Friday, January 12, 2024

Press Clippings

It’s been a busy couple of weeks here in the Great Dungeon of the North.

Anthony Miller of the excellent Page 121 YouTube channel posted a thoughtful and favorable review of The Deep and the Dark. I really enjoy Page 121, which covers many similar topics as this blog: lots of Classic Traveller and Dungeons and Dragons material. Page 121 is currently doing a series on AD&D Creature Features which, as you might imagine, is near and dear to the Great Dungeon.

The January/February 2024 issue of Freelance Traveller reprints an article that first appeared here, Wafer Tech in Mongoose Traveller. Editor Jeff Zeitlin has been publishing this most excellent fanzine for fifteen years, which is an amazing run. Among the many things I like about Freelance Traveller is that he’s been curating and republishing useful Traveller articles from around the web, such as Christopher Thrash’s analysis of “Ship Structure and Hull Size Limitations.” So much good Traveller material has quietly disappeared over the years that it’s nice to see someone trying to preserve these pieces before they are gone.

Wednesday, January 10, 2024

The Type U Armed Packet

I was very happy that a Mongoose Traveller version of the Type U Armed Packet made it into The Deep and the Dark, and not just because this starship fits very well into the Buffer setting covered by the book. The Packet is, of course, a ship design that I’ve been tinkering with for going on five years now. The published version tweaks the math for the latest version of High Guard and sports new art and a two-level deckplan.

As I’ve written before, I think the Type U is a great ship for player characters: it’s got a little armor, some guns, decent maneuverability, and a relatively high jump range. But best of all, its mission—unscheduled passenger service into dangerous systems—is made for gaming. Clients who can afford to charter such a vessel usually arrive at the docks with an adventure in the making.

As far as I can tell, the Armed Packet is first mentioned in the in the Ship Recognition Guide of the 2013 draft of Traveller5. The text explains that the Armed Packet provides

unscheduled passenger service for those in a hurry. The crew can be trusted, but these little ships still find themselves jumping in harm’s way.

I’m not sure if Marc Miller or Robert Eaglestone conceived of the Armed Packet, but I suspect the ship was developed to either test or fill out a missing niche in the Traveller5 starship mission/modifer codes, a system that goes all the way back to CT High Guard. While the 2013 draft does not provide a detailed ship design, the Quick Ship Profile (UF-CA33) tells us that the Packet is a 300 ton (C) vessel with an airframe hull (A), 3g maneuver (3) and Jump-3 capability (3). The Deep and the Dark version conforms to these general specifications.

For my own Into the Interface campaign, the player characters operate a modified Type U, the I.M.V. Starjammer. So I was pretty excited to sign up for the Traveller RPG Starship Miniatures Kickstarter from 2nd Dynasty, which included a 3D model of the Armed Packet. While I thought at first I might invest in a 3D printer, in the end I opted to have a third party print me resin versions of the ship at both tactical scale (which fits on a 1-inch base) and 1:270 scale.

Painting the larger model really kicked my butt. Going in I was feeling relatively confident about my painting abilities and what I learnt working on this project, to my sorrow, was that model-making and miniature painting are two adjacent hobbies with an overlapping but largely different skill set. As this recent Reddit thread helps explain, the tools and techniques are different. With organic figures or natural materials like stone you are using washes and shading to introduce the illusion of small variations in the surface of the miniature. With inorganic, manufactured materials like a starship hull you are trying to eliminate variations, at least until the weathering stage, to create the illusion of smooth, machined surfaces.

The model was cast in several different pieces and when I started to assemble the parts I realized that some of the resin pieces were warped and didn’t fit very well together. Further, some of the pieces seemed to have poor print quality: some sides had many surface defects, and two of the three turrets had broken gun barrels. At first I thought some of this was just normal for 3D printers but after some more research I think these are just poor quality prints. Even lots of sanding and filing and plastic putty couldn’t completely address all of these flaws. 

I primed the model with Vallejo gray primer in the airbrush, then looked at some Ian Stead artwork of the Type U for reference on color schemes. I had picked up the Vallejo Star Fighter Colors set, which had a pretty good selection of base colors. I started laying down a base coat with the brush but quickly found the coverage looked uneven. I decided to switch over to the airbrush, but needed to do a lot of masking. Too late I realized that Tamiya makes lines of masking tape specifically made for models, which would have made this stage far easier.

