#fantasy guide to political structures

[inky-duchess]

Fantasy Guide to Political Structures

A Horse! A Horse! My X for a Horse!

Let's be honest, fantasy authors love their kingdoms and empires. You can throw a rock in a bookshop or a library in the fantasy section and you will 99.99999% hit a fantasy book that will be set in or mention either of those structures. But what are they really? What's the difference between them all? Are there any more examples of structures that would suit your WIP better? Are you using the right terms? Let's have a closer look.

Duchy

A Duchy is a small territory ruled by a Duke/Duchess. While Duchies can be found in kingdoms, some duchies were sovereign states in their own right. Duchies are usually small by land mass but some duchies such as Burgundy were extremely powerful and influential. Independent Duchies were usually apart of a kingdom but grew so powerful that they eventually broke away to become a sovereign state in their own right. An example would be modern day Luxembourg, historic Milan and Burgundy.

Principality

A principality is territory ruled by a Prince/Princess. A principality is typically smaller than a kingdom and in some instances, can be apart of a larger kingdom or be a sovereign state. Principalities have a history of having broken away from a larger kingdom or eventually becoming apart of a kingdom. A principality within a kingdom is ruled by a Prince/Princess, usually an heir of the monarch and can be used to train them up to assume the throne in the future. Examples include Monaco, Liechtenstein and Andorra.

Kingdom

A sovereign state/country that is ruled by ruling King or a Queen. A kingdom is much larger and more powerful than a principality. Kingdoms can be feudal, meaning they are ruled in a strict hierarchy or an autocracy where the monarch rules alone with minimal input from the government or constitutional where the monarch is more of a figurehead and the government has a good chunk of control. Examples include England, Thailand and modern day Spain.

Commonwealth

A Commonwealth isn't a popular choice in fantasy but it is an interesting structure. A Commonwealth in its most basic form is a collection of states that are linked by either a shared culture or history. A Commonwealth can be a politically power or an economic power, with every state allowed to participate as much as they like. Not one state leads the others, it is all one group of equals. A Commonwealth can be a good idea for a group of nations that are more powerful together with them keeping their own independence.

Federation

A Federation is a political structure that is made up of united states or countries that are under a single government but each state is still independent and rules itself. Each state can have different laws, different cultures and economies but they all answer to the single government. Examples include the United States of America.

Republic

A Republic is a territory that is ruled by leaders and heads of state that have been elected on merit and by choice of the people. Republics are not just countries but can also be much smaller areas such as cities. Republics are democratic in nature, with the people having a say in who leads them in accordance to a constitution. There are many kinds of Republic: presidential, parliamentary, federal, theocratic, unitary. Examples of Republics include the Republic of Ireland and the city of Florence.

Protectorate

A Protectorate is a country/region/territory that is independent but relies on a larger, more powerful state for protection either in a military or diplomatic sense. A Protectorate was often used by Empires in order to maintain control over an area without annexing it. There are many reasons a larger state and the protectorate would agree to this, mainly the protectorate is much smaller meaning it is far more vulnerable to attack or it has very little power when compared to other states. A Protectorate allows the territory some power to rule itself but the larger state may feel the need or desire to interfere in the dealings of the territory. Examples of protectorates include the client kingdoms of the Roman Empire like Egypt before its annexation and Puerto Rico.

Empire

An Empire is a collection of nations that are united under one sovereign head of state or government. An Empire is formed by one nation steadily taking control of other nations, either through straight invasion and colonization or acquiring them through marriage and other less violent ways. An Empire is powerful mainly because it can drum up more resources, more influence and more military power. An Empire might impose the traditions, beliefs and culture of its principal nation - the nation that started it all - onto its colonies for better control and feeling of uniformity. Empires never last, that is something to always remember. Empires will eventually fragment due to the vast size and sometimes revolt among the conquered states. Examples of empires include the Roman Empire, the Byzantine Empire, the Ottoman Empire.

[thewriteadviceforwriters]

The Mini Guide to Crafting Compelling Royal Characters for Fiction Writers

Creating royal characters can be both exciting and challenging. These regal figures often play pivotal roles in stories, capturing readers' imaginations with their power, privilege, and the weight of responsibility they carry. Whether you're writing historical fiction, fantasy, or contemporary novels featuring monarchs, this comprehensive (mini) guide will help you develop authentic, multi-dimensional royal characters that will resonate with your readers.

Understanding the Basics of Royalty

Before diving into character creation, it's essential to have a solid grasp of what royalty entails. Royalty typically refers to members of a ruling family, including kings, queens, princes, princesses, and other nobles within a monarchical system. These individuals are often born into their roles, though some may ascend to power through marriage or other means.

Key aspects to consider:

Hierarchy and succession

Royal duties and responsibilities

Protocol and etiquette

The concept of divine right (in some cultures)

The relationship between royalty and their subjects

Remember, while these elements are common in many royal systems, you have the creative freedom to adapt or reimagine them for your fictional world.

Developing Your Royal Character's Background

Every character, royal or not, needs a rich backstory. For royal characters, this background is particularly crucial as it shapes their worldview, values, and decision-making processes.

Consider the following:

a) Lineage: What is your character's family history? Are they from a long-standing dynasty or a newly established royal house?

b) Upbringing: How were they raised? Were they groomed for leadership from birth, or did they have a more sheltered upbringing?

c) Education: What kind of education did they receive? Was it formal, focusing on statecraft and diplomacy, or more well-rounded?

d) Relationships: How do they relate to their family members, courtiers, and subjects?

e) Personal experiences: What significant events have shaped their character and outlook on life?

Crafting a Unique Personality

Avoid the trap of creating one-dimensional royal stereotypes. Your character should be as complex and nuanced as any other well-developed protagonist or antagonist.

Consider these aspects:

a) Strengths and weaknesses: What are your character's admirable qualities? What flaws do they struggle with?

b) Motivations: What drives them? Is it a sense of duty, personal ambition, or something else entirely?

c) Internal conflicts: What personal struggles do they face? How do these conflicts affect their rule and relationships?

d) Hobbies and interests: What passions do they pursue outside of their royal duties?

e) Sense of humor: How do they express humor, if at all? Is it dry wit, sarcasm, or something else?

Balancing Power and Vulnerability

One of the most intriguing aspects of royal characters is the juxtaposition between their immense power and their human vulnerabilities. This balance can create compelling internal and external conflicts for your character.

Consider:

The weight of responsibility and its impact on their personal life

The isolation that often comes with a royal position

The constant scrutiny they face from the public and court

The struggle between personal desires and duty to the crown

Creating a Believable Royal World

Your royal character doesn't exist in a vacuum (I hope not). They're part of a larger royal ecosystem that includes family members, advisors, courtiers, and subjects. Developing this world adds depth and authenticity to your story.

