The Kingdoms
of Tribus

During the height of the COVID-19 pandemic, what began as a weekly tabletop escape with friends quietly grew into something far larger — a three-plus year live-play D&D campaign that took on a life of its own.

Starting in 2021, the adventure was streamed live on Twitch before being edited and uploaded to YouTube, eventually spanning over 50 episodes of The Kingdoms of Tribus and a companion mini-campaign of 7 episodes titled The Sell-Swords of SoHir. Both series are set in the same universe and roughly the same era, but follow entirely separate groups of heroes on diverging paths, each unknowingly bound to the same unfolding crisis.

Tribus is a continent divided among three distinct kingdoms: Amma, Ujat, and Patrium. For nearly a century, these nations have coexisted under a fragile but genuine peace, born from three rulers who recognized that prosperity demanded cooperation over conquest. Each kingdom developed its own culture, governance, and faith. Amma is ruled by the iron-fisted King Eir, known for its military might and tactical innovations, promising safety and protection to its citizens — especially those who can afford it. Ujat is known for its thick forests and vast desert plains, defined by a deep connection to nature and the mystic world beyond. Patrium wages a quieter war on its own soil, its military stretched thin against an ever-encroaching tide of undead.

Early in both series, the adventurers begin piecing together a threat far beyond any regional dispute. The Shadow Queen, an ancient and immensely powerful Lich, has been moving in the dark for some time. Two of Tribus's three kings have already fallen under her corruption, their courts poisoned from within. The one ruler who dared stand against her paid dearly — his kingdom ravaged and his people scattered. What began as a collection of strangers — forest scouts, military engineers, wandering blades — must now reckon with an evil that answers to no border.

As Game Master for every session of The Kingdoms of Tribus, I was responsible for the full creative architecture of the world: designing all maps, building the lore from the ground up, and driving a continuous weekly narrative across three-plus years. My job was equal parts worldbuilder, storyteller, and improviser. I crafted scenarios layered enough to satisfy deep engagement while staying nimble enough to respond to five or six exceptionally creative players who never went where you expected them to. Every session demanded something new. That, frankly, was the best part.