With the base coat down, I then gave the entire model a coat of Tamiya Gloss Clear. I then applied Tamiya gray panel liner. It’s a pretty amazing product that quickly fills the gaps and unfortunately spreads into some of the flaws as well. In hindsight I wish I had gone with the black panel liner to create a greater contrast.

I wanted to try my hand at some custom decals to better resemble the Starjammer. The nature of the model is such that it doesn’t have many empty panels where a registration number or even hazard stripes would easily fit. I did find a couple of spots on the wings to place a Starjammer crest. I bought some custom waterslide paper for my aged inkjet printer, which didn’t have great resolution but did the job.

Applying decals is a tricky maneuver, even with the aid of microsol and microset. I probably should have found a spare model to practice on, but I was ok with the results. I definitely didn’t want to press my luck with more decals than the crest. Once dry I hit the whole thing with a layer of Testor Dullcote.

Overall, this project was frustrating and I’m not very satisfied with the results, which look a bit messy to my eye. But I certainly learned a lot and could probably do much better on my second model. My single biggest mistake was probably not appreciating the differences between painting a monster miniature and painting a starship model. My second biggest was not having a better plan for approaching this project: a more efficient workflow would have reduced the need for retouches and would have made the end result smoother.

Copyright Information

The Traveller game in all forms is owned by Far Future Enterprises. Copyright © 1977 – 2024 Far Future Enterprises. Traveller is a registered trademark of Far Future Enterprises. Far Future permits web sites and fanzines for this game, provided it contains this notice, that Far Future is notified, and subject to a withdrawal of permission on 90 days notice. The contents of this site are for personal, non-commercial use only. Any use of Far Future Enterprises’s copyrighted material or trademarks anywhere on this web site and its files should not be viewed as a challenge to those copyrights or trademarks. In addition, any program/articles/file on this site cannot be republished or distributed without the consent of the author who contributed it.

Materials produced by Digest Group Publications (DGP) are copyright © Roger Sanger. Any use of Digest Group Publications’ copyrighted material or trademarks anywhere on this Web site and its files should not be viewed as a challenge to those copyrights. Usage is intended to follow the guidelines announced by Roger Sanger on the Traveller Mailing List for preserving the overall Traveller milieu.

Thursday, January 4, 2024

Adventure Class Ships

The one downside of having so much support for Traveller right now is the difficulty in just reading, assimilating, and utilizing even a fraction of this material. For months after I turned in the manuscript for The Deep and the Dark I kept finding useful bits and pieces in other books that I wished I could have acknowledged or incorporated.

Adventure Class Ships, released back in early October 2023, is a particularly strong match for The Deep and the Dark. Large areas of Reaver’s Deep and Dark Nebula sectors have been set aside as a buffer zone between the Aslan Hierate and the Third Imperium. Consequently, this region is a fairly backwards, small ship environment.

Adventure class ships, defined as sub-2,000 ton vessels, are right in the sweet spot for PC use—and are the largest ships likely to be encountered inside the Buffer. Further, the astrography of the region lacks the great, winding mains of the Spinward Marches or the Solomani Rim, requiring ships with jump-2 or even better, jump-3 capability. And the lower tech nature of the Buffer means TL12 or 13 is the most common maximum.

Fortunately, many designs in Adventure Class Ships fit the bill perfectly and are likely used throughout Reaver’s Deep and Dark Nebula.

The Third Imperium employs several designs with jump-4 or better for missions into the Buffer and Hierate space, including the Far Scout (pg. 12), Far Reach Survey Scout (pg. 16), Express Packet (pg. 78), and Long Range Courier (pg. 82).

Many independent human governments in the Buffer use the Frontiersman-class Scout (pg. 10), Assault Gunship (pg. 104), and the Mercenary Carrier (pg. 112) in their planetary navies.

Aslan clans both inside and outside the Hierate rely upon the Stayaow Combat Scout (pg. 134) and the Aihaiyo Hunting Ship (pg. 136), which are fairly common in both sectors.

Small commercial interests and independent operators inside the Buffer use the Merchant Trader (pg. 30), Long Trader (pg. 38), Large Freighter (pg. 54), Passenger Cruiser (pg. 66), and Prospector (pg. 88). These ships are often plagued by criminals and pirates who have adopted designs such as the Shadow Trader (pg. 28), Fast Smuggler (pg. 34), Pirate Carrier (pg. 102), and Kteahearl Raider (pg. 138).