Key elements to consider:

Court dynamics and politics

Relationships with other noble houses or kingdoms

The role of advisors and how they influence decisions

Traditions and customs specific to your royal setting

The economic and social structure of the kingdom

Addressing the Challenges of Royal Life

Royal characters face unique challenges that can drive your plot and character development. Some common themes include:

a) Succession disputes b) Balancing personal happiness with duty c) Navigating political alliances and conflicts d) Managing public opinion and maintaining legitimacy e) Dealing with threats to their rule or life

Use these challenges to create tension and drive your story forward while revealing more about your character's personality and values.

The Impact of Historical Context

If you're writing historical fiction or a fantasy inspired by real-world monarchies, it's crucial to consider the historical context. Research the time period and culture you're drawing from to ensure authenticity in your character's behavior, beliefs, and challenges.

Key areas to research:

Social norms and expectations of the time

Political systems and power structures

Technology and its impact on governance

Religious beliefs and their influence on royalty

Gender roles and how they affect royal duties and succession

Avoiding Common Pitfalls

When creating royal characters, be mindful of these common mistakes:

a) Making them too perfect or too villainous b) Ignoring the realities of royal life (e.g., lack of privacy, constant duties) c) Overlooking the impact of their decisions on their subjects d) Failing to show growth or change over the course of the story e) Relying too heavily on stereotypes or clichés

Incorporating Royal Etiquette and Protocol

Royal characters often adhere to strict codes of conduct and protocol. While you don't need to become an expert in royal etiquette, incorporating some of these elements can add authenticity to your story:

Forms of address (Your Majesty, Your Highness, etc.)

Court ceremonies and rituals

Dress codes and regalia

Rules of precedence in social situations

Diplomatic protocols when interacting with other royals or dignitaries

Exploring Different Types of Royal Characters

Remember that not all royal characters need to be ruling monarchs. Consider exploring other royal roles, such as:

The rebel prince or princess who rejects their royal duties

The reluctant heir thrust into power unexpectedly

The exiled royal fighting to reclaim their throne

The royal spouse adapting to life in the palace

The illegitimate child discovering their royal heritage

Each of these archetypes offers unique storytelling opportunities and challenges for character development.

Balancing Historical Accuracy and Creative License

If you're writing historical fiction featuring real royalty, you'll need to strike a balance between historical accuracy and creative interpretation. While it's important to respect known facts and timelines, you also have the freedom to explore the inner lives and motivations of these historical figures.

Tips for balancing accuracy and creativity:

Thoroughly research the historical figure and their time period

Clearly differentiate between historical fact and fictional interpretation

Use author's notes to explain any significant departures from known history

Focus on filling in the gaps in the historical record rather than contradicting established facts

Developing Royal Character Arcs

Like any well-rounded character, your royal protagonist should undergo growth and change throughout your story. Consider how their experiences might challenge their beliefs, alter their perspective, or force them to confront their flaws.

Possible character arcs for royal characters:

From naive idealist to pragmatic ruler

From reluctant heir to confident leader

From isolated monarch to connected leader who understands their subjects

From power-hungry tyrant to benevolent ruler (or vice versa)

Remember, character growth doesn't always have to be positive. Sometimes, the most compelling stories involve characters who face moral decline or tragic falls from grace.

Remember, while the trappings of royalty may be grand, at their core, your royal characters are still human. They love, fear, hope, and struggle like anyone else. It's this humanity, set against the backdrop of power and responsibility, that makes royal characters so fascinating to read and write about.

Happy writing, - Rin T

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[hayatheauthor]

Hello! 😊 Do you have any advice on word-building? I can imagine multiple scenarios in my head, but I can't seem to put them into words. 🥹

First off hi sorry I took forever to write this blog! I hope it helps you get your ideas onto paper <3

Worldbuilding is the backbone of any compelling story, especially in genres like fantasy, science fiction, and historical fiction. Crafting a believable, immersive world can captivate your readers and provide a solid foundation for your narrative. In this guide, I’ll walk you through the essential steps to create a vivid and engaging world for your story.

Understanding Worldbuilding

Worldbuilding involves creating a complete, fictional universe that serves as the setting for your story. This process includes developing geography, cultures, history, politics, and even the rules of nature and magic (if applicable). The goal is to make your world feel as real and intricate as the characters who inhabit it.

Starting with the Basics

Define the Genre and Tone

Consider the genre of your story. A high-fantasy world will have different requirements than a dystopian future or a historical setting. The tone—whether it's dark and gritty or light and whimsical—will also influence your worldbuilding decisions.

Establish the Setting

Start with the physical world. Sketch out maps, outline the geography, and decide on key locations where your story will unfold. Think about the climate, natural resources, and the flora and fauna that inhabit this world.

Develop a History

Create a backstory for your world. Major events, wars, discoveries, and cultural shifts shape the present-day setting. A rich history can add depth and realism, influencing characters’ beliefs and motivations.

Building Cultures and Societies

Craft Unique Cultures

Think about the various cultures in your world. What are their customs, traditions, and social norms? How do they dress, what languages do they speak, and what religions do they follow? Diverse and well-thought-out cultures can add layers to your narrative.

Political Systems and Power Structures

Define the political landscape. Who holds power, and how is it distributed? Are there monarchies, democracies, or tribal councils? Consider the relationships between different nations or groups and the potential for conflict.

Economics and Resources

Understand the economy of your world. What resources are abundant or scarce? How do people trade, and what currencies do they use? The distribution of resources can drive plot points and character motivations.

Crafting Magic and Technology

Magic Systems

If your world includes magic, establish clear rules and limitations. What are the sources of magic? Who can use it, and how? Consistent magic systems prevent plot holes and maintain suspension of disbelief.

Technology Levels

Consider the technological advancements in your world. Are they using medieval weapons, steampunk machinery, or advanced futuristic gadgets? The level of technology can influence daily life, warfare, and exploration.

Time and Place

Historical Context

Establish the timeline of your world. Is it set in the past, present, or future? Consider historical events that have shaped the current state of the world. How have these events influenced societal development and cultural evolution?

Daily Life and Schedules

Describe the daily routines of your characters. What does a typical day look like for different social classes or cultures? Consider work hours, leisure activities, and societal expectations. The pace of life can vary greatly depending on technological advancements and cultural norms.

Timekeeping and Calendars

Develop a system of timekeeping and calendars. Are there specific seasons, festivals, or holidays that are significant? How do people measure time—by the sun, moon, or a mechanical clock? Unique timekeeping methods can add depth and authenticity to your world.

Clothing and Fashion

Cultural Significance

Explore how clothing reflects cultural identity, status, and occupation. Different regions and social groups might have distinct styles, fabrics, and accessories. What materials are commonly used, and how are garments crafted?

Fashion Trends

Consider the evolution of fashion in your world. What are the current trends, and how do they vary across different societies? Fashion can be influenced by historical events, climate, and interactions with other cultures.

Practicality and Symbolism

Think about the practicality of clothing in your world’s environment. How does the climate affect what people wear? Additionally, consider any symbolic meanings attached to certain garments or accessories. For instance, specific colors or patterns might denote rank or allegiance.

