World of Chaldea

Welcome to our world of Chaldea website, where we can share golden nuggets of development goodness with you, our fans. Here, Chaldea’s writers and craftsfolk can lift the veil to allow precious peeks into the development process and the cool brewing of Chaldea. We invite you to explore our ever-growing world, come early and often, and more than anything, enjoy the ride!

Monthly Archives / December 2015

Production Blog Art Blog

The Warning

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Priyanka warns Drasil: the orcs are on the move!

Official Chaldea Concept Art

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Following the death of her sister, Priyanka fled the druidical order within the Garnon Forest. She turned her back on all of elven culture and heritage, choosing to live in the human city of Augstat for two human lifetimes as a rogue. After operating a successful thieves’ guild but watching her young lover grow to die of old age, Priyanka eventually faced her past and returned to the forest to live a withdrawn, secluded, lonely life.

This isolation dominated Priyanka’s existence for nearly a century—until the orcs of Niesse attacked. Now she must rouse herself from her solitary life to warn those in the forest she’s grown to love. Her highest priority is to warn Drasil, the only creature in the woods Priyanka cannot easily sneak up on. Why? Because Drasil is the first of the Drasildar—the ultimate guardians of Chaldea. In truth, no one can sneak up on a Drasildar, and thus Drasil is stunned when Priyanka does exactly that.

Amazed by her skill, Drasil allows Priyanka to live long enough for her to explain she is there to rescue him. And he knows she speaks the truth—from her warning, he can sense death coming to the forest.

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Marn Elves

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Back in the early ’90s, it was pleasure to be working at Wizards of the Coast while Magic: The Gathering was being developed. One of the unexpected delights of that project was the art. We knew we were exploring new frontiers of game design with Richard Garfield’s marvelous invention, but it also turned out that under the insightful art direction of Jesper Myrfors, we ended up publishing fantasy art that was dramatically different from the traditional fantasy art the world had seen from the masters. Perhaps because we couldn’t afford artists like Larry Elmore and the Hildebrandt brothers, we went to artists no one had heard of, young art students just up the street at Seattle’s Cornish College of Arts.

The art that came in was bold, edgy, and irreverent. Some of it was questionable. And, yes, some of it was traditional, too. We loved it. Perhaps most representative of this difference from fantasy tradition was Anson Maddocks’s interpretation of Llanowar Elves. With a pink Mohawk, an eye patch with a chin strap, a shaved part of his head sporting a tattoo, and an angry sneer, this was not a Tolkien elf. These days, that’s hardly enough to cause discussion, but in 1993 this was radical.

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