Starship Encounters in the Buffer

The following tables incorporate ships from both Adventure Class Ships and The Deep and the Dark.

The referee should use this encounter table for Buffer worlds with Population 6+. Encounters occur on a 6+.

Moderate and Densely Populated Buffer Worlds
2DResult
2Pirate Carrier arriving in system, engaged in piracy.
3Aslan Aihaiyo Hunting Ship standing by, waiting to receive a charter.
4Dakaar-class Freighter standing by to receive a load of freight bound for the Carrillian Assembly.
5Type U Armed Packet arriving in system with cargo goods and passengers from the Imperium.
6Aslan Merchant Trader owned by the Khtyuwi’ corporation, standing by to receive new speculative cargo.
7Passenger Cruiser with passengers, waiting for clearance to land.
8Type A2 Far Trader carrying cargo and passengers, leaving the system.
9Large Freighter arriving in system with passengers from the Principality of Caledon.
10Assault Gunship on patrol, arriving at starport.
112 Avenger-class Patrol Frigates on manoeuvres, leaving the system.
12Mercenary Carrier, standing by.

The referee should use this encounter table for Buffer worlds with a Population of 5-. Encounters occur on 8+.

Sparsely Populated Buffer Worlds
2DResult
2Aslan Stayaow Combat Scout operated by an exohierate clan.
3Aslan Kteahearl Raider engaged in piracy.
4Express Packet operated by the Imperial Interstellar Scout Service, carrying a diplomatic pouch to an embassy on a client state.
5Fast Smuggler carrying goods to port.
6Aslan Prospector operated by an exohierate clan, scouting out potential mining claims.
7Type A2 Far Trader operated by trade pioneers out of Caledon in search of new markets and novel goods.
8Large Freighter operated by Carrillines Ltd., carrying unrefined ore to the Carrillian Assembly.
9Type K Safari Ship arriving with a charter of Imperial tourists from Daibei sector.
10Aslan Long Trader operated by the Tlasayerlahel corporation, arriving in search of speculative cargo.
11Shadow Trader carrying a corporate charter from Imperial space to Marlheim.
12Avenger-class Patrol Frigate departing, on patrol.

Copyright Information

The Traveller game in all forms is owned by Far Future Enterprises. Copyright © 1977 – 2024 Far Future Enterprises. Traveller is a registered trademark of Far Future Enterprises. Far Future permits web sites and fanzines for this game, provided it contains this notice, that Far Future is notified, and subject to a withdrawal of permission on 90 days notice. The contents of this site are for personal, non-commercial use only. Any use of Far Future Enterprises’s copyrighted material or trademarks anywhere on this web site and its files should not be viewed as a challenge to those copyrights or trademarks. In addition, any program/articles/file on this site cannot be republished or distributed without the consent of the author who contributed it.

Materials produced by Digest Group Publications (DGP) are copyright © Roger Sanger. Any use of Digest Group Publications’ copyrighted material or trademarks anywhere on this Web site and its files should not be viewed as a challenge to those copyrights. Usage is intended to follow the guidelines announced by Roger Sanger on the Traveller Mailing List for preserving the overall Traveller milieu.

Sunday, December 31, 2023

Several Photographers May Have Been Eaten Getting This Group Photo

From a gaming perspective, 2023 was a pretty darned good year for me. The Deep and the Dark was published, I ran a few fun games, and I got a lot of painting done.

The one thing I really wanted to do in the last year that didn’t get done was to get my Tomb of Annihilation campaign off the ground. So that will be high on the list for 2024. I miss having a weekly game and if this adventure path plays half as well as it reads, we should be in for a great time.

In the coming year I hope to be working on a follow-up to The Deep and the Dark that focuses more on Aslan space. I’ve got a few idea kicking around that I’m pretty excited about, so we’ll see.

Most of the miniatures in my priority pile have been painted. I’ve got a few Reaper giants left that I’d like to do along with a couple of nice Otherworld figures, and then after that I’m not sure. I have a ton of kobolds that I’d like to do, but I already have a bunch. It might be nice to do some Traveller starships, though probably not at the 1:270 scale. Having a few tactical scale models of common ship types might be helpful as visual aids.