Religion and Beliefs

Pantheon and Deities

Create a pantheon of gods or a single deity, depending on your world’s religious structure. What are their characteristics, domains, and myths? How do they interact with mortals, if at all?

Rituals and Practices

Detail the religious rituals and daily practices of your world’s inhabitants. Consider ceremonies, festivals, and rites of passage. How do these practices influence daily life and societal norms?

Religious Institutions

Define the structure and influence of religious institutions. Are there temples, churches, or shrines? What roles do priests, shamans, or other religious figures play in society? The power dynamics between religious and secular authorities can add layers to your worldbuilding.

Languages and Communication

Linguistic Diversity

Develop the languages spoken in your world. Are there multiple languages or dialects? Consider the history of these languages and how they evolved. Language can be a powerful tool to convey cultural diversity and conflict.

Writing Systems

Design writing systems and scripts used for communication. Are there ancient texts or runes with special significance? How do literacy rates vary among different social classes and regions?

Non-Verbal Communication

Explore other forms of communication, such as body language, sign language, or symbolic gestures. How do people convey messages in situations where spoken language is impractical? These non-verbal methods can add depth and realism to your interactions.

Integrating Worldbuilding into Your Story

Show, Don’t Tell

Instead of dumping information on your readers, reveal your world organically through the narrative. Use dialogue, actions, and descriptions to weave worldbuilding details seamlessly into the story.

Character Perspectives

Different characters will experience and interpret your world in unique ways. Use their perspectives to highlight various aspects of your world, making it richer and more complex.

Consistency and Continuity

Maintain consistency in your world’s rules and details. Keep track of your worldbuilding elements to avoid contradictions and ensure a cohesive narrative.

Worldbuilding Tools and Resources

Maps and Diagrams

Create visual aids like maps, family trees, and diagrams to help you keep track of your world’s layout and relationships. Tools like Inkarnate or Wonderdraft can be helpful for map-making.

Worldbuilding Bibles

Maintain a worldbuilding bible—a document where you compile all your world’s details. This can include notes on geography, history, cultures, and more. It’s a valuable reference as you write and develop your story.

Inspiration from Real World and Fiction

Draw inspiration from real-world cultures, histories, and landscapes. Similarly, reading widely in your genre can provide insights into effective worldbuilding techniques.

Final Thoughts

Worldbuilding is a rewarding yet challenging aspect of storytelling. It requires imagination, attention to detail, and a deep understanding of your narrative’s needs. By following this comprehensive guide, you can create a vibrant, believable world that will captivate your readers and enhance your storytelling.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[writingquestionsanswered]

Question! But how do you write a royal character?

Writing Royal Characters

"Royal" is a broad term, because what it means to be royal varies across cultures, kingdoms, times, places, and even families. Royal structure, royal culture, royal rules and regulations--all of it is specific to that particular group, time, and place.

So, if you're writing a character who is either a real royal person, or a fictional person but part of real royalty, you need to research that real royalty to learn how to write that royal character. Researching the real royalty will teach you things like how things are structured, titles and forms of address, how the throne is inherited, how they relate to each other and other royal families, government/government relationship, what their culture is like, etc.

Even if you're writing a totally fictional royal family in a fictional time and place, you may still want to choose a real life royal family (or a few) to serve as inspiration for your fictional family. This will give you a model for things like structure, titles and forms of address, inheritance, political relations, etc.

Here are some related posts that might help you get on the right track:

Creating a Fictional Kingdom “King” Doesn’t Mean “Husband of the Queen” Forms of Address for Royals and Nobility Twin Royal Heirs in Fantasy Guide: Writing About Fictional Royals Forms of Address for Royals and Nobility

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[foggydreamsstuff]

Astro: The Starborn Ghost

A detailed roleplay starter set in the Arcane (League of Legends) universe.

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Out of Character (OOC) & Organization

Organizer: [Me, @foggydreamsstuff ]

Co-Organizers: [lmk if you want to be tagged]

Roleplay Type: Literate / Multi-Paragraph / Character-Driven

Setting: Piltover & Zaun, Post-Undercity War

Genre: Science-Fantasy, Steampunk, Political Intrigue

Table of Contents

1. World Setting

2. Plot

3. Rules

4. Character Form

5. Roles

6. Events

7. Locations

8. Protagonists & Antagonists

9. Ships & Relationships

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World Setting: The Twin Cities of Piltover and Zaun

The City of Progress stands taller than ever, yet beneath its golden towers lies a sickness that no Hextech innovation can cure—corruption, greed, and the ghosts of a war long past. Piltover, once a beacon of technological advancement, has tightened its grip on Zaun, suffocating the undercity with regulations disguised as "reconstruction efforts." The war between the two cities ended in silence, but the scars remain, and revolution brews beneath the shimmer-lit streets.

Hextech, the marvel that propelled Piltover to greatness, is now more than just a tool—it is a weapon, a currency, a means of control. The Council, fractured and desperate to maintain order, fights a losing battle against the shadows that slip through its cracks.

And in the heart of it all, there is a ghost.

Astro, a boy with constellations on his back and a mind sharper than the Hexcore itself, lives in the Astrology Tower—a secluded structure built by Jayce Talis, but now home to Viktor and his ward. Astro is frail in body but limitless in mind, his knowledge of Hextech bordering on the supernatural. He is a phantom of the Council House, a forgotten heir, and perhaps, the key to a new future—one that neither Piltover nor Zaun is prepared for.

But with power comes danger. There are those who would see Astro controlled, and others who would see him silenced. The game is set, and the pieces are moving. The question remains: will he be the star that guides the lost, or the one that burns out too soon?

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Plot: The Hexcore Conundrum

A mysterious Hexcore anomaly has begun spreading throughout Piltover and Zaun. Machines malfunction, shimmer production grows unstable, and even the very fabric of reality seems to fray in places where the Hexcore's influence lingers too long. The Council has no answers, and the greatest minds of Piltover whisper about one name—the Ghost of the Council House.

Astro has spent years studying Hextech, but even he is at a loss. Something is wrong, something beyond calculations and blueprints. When a secret organization known as The Celestials approaches him, claiming to know the truth of his existence, the boy is faced with a choice:

Serve Piltover and maintain order, risking being used as a tool like so many before him.

Side with Zaun’s revolution, hoping to break free from the city’s control but facing the threat of war.

Or forge a path of his own, one that could reshape the very core of Hextech itself.

The story begins on a night when the sky itself seems to crack, a ripple of energy distorting the air above Piltover. The first real test of Astro’s mind is about to begin—and he is not the only one watching.

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Rules

Literate Roleplay: At least 2+ detailed paragraphs per response.

Respect & Consent: No godmodding, no controlling others' characters.

Canon & OCs Allowed: Balance is key; OCs should fit the Arcane universe.

No Instant Knowledge: Characters must learn information through roleplay.

Stay Active: If you need a break, let others know.

Story Progression: Events will unfold naturally, but major decisions will be player-influenced.

