another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!
(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.
actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)
a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.
deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.
the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.
and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.
however.
you do have to know which one you're doing.
the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).
and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.
the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.
the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.
point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.
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Listening to politician interviews and speeches tonight to prepare for the upcoming election and I'm just so happy at the variety we have now.
For 60 years we were functionally a one party system. Then about 15 years ago we became a two party system and we actually had a viable opposition for once.
And now? Malaysia has 4 coalitions fighting in the elections!! 4!!! It is a wealth, a luxurious excess of choices.
A Borneo party is campaigning in the Peninsular! We have new parties popping up all the damn time! Nobody is guaranteed a 2/3 majority in Parliament and they have to compromise! All parties get a platform to air their views! Automatic voter registration! Anti-hopping bills!
Change is coming, slow but steady. Better the pain of growth than the slow death of the soul.
And we have come so far. God, we have come so far.
The only thing I hope is that we continue to vote, keep our 80% turnout streak. I don't care who you vote as long as you do.
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Yk what I want? I want a very early stages post canon labrumisu, but from Chilchuck's POV.
Imagine mister 'interparty romance is the devil' visiting court just to see these three circling each other like a pack of uniquely unhinged cats.
And of course he sees it immediately, he's nothing if not perceptive and he's seen this happen so, so many times before. Kabru is hardly subtle in his fascination with Laios, who trusts him in turn more than nearly anybody else. He can see how close Mithrun and Kabru still are, even when there's little reason for the former captain to even stay in Melini. He can see where this is going. And he can see the disaster it's gonna end up in.
So he's just staring at them in horror, trying to figure out what in the world the dynamic here even is and glaring daggers at Kabru all the while for seemingly being the linchpin of this entire bullshit situation.
King, his adviser and a fucking foreign noble?? Who thought THAT was a good idea! Is nobody else seeing this?? (no lol) Why is nobody objecting to this politically unsound love triangle that could literally ruin the kingdom they've only just established??
The anger! The distress! The despair when he first sees Laios getting all giddy when Mithrun so much as talks to him. Because hell, now he can't even blame the entire situation on one pretty boy insisting on having fingers in every possible pie, on political and personal level both!
And then they just. Quietly get together. All three of them. And Chil's just watching from the sidelines in complete bafflement because he's invented infinite worst case scenarios for how this will implode in all of their faces and destroy their friend group and topple the entire country and--
Instead they do. This. He'd be relieved if he wasn't so goddamn mad that he's spent months worrying about this shit just for them to resolve it in the least dramatic way possible.
Fuck this, he's taking a holiday.
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Yes, Jon Snow is the typical fantasy protag, which may not look that special in a series that’s full of subversions and deconstructions. But it’s in his being the archetype that makes him special. Jon exists to bring meaning back to fantasy. GRRM spends an entire series tearing fantasy apart and bringing it all crushing down. Young Griff, Quent, Sansa, Jaime, Theon, and so many others are examples of that. But Jon is there to build it back up. To remind us why we even have stories of hidden princes, and valiant knights and heroes, and magical chosen ones in the first place. Jon is the existence of fantasy, the perseverance of it, the validity of it. He’s not perfect, no. No one is in this series, and not one person is meant to be. But we shouldn’t think that Jon’s inclusion in this series is out of form for GRRM. He’s absolutely making a point through Jon. “Stereotype” and all.
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