Thursday, December 28, 2023

Everest Ascended

A little over six years ago I received my rewards for the Reaper Bones III Kickstarter, including the enormous Ma’al Drakar the Dragon Tyrant. That Kickstarter had a bumper crop of great models, including several Gargantuan and Colossal figures that honestly broke me. I worked away on the smaller miniatures, but Ma’al Drakar and the rest of the titanic models languished in my basement as my painting backlog grew and grew.

Finally, last March I got myself an airbrush in one last, desperate attempt to break through the logjam. And the airbrush really did the trick—I’m still very much a beginner, but for priming and putting down base coats on large miniatures it really can’t be beat and has allowed me to put a massive dent in that logjam. (Just in time for the haul from the Reaper Bones 6 Kickstarter to land!)

Armed with the airbrush I was able to complete Ma’al Drakar over the course of several weeks. Because the work was intermittent I couldn’t say how many total hours that represented, but it was a significant time investment. This was easily the largest model I’ve ever worked on, though it probably wasn’t the most technically challenging—that honor probably goes to Shub-Niggurath and all those infernal goat eyes.

Obviously, I wanted to paint this model up as Tiamat so I looked at lots of Dungeons & Dragons reference art, particularly from Tyranny of Dragons. I assembled the model using poster-tack for priming and base coating, then disassembled everything to more easily work on individual components. The wings and the heads were probably the only components that benefited from this approach: everything else probably could have been permanently assembled right from jump.

I primed the model using Army Painter Uniform Gray from a spray can and then applied a zenithal undercoat. Knowing what I know now, I probably would have skipped the primer and just moved right to the undercoat, but old habits die hard.

At this point I assembled the main body, limbs, tail, and neck sections with superglue. In general, the pieces fit well with relatively few gaps and although the model was made with the original Bones material, I didn't notice a lot of sagging or drooping and I think this is because Julie Guthrie did an excellent job sculpting a balanced, well-supported piece. I used some Vallejo plastic putty for the gaps but was not very happy with the results.

I then put down a base coat of Reaper MSP Red Brick on the body, limbs, wings, and tail, followed by washes of Army Painter Strong Tone. The Red Brick had an alarmingly purplish look when first laid down, but this dissipated after I added highlights of Deep Red and then further highlights of Blood Red. I then blocked out the claws and tail spines with brown, highlighted with yellows and gray.

I then worked on the scales of the necks and heads with a base coat, wash, and then highlights. The washes really helped knock down the brightness of the chromatic colors and helped tie the different pieces together.

I did the eyes and teeth and then attached all the remaining pieces with superglue. The cleanup steps probably took as much time as all the rest of the painting, as there were lots of little details and adjustments to add.

All-in-all, it’s a pretty impressive piece to see in person if only because of the size, but Julie Guthrie really outdid herself with this design. I only wish I had used a much lighter tone on the wings: a leathery, tannish base would have made a better contrast and would have allowed the addition of some veining.

I am fairly pleased with the number of models I was able to complete in 2024. I mostly cleared everything in the priority pile, and even allowed myself to pick up a few new additions for the queue.

Thursday, December 14, 2023

The Deep and the Dark

The Deep and the Dark

So the big project I started last year and turned in earlier this year is finally out: The Deep and the Dark, a sourcebook for Mongoose Publishing’s Traveller RPG. The Deep and the Dark covers Reaver’s Deep and Dark Nebula sectors, a vibrant, messy, and strange area at the intersection of the Third Imperium, Aslan Hierate, and the Solomani Confederation.

I’m very happy with how this book turned out, but it has been a long, strange trip. Almost fifteen years ago an idle search for low tech worlds on the edge of the Imperium gradually morphed into a fascination with this region of Charted Space—and eventually, my very first RPG lead credit. I am an incredibly slow writer so this book was a labor of love, but I feel like I learned a lot and can finally check off a long-standing life goal.

My manuscript was so overstuffed that I had no room for any sort of dedication, but I am indebted to many, many others, starting with the incredibly prolific Keith brothers from Traveller’s Golden Age: J. Andrew Keith and William H. Keith. Along with Loren Wiseman they introduced the Aslan in Journal of the Travellers’ Aid Society 7 (1981). This information was greatly expanded in Traveller Alien Module 1: Aslan (1984), which is credited to J. Andrew Keith, John Harshman, and Marc Miller. I am continually astonished that these authors were able to convey so much complexity and offer up so many gaming possibilities in just 40 short pages. All the fundamentals of the Aslan and their Hierate are right there in this little Alien Module.