Dark Themes: This RP contains themes of chronic illness, disability, political conflict, and ethical dilemmas in science.

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Character Form

Name:

Alias/Nickname:

Age:

Gender & Pronouns:

Sexuality:

Affiliation (Piltover/Zaun/Neutral):

Occupation:

Appearance: (Include height, build, scars, notable features)

Abilities/Talents:

Weaknesses:

Personality:

Backstory:

Goals:

Connections (Rivals, Family, Friends, Enemies):

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Roles

The Ghost of the Council House (Astro): The starborn enigma, caught between worlds.

The Councilor: A high-ranking Piltover official who seeks to control Astro’s knowledge.

The Revolutionary: A Zaunite leader looking to use Astro’s skills to fight for freedom.

The Scientist: A Hextech engineer who studies the anomalies, either for Piltover or for themselves.

The Mercenary: A bounty hunter assigned to retrieve Astro—alive or dead.

The Celestial: A mysterious figure who claims to know Astro’s origins.

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Locations

Astrology Tower: Astro and Viktor’s secluded home and research space.

The Council House: Where the most powerful figures in Piltover make their decisions.

Zaun’s Depths: The heart of the undercity, filled with dangers and revolutionaries.

The Hexcore Vault: A classified location where Hexcore research is conducted.

The Rift: A newly formed anomaly, distorting reality and drawing people toward it.

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Roleplay Starter: "The Ghost and the Rift"

The night was thick with smog, the city humming with a restless energy that even the late hour could not quell. Somewhere in the depths of Piltover, the Council House stood tall, its golden halls quiet save for the distant ticking of Hextech clocks.

But in the Astrology Tower, high above the city, a boy stared into the sky.

Astro sat by the open window, his breath fogging the glass as he traced constellations only he could see. The stars whispered to him in a language of silence, and tonight, something was wrong. The sky shimmered—not with celestial light, but with something unnatural. A crack in the atmosphere, a pulse of energy that rippled through the air like a slow heartbeat.

Viktor’s voice broke the quiet. "You feel it too, do you not?"

Astro did not turn. His gloved fingers tightened around the edge of the windowsill. "It’s not just an anomaly. It’s… a calling."

Down below, the city was already stirring. Councilors would be mobilizing, scholars scrambling for answers, and in Zaun’s depths, revolutionaries would be taking this as a sign of change.

The stars had spoken.

And Astro was ready to listen.

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How to Join the Roleplay

Reply with your character’s introduction, either approaching Astro or reacting to the Rift’s appearance. Whether you are a scientist, a mercenary, or a forgotten friend, the story begins now.

[madelynhimegami]

Ally Guide

Not feeling great tonight. If there's something major I've forgotten, blame the delirium

Ally is a fictional character brought to life.

She's the heroine of a fantasy novel. And now she's a real girl.

Satan wanted to LARP as a princess rescued by a hero (Arle), so he used his power to bring the world to life, still within the book. Thus, Puyo Chronicle happens.

Because of Satan's shenanigans, the book's structure, narrative, setting, and primary cast of characters have been altered.

And now it's just another world that exists in the multiverse. It's even been threatened by a world eater.

As for Ally herself, her primary trait is her devotion to love as a concept. She's quite literally an all-loving hero.

It's not made clear if she was always like that, or if Satan's shenanigans with the book turned her into a caricature of herself.

Ally is very, very, very, very polite. The closest she's ever gotten to being rude to somebody was cheerfully agreeing that Klug is, in fact, a jerk. Because he was acting like one.

In both her game and the real-world book (Amitie and the Girl of Love), she comes to the firm conclusion that Arle and Amitie are the prophecied Great Hero of her world.

The former was heavily implied to be the results of Satan's machinations, but the latter was more spontaneous

In both cases, Ally accepted it and believed it whole-heartedly.

I feel like she's quick to assume someone else is the Hero not because of anything like a low self-esteem, but because she sees the absolute best of everyone and is eager to elevate what she sees is great about them.

Because she does do that. For example, she is very firm in her belief that Rafisol is better than she thinks she is.

Ally is the actual hero, though. She was tossed out of her world by Ouroboros (the aforementioned world eater) specifically so they wouldn't be stopped by the Hero. Marle also called her Hero when she visited.

While enthusiastic and earnest, Ally is very socially awkward and tends to weird people out with her talk of love.

Especially with her "Let's fall in/spread the love!" go-to. That almost always takes new people aback.

Ironically, Risukuma's extremely broad yet oddly specific definition of love weirds even Ally out.

Honestly I get the impression that whether Ally or Risukuma throws the other off their game depends on who manages to start rambling first.

Ally knows how to bake-- or at the very least, she's been known to make cookies and doughnuts.

Puyo are not native to Ally's world, and reportedly only began to appear at the start of Chronicle.

Whether any Puyo remain in Ally's world after the fact is unclear. She was just as shocked as Arle, Amitie, and Ringo when she built a 3-chain on muscle memory alone.

Ally's faith in love is so strong that Ecolo, who doesn't think love is a real concept to begin with, concedes that it's what makes her powerful.

Speaking of, the pendant Ally wears is not from her world, but something Ecolo smuggled in.

It's not certain if she received the pendant directly from him, or if she happened to stumble across it after he dropped it in.

(Though given the pendant's properties, it being a direct hand-off sure seems likely)

[speculativepages]

Worldbuilding Series: Magic System Masterpost

“Power swirled through their veins, burning tracks down their spine and bursting through the cracks in their mind.”

Magic. It’s one of the defining characteristics of the fantasy genre. A writer has unlimited possibilities to choose from when building their world and the magic that shapes it. Flying. Shapeshifting. Characters wielding fire or healing with a touch. Magic potions and runic spells. Demon magic and necromancy. Witch marks and superheroes.

This guide is designed to walk you through each step of building your magic, from choosing the structure to figuring out how it's cast and what powers are included. Hopefully by the end of this post you have a clear path to building a workable system of magic for your fantasy world.

Step One: Capturing the Feeling

Before we do anything else, take twenty minutes right here to do a free-write on what you want from your magic system.

Ask yourself: what emotions do you want your magic to create? In the reader? In your characters? In yourself? Do you want it to feel mysterious, mystical, disturbing, epic, powerful, sacred, moral, industrial, historical, epic? 

You could also think about the story you’re telling: Is it an epic saga akin to Stormlight Archive or Wheel of Time? Or is it a smaller, character driven story like Fire by Kristin Cashore? Or a story about political maneuvering within a single kingdom like Twelve Houses by Sharon Shinn? The type of story you’re telling can help determine the magic system you use. 

The bottom line is you want to capture the feeling of your magic.

Step Two: Choosing a Class 

In my mind, magic systems fall into two major classes: Ability-Based and Spell-Based. 

Ability-based is your basic superhero system — mages have a certain ability (or abilities), which could range from controlling light to super-speed. Their powers aren’t infinite. Mages could each have different, unique abilities, or they could choose from a set class (like Mistings from Mistborn). 

