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Elon in this picture is not me

Very early stages for a sandbox campaign in my setting. The lines connect towns and cities but it feels sparse. Please help with feedback or ideas - literally anything and everything. Thank you!

Hello kids it is me u/AVG_poop_enjoyer and I'm sending this message out to you,

>today,

to inform you that I drew upon Smiling Friends to make my campaigns better. I must offer you this sentiment, and it does not merely extend to Smiling Friends. Thusly I must make my case for the matter.

^(Smiling Friends is something that can work as a D&D campaign for many different reasons.) Its episodic structure offers a simple premise - making someone smile - and goes from there.

Furthermore, Smiling Friends' style of dialogue is easily replicated. The awkward nature of dialogue and the fairly normal conversations from characters that initially appear cartoonish is easy to replicate.

You do not need to be a fancy pants Critical Role Dimension 20 Naddpod Hero Squad Legends of Avantris Dungeons and Daddies actor level to pull this off.

• You are more awkward than professionals.
• Smiling Friends' dialogue is rooted in its awkwardness
• That a being, even a magical and ascendant being, could be awkward lends a sense of immanence to the world.

As we learn from the humble lava creeper, charisma does not need to be a trait of the beings described by Agrippa or Paracelsus.

It creates empathy.	That they are just like you.	That their personhood does not grant suaveness.
And I love that, so so much.	People can't be gods, in that they can't be characters.	They are flawed and multifaceted. They are capable of mistakes.
Because ^(it is you) who embodies them and ^(you are not the perfect one, you cannot be.)	This is part of the reason I love Planescape as a setting oh so much.	Interacting with extraplanar beings in Planescape feels like it's closer to talking to an actor after the show ends.

It is so much more real.

1. And you simply must retool it to work in 5th edition. As opposed to choosing the right tool for our system, we must grill toast on the hood of a car.
2. Pim Charlie Alan Glep and all my good friends

There comes to a final point with all of this. A medium certainly relies on its own tropes to get by, and there's certainly self-referential aspects of all artwork, isn't there?

For centuries we have seen the roots of the liberal arts education system based upon learning a variety of topics. In the old days of the Trivium and Quadrivium, it is believed that one must study the 7 subjects to lead a truly liberated life. There is a truth in studying and experiencing variety.

As much as your works draw upon similar things, reach to dissimilar things also to ensure your work is differentiated. Study other mediums and subjects. The genre of roguelikes is suffering because of its insularity. Everything is repeated over and over until what yields enjoyment finds a crop of monotony instead. Do not forget this, 5-levels-hexblade-warlock.

^(Take from the things that aren't usually taken from. I took from Smiling Friends. This is a roundabout way of telling you that I got really good at making awkward conversations memorable ones because their personages weren't things thought of as awkward. Put "Getting Over It with Bennett Foddy" in the game and have it be a climb up a mountain or something. Make the equivalent of D&D "Superbad".)