The Keith Brothers also developed Reaver’s Deep sector through a series of supplements, adventures, and magazine articles published by GDW, Gamelords, FASA, and Marischal Adventures, among others. Their work on the Deep demonstrates their innate understanding of what makes for a great sandbox setting: the Deep is a wild, backward area caught between three great powers, full of mysteries, danger, and interesting places to explore. 

It’s also structured to give maximum agency to the players. The vast Third Imperium with its sector-spanning government, megacorporations, giant capital ships and megafreighters, black globes and TL15 goods can make player characters seem puny and insignificant. The Deep, in contrast, takes everything good about the Imperium and strips it down, shrinks it, and makes it more approachable for a PC. It’s a lower-tech, small ship environment that still has wild, lawless areas. The Principality of Caledon is very much a small Imperium with its own version of the familiar Army, Navy, and Scouts services.

One of the toughest tasks in working on this book was tracking down all of the various references on this sector, which are scattered over dozens of sources ranging from GDW’s Double Adventure 6: Night of Conquest (1982) to small press chapbooks and fanzines. But for the Keith brothers, it was almost always worth it: they were adventure-generating machines.

Another Classic Traveller alien module, AM 6 - Solomani (1986) by Marc Miller and John Harshman has also been a vital resource. Just as the Aslan module, Solomani does an incredible amount of worldbuilding in just 48 pages. It also manages to effectively invert the hoary sci-fi chestnut of the heroic Terran battling against a universe of hostile aliens.

One of my favorite books from the MegaTraveller era was DGP’s Solomani and Aslan: The Rimward Races (1991) by Peter G. Celella and James Holden, which was highly influential on my own Magyar campaign. They did a great job of building on top of the foundations laid by the CT Aslan and Solomani alien modules. Working with the limited data from Atlas of the Imperium (1984), Celella and Holden carefully considered how the unusual astrography of Dark Nebula would have shaped the development of the sector, and used these insights to fill in many details of the setting timeline. S&A also has many evocative line drawings of Aslan worlds by Michael Vilardi, which continue to inform my personal imagining of Aslan art and architecture.

Although I have never been a huge fan of GURPS the game system, I have always loved GURPS supplements for the superb standards of writing and editing, as well as the dedication to extensive playtesting. The extra effort usually pays off: most GURPS books are tightly written and full of gamable material even for referees using completely different systems. But my favorite part is how GURPS books thoughtfully consider the social and structural implications of various game settings.

These insights are particularly useful when it comes to the alien species of Charted Space. The GURPS Alien Races books detail how these alien cultures would actually work, and thus are a great help for players and referees trying to understand what it might be like to live in the Aslan Hierate. GURPS Traveller: Alien Races 2 (1999) includes a characteristically excellent section on the Aslan written by Andy Slack.

Slack has been enormously influential on me personally: his old White Dwarf articles on Traveller were probably my first contact with the game, and I still pull out “Backdrop of Stars” from WD 24 (Apr/May 1981) from time to time. Slack recognized the highly gamable potential of the Dark Nebula boardgame, which has some of the most evocative world names of any GDW setting. I tried to incorporate as much of this into my own history of the Dark Nebula. His GURPS work is enormously helpful for anyone trying to understand what life on an Aslan world would really be like. In a similar vein, Jon F. Zeigler’s GT Rim of Fire: The Solomani Rim Sourcebook (2000) is an outstanding resource for anyone trying to understand life inside the Solomani Confederation.

I am also indebted to Joshua Bell, who created and runs the magisterial Traveller Map website, which I’ve often described as one of fandom’s greatest contributions to any RPG. Not only is his site incredibly fun to play with, it is an invaluable reference for anyone doing research on Charted Space. If Traveller Map had existed in 2009, my search for low tech human worlds on the edge of Imperial space would have taken a couple of hours instead of weeks and months of poring over old, buggy sector data files. At Joshua’s encouragement, I fleshed out the rimward sectors of Canopus, Aldebaran, Neworld, and Langere—which became important prep for working with Reaver’s Deep and Dark Nebula.