Spell-based is your more classic magic — mages use power to cast spells, all (or most) have access to the same range of powers, and there are near infinite spells to choose from.

Like I mentioned in Step One, your choice should depend on the story you want to tell. 

Think about your plot, world, and themes while we’re going through the two classes: which one will highlight or enhance the story you are telling?

Think about your characters: which class will fit them best? 

Which one would you have the most fun writing? 

Step Three: Theme

Once you know the class of your magic system, you need to consider its theme. This is where that free-write about the feeling of your magic is going to come in. Look at what you came up with. The emotions you wanted to evoke. The atmosphere. This is going to become your theme. 

For instance — if you wanted your magic to feel disturbing, then maybe your theme will be necromancy or death magic. 

Your theme is there to limit your magic. It will keep your system from feeling arbitrary, and will enhance the overall feeling of your world. It’s going to help you focus your abilities, powers, and limitations to create a unique system.

Step Four: Hard or Soft System

Some authors prefer to keep their magic shrouded in mystery and mysticism, while others love to lay out the rules and possibilities of their system with as much detail as a scientific experiment, with histories, theories, and runic charts in the back of the book (looking at you, Sanderson). Most systems are somewhere in the middle of the scale. You need to decide where you want yours to fall.

While deciding, consider Sanderson’s First Law of Magic: “An author’s ability to solve conflict with magic is directly proportional to how well the reader understands said magic.”

If your reader knows and understands your magic, then you can use your abilities, powers, and cool effects to solve problems. 

If your reader doesn’t know the rules, the powers, or how your magic works, then any time you use it to solve problems or plot issues, it will feel like deus ex machina. Though you can still use magic to cause problems and make things harder for your characters.

Step Five: Your Magic's Source

What is the origin of your magic? Power has to come from somewhere, assuming your world follows the laws of basic physics (which it doesn’t have too, but I would recommend having some sort of accepted laws of reality).

A few things to think about: 

Is your magic powered by the character themselves (does it exist inside them)? Or do they need to draw on an outer source?

Remember that you can combine sources — such as in Mistborn, where ingesting metals gives the allomancers power, but that power is ultimately fueled by the god Preservation. 

For the future: the source of your magic is going to play a large part in the limitations, rules, and abilities of that magic. For instance, if magic is fueled by the caster’s own life energy, it will severely limit the amount of spells they can cast. But if magic is an unlimited river of energy that runs through everything (like the Force), it will be much more abundant for huge epic magics. 

Step Six: Powers & Abilities

I’m sure you have some ideas already, but now is the time to solidify what powers your magic grants or what spells your characters cast.

Stick to Your Theme: The most important thing here is to limit your powers with your theme. If you don’t, you’ll loose the theme completely, and your system will feel arbitrary and overused. Try brainstorming a list of powers or abilities that could fall under your theme. Note that this is the same if you are designing a spell-based system of magic or an ability-based system.

If you’re having trouble coming up with powers, then make the limits of your theme more general. If your powers feel too disconnected and random, then make your limits more specific.

Here are some other questions to consider: 

Do all of your characters share the same abilities? Do casters get to decide what their ability is (a conscious choice) or are they simply born with a certain range of magic? Are some things harder to do than others?

Have you given your characters abilities that make them too powerful? Could they break the world, tear a hole in reality, or some other effect that would make your plot meaningless?

Step Seven: Casting Your Magic

Waving a wand, drawing a runic spell, gathering your will, burning metal, singing the right notes, or speaking an objects true name. Whether it’s with a thought, a gesture, speech, or a material object, there are as many ways of casting a spell as there are spells to cast. Consider Your Theme and Story: The important thing here is to find how your characters use magic: what fits with your story, theme, and characterization? Will your characters cast spells against the forces of evil on a desolate battlefield, or will they use rituals and herbs to heal the sick in a wooded cabin, or sing their magic into being to cast illusions for the royal houses? An elaborate ritual won’t be very useful for a battle mage or a spy embedded in a foreign government.

Step Eight: Magic Users

You know what your magic can do, you know its source, and you know how it’s harnessed. Now you need to decide who has power.

Consider Your Characters and Story: how do those who use magic see themselves? How are they seen by others? Here are some questions for you to consider: 

How accessible do you want magic? Is it limited to a certain few or can anyone use it? 

If anyone can use it, do they? Or are there some who shun it?

Are mages simply born with magic, or can it be gained through training? Does it have to be stolen or bargained for? 

Do people with magic think it’s a curse or blessing? Are your characters proud of their powers, or ashamed by them? How does this affect their personalities and motivations? 

Consider Your Theme: go back to the feeling of your magic. What is it? What type of person fits into it? What kind of world does your magic exist in? Is it hidden and mysterious or built into the very fabric of your culture and civilizations?

Step Nine: Limitations

Consider Sanderson’s Second Law: Limitations > Powers. 

This law is basically saying that your magic’s limitations should be stronger than your abilities. If your abilities are too overpowered, then your magic could end up breaking your story and plot.

The limitations of magic bring tension, drama, and risk to the story. They keep magic from being an easy way out by making your characters work harder, which can in turn up the stakes of your plot. 

They can be the most interesting and engaging part of your system. For instance, mages that can control fire are pretty common, but what if a mage could only control fire if they were being burned at the time? That’s unique, interesting, and has story potential. 

You build your limitations by determining the Rules, Cost, and Weaknesses of your magic. They may seem similar, and in some ways they overlap, but it’s important to consider each separately to build a complete system of magic. 

Rules — what magic users must follow (could be breakable, with disastrous consequences, or absolute and above mortal control.) What can't your magic do? What are the limits or boundaries of its abilities? Remember, once you decide on your rules, you need to stick to them, or your magic won't feel believable. 

Cost — the price a mage pays to cast magic. This could range from energy or stamina to actual life force or simply material cost or money. Remember, the higher your cost, the less your characters will use their magic. 

If you want it to be a common and everyday thing, then you need a small, manageable cost. 

If you want magic to be used only as a last resort, then have a high cost that few would think is worth paying. 

Weaknesses — where does the magic fail? What can’t it do? How can it be beaten? What ways would the opposite side overcome the advantage of the mage’s power, workaround it, or make it useless? Weaknesses are intertwined with both the cost and rules of your magic, and so they may overlap. Take a look at your rules and costs and extrapolate to find the weak points of your magic. 

For instance, if a rule of magic is that a mage has to see something in order to cast a spell on it, a weakness would be that their enemies could simply stay out of sight, or find a way to blind their opponent in order to make their magic useless. Could an enemy permanently blind a mage, and take away their power forever? 

Step Ten: Extrapolation & Organization

Go deeper, not wider: a magic with unlimited power can be fun to play with, but it could be more unique to have a magic with a small collection of powers, that are each explored in depth.

Remember Sanderson’s Third Law of Magic: “Expand what you already have before you add something new.”

Before you start to add multiple abilities, schools, types, or magic systems together, consider the implications of what you already have: even an ability as simple as making plants grow could be used in dozens of different ways. 

