Wyrm has this many scales is simply because he’s a dragon of gigantic proportions.  A little gnome could probably strap a saddle on one of those scales for riding…or rather he could try.

*Here’s a bonus sketch for everyone who has been tolerating my corny commentary in these posts.  Thank you for not breathing fire on me:P

“The Crusader is the armored fist of the Dark Gods. So long as followers of the gods of light stay the hell out of his way, the Crusader turns his wrath against the demons that would destroy the world his own gods want to rule. Follow the Crusader if you must win at any cost.”   –From the 13th Age icon teaser description.

The Crusader digitally painted by Lee Moyer.  I’m going to let the images do the talking this week because Lee and I are busting our humps* to finish the interior art for 13th Age, now available for Pre-Order.

*Oh, you didn’t know I have a hunchback?  It’s common among illustrators.  And that structure behind the Crusader…that’s my studio.

My pencil drawing:

My thumbnail sketch:

“The Three were among the first dragons to walk the world. The Red is a living engine of destruction. The Blue is a sorceress, perhaps even the original mother of all sorcery. The Black is queen of shadows and assassins. Unlike the Great Gold Wyrm, who must fight alone, the Three have learned to join forces.”          –From the 13th Age icon teaser description.

Behold The Three digitally painted by Lee Moyer.  Not only are these mamas ancient, they are also enormous.  Look for the Where’s Waldo Priests for a sense of…”scale” (sorry).  This behind-the-illustration post gives you a much closer view of those guys, but they are ultimately inconsequential in comparison to the awesome majesty of The Three!

My pencil drawing (after receiving Lee’s request for plenty of “crunchy pencil detail.”)  You’ll notice that my choice of color for the dragons was different than the final.  Decisions, decisions – all part of the process!

And here’s the promised closeup of our dark priests, Larry, Curly and Moe:

As an extra bonus here’s an early thumbnail where I happened to accidentally not draw most of the dragons’ anatomy.  Hmm…you’d think I was hesitant to draw thousands of scales or something.  I haven’t confirmed this with Lee, but looking at this image and the final, it’s my guess that he may have appropriated this version of the Blue sorceress dragon in the final.  Ah, Process, you are the Black dragon cloaked in vague shadows until you strike as quickly and decisively as a deadly assassin!

“The Diabolist controls fiends and tampers with forces even the Archmage avoids. She likes her victims screaming and her chaos pure while claiming that the demons she summons would otherwise overwhelm the Great Gold Wyrm who seals the Abyss. There are two differences between her and her demons: First, she likes keeping destruction personal rather than universal. Second, she’s capable of kindness, so long as it comes as a great surprise.” –From the 13th Age icon teaser description.

Lee Moyer’s deliciously diabolical digital painting of The Diabolist (in a sense 3D;)

My pencil drawing:

Early thumbnails included demons in the shadows of the Diabolist before we decided on a graphic background suitable for a most notorious Icon.

“The Emperor rules the world’s greatest human kingdom, known as the Dragon Empire for the mounts of its mightiest warriors. All the signs suggest that the age is turning, but will the Empire fall or shift to a new balance?”  –From the 13th Age icon teaser description.

The final illustration of the Emperor digitally painted by Lee Moyer:

My pencil drawing:

An earlier sketch that had the key ingredients, but didn’t have the necessary amount of refinement that the Emperor demands:

Earlier thumbnails included the Emperor with a tamed dragon.  Think Ernst Stavro Blofeld (of James Bond fame) and his cat.  That approach was too ripe for parody.  We’re not going for Dr. Evil here.  Whether the  Emperor is a corrupt ruler or not has yet to be determined.

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