I need to thank the ever-patient Matt Sprange of Mongoose Publishing, who was willing to take a chance and assign a big book to an unknown and untested writer. The entire experience was extremely rewarding.

Finally I am thankful for my large group of players, whose characters crew the IMV Starjammer—a Type U armed packet ship working Magyar and Dark Nebula sectors. I know they would often rather play Dungeons and Dragons and so I greatly appreciate their indulgence when I’d rather run Traveller. There definitely would not be a Deep and the Dark without these crazy guys.

Speaking of which, since I tried to cram so much stuff into that book, a lot of material ended up on the cutting room floor. I’m developing a proposal to incorporate some of that work into a new book. Working title: Clans of the Aslan. Fingers crossed!

Wednesday, December 6, 2023

Griffon and Wyvern

Griffons and wyverns, classic heraldic monsters, have been staples of Dungeons & Dragons from the very beginning, being first mentioned together in Chainmail (1971), where they are treated like Rocs. Both of these Reaper Bones miniatures, sculpted by Julie Guthrie, were part of the core set of the Bones 4 Kickstarter. Even though I didn’t have a pressing need for either miniature, they looked so darned good they both steadily rose to the top of my priority pile.

In OD&D (1974), griffons are described as 

the most prized of steeds, for they are swift, loyal, and fierce. However, they are fond of horse flesh above all other foods, so the two creatures cannot be mixed …. In their wild state Griffons will attack anyone nearby with little provocation, particularly if their lair is nearby.

(I had forgotten that bit about griffons and horses.) The AD&D 1e Monster Manual (1977) repeats the same information, and includes additional details on capturing and training young griffons. “Fledglings sell for 5,000 gold pieces, eggs for 2,000, on the open market.” The MM also mentions that grey elves use griffons as guards and mounts, while storm giants “dwelling on cloud islands or mountain peaks” may have 1-4 griffons.

The 1e Dungeon Master’s Guide has an entire section on “Flying Mounts” which largely seems written to throw cold water on the whole idea of PCs getting their own griffon mounts, emphasizing their “nasty and bad-tempered” natures: “Imagine the confusing tumult of giant wings, the rush of air, the sudden changes in altitude, and you will realize why an inexperienced rider absolutely cannot handle a flying mount.” That actually sounds like a really fun session to me!

The Julie Guthrie griffon is a fantastically dynamic figure that looks like it could spring off its base and soar into the air. It reminds me very strongly of an old John D. Batten illustration of “Jack With His Invisible Coat,” from English Fairy Tales (1902). The illustration shows two fierce griffons guarding the winding road to a giant’s castle.

To prepare for this miniature I looked at lots of references for golden eagles. I skipped priming and went straight to the airbrush for a zenithal undercoat of Reaper Pure Black and Pure White.

I continue to experiment with using the Army Painter Quickshade line, particularly with figures that have lots of fine detail, such as eagle feathers.  It took multiple rounds of Quickshade layers followed by dry brushing to get this griffon where I wanted it.

Wyverns are described in OD&D as

relatives of Dragons, but they are smaller and have but two legs. A Wyvern hasn’t the fearsome breath of a true Dragon, but they are equipped with a poisonous sting in their tail and poison enough to use it repeatedly.

Similar information is contained in the 1e MM. I had it in my head that wyvern poison was one of the more potent in the game, but I don’t see in the 1e MM where wyvern poison is any more virulent than medusa, giant spider, or purple worm poison. Wyvern poison is certainly one of the worst in 3e, doing 2d6 Con intial damage and 2d6 Con secondary damage.

The Guthrie wyvern, like the griffon, has a very dynamic pose, its head cocked at the end of its sinuous, snaky neck. I primarily relied on the illustration in the 5e Monster Manual (2014) for a reference, which has a wyvern with a muted, pale red coloration. After putting down a zenithal undercoat I then put a base coat of Reaper Yellowed Bone. I then used several layers of Army Painter Quickshade to add a red tone to the figure. Overall, I was happy that I was able to approximate the colors in the illustration from the 5e MM without slipping into a hot pink.

Wyverns and Griffons in the Great Dungeon

Both of these monsters are not uncommon in the wild interior of the North. Wyverns and griffons both nest in the Majestic Mountains, and can be found in the cloud islands that periodically drift over the region. Wyverns are also found in the deepest, trackless forests of the North.