Could your character bring down a building by crumbling the foundation with tree roots? Could they grow a poison to take out an enemy? Could they grow foliage in order to hide from pursuers? Or grow a vine to climb up a cliff? How could your characters solve their problems, using what they have in different or unique ways?

Two characters with the same power can use that power differently. This can be a good way to go deep into characterization and personality, and really show how each character sees the world. Perhaps the power is manipulating bone — one character might use their power to heal, and mend, while another might use it to break bones and control their criminal empire.

Step Eleven: Name of Magic

There’s a lot to consider when naming your magic: here are a few questions to ask yourself.   

What’s the magic itself called? Magic? Mana? Force? Energy? Or something unique like Aon Dor or BioChromatic Breath? 

What are mages called? Wizards? Casters? Or something like Mistborn, Shapers, Riders, Radiants, or Powder Mages? 

What is the act of magic called? Do mages cast a spell? Or weave a thread of magic? Or burn metal? Or draw in Stormlight?

Are there multiple names for the magic or magic users? If you have different cultures, nations or planets, perhaps they have their own words for mages. Like Dragon Riders and Argetlam (meaning silver hand) from Inheritance Cycle. 

Consider your theme, or an element of your theme: what is the main focus of your magic? Does it have to do with fire? With metal? With wood or plant growth? Whatever it is can help you decide your names and terms. 

Perhaps your characters are members of the thieves guild, and they’ve been hired to steal a magic gem from a corrupt lord. Perhaps magic in this world manifests as an ability to see through any wall, a skill perfect for thieving, so Thief is synonymous with mage.

____________________________________________________________

Just Like Magic! And that’s pretty much it. You now have a working magic system. As you start to write your story and further flesh out your world and characters, you’ll need to edit your magic accordingly. You’ll always be thinking of new things and exciting additions, but now that you have the bones, your magic system can grow to be functional, unique, and engaging for your readers.

This blog post was my very first draft at building a magic system and was originally posted on my website blog here. I later turned it into an even more depth guide in my downloadable Magic System Worldbuilding PDF Workbook and my even more extensive Ultimate Magic System Notion Template (found in my gumroad shop or my etsy shop!)

[cupidologys]

⸻ CHAPTER FIVE; ALL MEN ARE EQUAL

pairing: dazai x f!reader (fantasy au)

warnings: mentions/themes of depression

chapter list: this is CHAPTER FIVE of a multi-chapter fic series. PLEASE read the chapters below (in order) before this one or you will be very lost!!

prologue

one

two

three

four

word count: 3.5k

+ + + + + + + + + + + + +

Back in your homeland, at the Imperial Palace, the largest constructed facilities are ones of sport and training. Sharpened swords and polished armour take the place of bookshelves on bedroom walls, and the practice of scripture is seldom found. Higher education, though no less important than warfare, is strictly limited to scriveners, court officials, and the professional erudites of your father’s choosing. In the face of current conflicts, most of your father’s people are far more absorbed in military affairs and bureaucracy than arithmetics, the sciences and the humanities.

Although, when it came to you, it was like a switch went off and all those sentiments were turned upside down. 

By a certain age, your tutelage switched from scholarly knowledge to that of etiquette and what he referred to as ‘womanly affairs’. Those usually consisted of things like sewing, music, and art classes. The only one you ever enjoyed was the horseback lessons. 

But thankfully, your father’s one track mind meant you were never discovered for—or suspected of—possessing further-education books and studying politics, diplomacy, and military tactics on the days general schooling lessons were cancelled. It is why you find yourself in the royal library, hours before you are due to meet Dazai for dinner. 

Hundreds, if not thousands, of marble shelves line the walls from floor to ceiling. Each one is stacked, end-to-end, with leather bound tomes and tea-stained manuscripts. There is a fireplace in the right corner, carved from blackened stone and crackling with warmth. Around it sits a pair of dark-green, thickly-cushioned armchairs, along with a matching sofa that is wide enough to fit at least four people. 

You walk further in and are greeted with four arched windows spanning the length and height of the space, each one clear as the summer sea. You squint, momentarily blinded by a sudden passing ray of sunlight. Birds are chirping underneath the morning sky, and branches of a looming willow tree sway in front of the left-most window. You take in the sprawling garden view; a labyrinthine maze of hedges take up the centre, and a large assortment of decorations speckle the grounds. Smaller fountains, rainbow flower beds, and iron-wrought benches are only a few of what you can see. 

You look around a bit more, noting the study tables anchored to the floor and the winding staircase that leads to the open-plan second floor. The library is well-kept, as shown by the pots holding blooming flowers along the window sills, but the dust lining the shelves indicates that no one has used the archives in a long time. You wonder why—it is the first and only comforting place that you have found in the cold, lonely palace. 

You make your way down the stacks before a section catches your eye.

A Comprehensive Guide on Abilities and a Meta Analysis on their Structural Archetypes; 

The Scholar’s Circle’s Codex on Yokohama’s Political Affairs;

North vs. South: A Dynastic Tale of Continental History. 

You grab all three and almost lose your balance from the weight of each text. More and more books are added to the pile in your arms until you can no longer see straight ahead. 

With a huff, you drop the mountain of pending research onto an oak-stained study table and quickly get to work. 

Hours pass, the concept of time long faded as you lose yourself in the world of preternatural powers, warring states, and the cluttered institutions that make up the Kingdom in its most present form. 

The striking differences between Yokohama and the Northern Empire are more vast than you had ever imagined. It's a stark contrast—governance, industry, arts, religion and everything else you've come across so far. Not a single commonality to be found.

“How has…? But wouldn’t the roots originate from the dark ages? Let’s see…” you mumble, talking to no one in particular. 

“Have you found a specially interesting read?” A particular person asks. 

You fall out of your seat in surprise. 

“General!” You squeak, reeling from his sudden appearance. 

The mild-mannered Fukuzawa gives you a gentle smile and moves to help you up. He hooks two large arms under your own and lifts you back onto your chair. The scene reminds you of a mother cat picking its kitten up by the scruff of its neck.

You drop your head onto the table in embarrassment, refusing to make eye contact until, hopefully, a meteor comes falling onto earth and crushes you to death. 

“Good morning, General,” you mutter. 

“Hmm.”

You peek up at him with one eye. “What?”

“It is five in the evening,” he replies, bemused. 

“What?!” You bolt up, shame long forgotten. 

It takes you a second to realize how orange the library is, cast in the hues from the setting sun. 

You drag a hand over your face, rubbing the fatigue from your eyes. “Shit, I didn’t realize how late it had gotten.”

Fukuzawa raises a brow. 

“What? You’ve never heard a noble cuss before?” 

He taps his chin. “I can’t say I have. You truly are a breath of fresh air, Your Highness.”

You grin. “As are you, General. And please…”

He listens, head tilting in curiosity. 

“It is [name]. We are friends, are we not?” Your false sincerity coats your words like a second skin.  

The sun dips far below the horizon, robbing the world of its light. You take in the storm clouds in the distance, absentmindedly wondering if the Empire would experience the same downpour later in the night. 

Fukuzawa ponders your question for a moment longer before answering. “We are, but I am also your subordinate, so I am afraid I must decline.”

“And if it is an order?”

Fukuzawa’s eyes sparkle. “Then I am under aristocratic obligation to comply.”

In a tone laced with authority and bemusement, you proclaim: “I, acting Monarch of Yokohama, hereby order General Yukichi Fukuzawa to act beyond propriety and address me by given name only. No titles, no fancy designations. Just [name].” 

“As long as you are willing to grant me that same honor, [name].”

You grin. “See? Isn’t that so much better, Yukichi?”

The General only laughs and turns to take a seat across from you. The armour he dons makes a clanging noise as he settles himself. Patches of dirt litter the surface of the metal while other areas sport minor indents—likely from the force of a blade's flat or hilt. 

“Did that hurt?” You nod towards the largest dip in the steel. 

He looks down at his left side, around the area between his upper ribs. “Couldn’t even feel it.”

“Of course not,” you wave, returning your attention back to the pages. 

“I see you are interested in…” Fukuzawa leans over the table, peering at the emboldened titles of each tome. “Yokohama politics, history, and culture?”

“The pen is mightier than the sword, as they say,” you muse. “And a bright mind is far mightier than those stumbling blind in the darkness of their own ignorance.”

“I do wish more members of the court shared that sentiment. It would certainly make my migraines less frequent.” 

You faintly recall the term from a book you finished earlier. “The… inner court?”

“The very same. A parliamentary round table of aristocrats and representatives, headed by the Four Noble Houses.”

“The Four Noble Houses? You mean…” You cringe, an unpleasant memory resurfacing. 

Fukuzawa’s eyes gleam with amusement. “Ah, yes. I recall a certain purple-faced duke drenched in the colours of His Majesty’s most favoured cabernet sauvignon.”

You smile sheepishly. “I messed up, didn’t I?”

“Formally? Yes.”

You groan and drop your head in your hands.

Fukuzawa lays a palm on your shoulder and gives you a gentle pat. 

“But reasonably? Absolutely not. He deserved ten times worse than what he got.”

“Someone needed to stand up to him,” you point out. 

“Sadly, there are not many people who can.”

You sigh at that and go back to your research. The moment you set your eyes back on the book, the pages in front of you begin to blur and mesh into a whirlpool of ink. 

“Maybe it is time for a break…” you murmur. 

Fukuzawa leans forward and studies your fatigued expression. 

“What have you learned so far?”

You snort. “You mean other than our sordid history? The decades of hatred and conflict brewing between our countries?”

“Ah, yes. Besides that fun little facet of our politics.”

You run through the miles of information you had just absorbed, each little bit coming together piece by piece to paint a very clear picture of the modern world—one where mystic abilities, gods of old, and monsters coexist in disharmony. 

‘Abilities’ as you have come to know them, are practically non-existent among the lower caste in the Northern Empire. The only ones who wield them are of noble blood, aside from the rare few commoners—unfortunate individuals who would be executed for merely holding power outside of their status. Even then, barely anyone manifests one. In recent years, the only ability-user you know of is Chuuya.  

In Yokohama, these powers are respected, admired, and much more plentiful. In your textual observations, it is noted that the military and governing leaders are chosen for their abilities. 

“Hm… what is yours?”

 You are curious. What sort of fate-bending, death-defying power could this seasoned warrior have?

“Mine?”

“Your ability. You must have one, being the head of such an elite corps.”

“My ability…” he pauses. 

You raised a teasing brow. “What? You’re not going to tell me?”

“Just considering the risks of doing so. You have proven yourself to be both smart and deceitful. A deadly combination.”

“Are you saying you don’t trust me?” You place a hand on your chest in mock offence, scoffing in indignation. 

Fukuzawa laughs—that familiar smooth rumble that you have come to find placating. “Would I be wise to?”

“Of course not.” You wave a dismissive hand. “But you should tell me anyway because I am curious and stubborn and will likely find out on my own regardless.”

The general’s gaze is filled with a kind of warmth that is unknown to you, only interrupted by a flicker of a melancholy that twists his expression momentarily." It happens so fast you almost mistake it for a trick of the light.

“You remind me so much of her…” He mumbles under his breath so softly you pass it off as a whisper of the wind. “Very well. I will tell you.”

The sun has all but disappeared from the horizon, the shimmering moon slipping in its place. The dark, glittering night falls onto Fukuzawa’s features beautifully, making  him seem a little more weathered and a little less mundane as he explains his decidedly non-mundane powers. 

“It allows me to control my soldiers’ own abilities. I am able to manipulate their capabilities, help navigate their potential, and expand the boundaries of what they can do. That is my ability,” he explains. 

You mull over Fukuzawa’s words, a bit surprised at the nature of it all. The powerfully built military veteran looks at you like he knows what you are thinking—knows that you are confused on why someone with his battle prowess has such a passive skill. 

“You forget, Your Highness, that before I am a warrior, I am first and foremost a leader. Without my men, I am nothing, and without me, many of those men would not have survived until now,” he states. He says it like a fact, and perhaps in some ways, it is. It makes more sense the longer you think on it, his ability is almost perfectly suited to his position. You wonder what yours would be if you manifested one. What about Dazai? Would his ability reflect bloodthirst and coldness? Or would it be the opposite of what you know him as?

You make a mental note to come back to that question later, and direct your attention back to the conversation at hand. 

“[Name],” you correct.

Fukuzawa blinks. “Sorry?”

“You called me ‘Your Highness’ just now.”

“I apologize. Force of habit,” he drops his head in a slight bow and the moonlight streaming through the open windows reflects off his gray hair, transforming it into a silver mane. 

Fukuzawa apologizes to you a lot, like a father fumbling for words in front of his newborn, careful not to be anything but kind. If anything, you find it endearing. As well as a little… disappointing. 

“General.”

Fukuzawa’s smile drops at your change in tone. The worry in his eyes is clear. “Is something wrong?”

You give him a small smile, a tad tense. “No. Not really. Though, I would like to ask you something. Would you humour me?”

“Of course. I will answer anything within reason,” he reassures. 

You rest your cheek against your palm, curiosity and wariness burning bright. 

“Why are you so kind to me? I know how this country views the Empire—views me. I am not blind to the scornful glances nor hidden insults thrown around. I am numb to them. But you… Kunikida… that peculiar doctor as well, you are all much too cordial with a sworn enemy. Is it pity? Some misplaced sense of duty? Or perhaps it is all fake and you are all laughing behind my back as we speak.”

Silence spreads through the empty library, the only noises are the crackling of the fireplace and the gentle swishes of the willow branch behind you. The only thing you hear is your pulse thrumming against your skull.

If Fukuzawa is taken aback by your bluntness, he does not show it. Despite only knowing you for this short period of time, he is probably already used to your brusque manner of speech. He folds his hands in front of him and leans backward, taking some time to come up with a suitable answer. You can practically see the gears turning in that head of his. 

A few moments pass before he finally speaks in a serious, yet gentle, voice.

“Do you think yourself undeserving of our respect?”

You shake your head and answer: “Not at all. I am only surprised you would willingly impart it to me.”

“I cannot speak on Sir Kunikida or Dr. Yosano’s behalf—although, I imagine they share the same thoughts—but I am kind to you because it is common sense. I am kind to you because I am honoured to serve under your reign,” Fukuzawa assures. His expression softens. “I am truly sorry about the harassment you have had to endure. I will do my best to keep them in check, but if it happens again, do not be afraid to use your status. You are their ruler. Do not let them forget it.”

A lump forms in your throat and you force yourself to swallow it down. The support eases your heart, but the anxiety does not fully disappear, nor does the cold tingle of resentment in your chest. They probably never will. For now, you will accept his words, but with caution, as you are still very much in enemy territory. You will need to lead with your mind to survive, not your heart.  

And Fukuzawa? The gentle general is merely a stepping stone, not a friend. 

“I… am grateful. Tha—”

“General Fukuzawa!” In a very familiar fashion, the doors to the library burst open to reveal a man, effectively cutting you off. 

Kunikida stands beneath the frame, face alarmingly red and breaths coming out in short, laboured puffs. Out of the corner of your eye, you catch Fukuzawa grimacing. 

“What. Are. You. Doing. Here?.” The minister spits out each word with barely contained anger—more accusation than actual question. 

“Chief Minister.” Fukuzawa bows and slowly inches himself towards the door, closer and closer to the fuming blonde. “I see you are… upset.”

Kunikida’s eye twitches. “Upset? Upset?!” His voice hits an impressive octave and you briefly wonder if he’s ever considered a career in opera. He certainly has the knack for it. 

“I—” 

“The outdoor arena is on fire.”

The general clears his throat. 

“Right. I did tell them not to try out those new techniques without me around, though His Majesty’s soldiers were never ones to adhere to the rules.”

“A black hole opened up in the ceiling and swallowed three stable boys. They were… fully nude when they fell out an hour later.”

Fukuzawa blinks. 

“That’s… new.”

“You have five seconds,” Kunikida says flatly. 

“Well. Duty calls. I shall have to put out some fires… er… literally.” Fukuzawa makes his way to the open doors and is about to leave when he adds: “Have a wonderful  night, [name].”

“Good luck,” you laugh. 

He gives you a small wave before disappearing down the hall. 

You turn your attention to Kunikida who is now slightly less red, though still glowing a nice shade of pink. 

“Good evening, Chief Minister. To what do I owe the pleasure?” You ask. 

“I am here to bring you to dinner service. Perhaps you have forgotten? You seem to be engrossed in our literary offerings,” he answers plainly. 

Kunikida stays standing, but has walked further into the room, hands clasped behind him as he studies the books you chose with furrowed eyebrows. 

“I enjoy reading. Is that such a crime?”

“I am only surprised you were able to find this place. After His Majesty banned entry, most just ignore it as they pass by.”

You cock your head to the right. “I was curious about that. Why? It is a beautiful library—a sunlit treasure trove of knowledge. I would imagine most people would be clawing at the doors for just a glance, yet it is as barren and untravelled as the deserts in the West,” you muse.

 Your curiosity is only a mild interest until Kunikida’s gaze sharply turns away from yours, blatantly avoiding your poking and prodding. His averted eyes cause what little inquisitiveness you had just felt to balloon into a wave of eager investigation. 

“Kunikida.”

He adjusts his glasses and nervously glances at his timepiece. “We are going to be late if—”

“Kunikida.”

He sighs, relenting. 

“If nobody uses this place, why is it so well kept? There are no dirt patches or cobwebs, but the dust between pages suggests that no one has opened them for many years. ”

“If I were to make an educated guess…” Kunikida stops for a moment to think. “I would wager that His Majesty misses what it used to be, and is only trying to preserve the last of that magic. Though the memories here are much too vivid and much too painful for him to come back to.”

What it used to be… 

A flicker of something… a fleeting feeling… No. A memory. At the very back of your mind—

“But I do not think he will continue to do so.”

It vanishes, and you fall back to reality, grasping at nothing and nowhere. 

You shake yourself out of your daze, a bit peeved at the interruption, but curious all the same. 

“Do what? Preserve this place? You believe he will let it just… crumble to ruins?”

Kunikida takes a seat and folds his gloved hands together. The lines on his forehead appear as he tenses, preparing his next words with careful precision. He works his jaw, tension releasing and forming with each movement, as if he is warring internally, fighting to either let the words out or keep it in. 

You hope he chooses the former. The more information, the better. 

His expression settles and a stern look replaces his calm visage. Whatever he has to say must be serious.

You catch yourself tapping the side of your thigh anxiously under the table and clamp your fingers down on your leg… hard. Your father did always say that a royal must be poised and perfect, and he made it extremely clear that such emotions were to be erased and forgotten. 

And if they weren’t… 

A chill runs down your spine at the memories.

“I am well aware that you are, and pardon my candor, untrustworthy.”

You almost snort. Not the first time you’ve heard that and it certainly won’t be the last.

Kunikida continues. “But I believe it is only right to tell you as His Majesty’s spouse. King Dazai is… he is…” Kunikida pauses as he fumbles for the right word. 

A clock ticks. Kunikida settles on a phrase. 

“Unwell. A disease of the mind and heart that has stolen his will. He is here only to serve a purpose and that purpose is not to live out the rest of his life. He exists, but for years now he has not been… here. Almost as if one wrong move and the line His Majesty balances upon disappears and takes him with it.”

Time slows. The air thickens. Are you breathing?

“Slowly but surely, he is fading away,” Kunikida pauses and swallows as he tries to work out his next words. 

“Some days I believe he is better. Most days I do not allow myself to indulge in such a lie.”

—

˚ · . tags: @zjarrmiii @aiizenn @emyyy007 @letsliveagaintoday @bejeweledgirl @nat-the-gayass-down-bad-mf

[ladycatastrophe7]

Subjects for Fantasy Authors to Study

A couple of days ago, I posted a list of subjects that have helped me become a better writer. It seems to have been helpful for many people.

(Post is here: https://www.tumblr.com/ladycatastrophe7/771640133656199168/topic-ideas-study-as-a-fantasy-author?source=share )

So, I'm considering writing a more detailed beginner's list of where to start in these subjects. I.e., what questions to ask/search for, and the basic terms you can use to get started. BECAUSE MY LORD I would have loved having this guide a couple of years ago.

I'll probably post it on my blog (https://www.society-of-heartsiders.com/)

Rn I'm also going to UNI for psychology, so I'd be happy to post information about psychology related to writing for you guys. And depending on what I will study next term (either continuing psychology, doing history or a social science).

I'm happy to write about all topics - I'm deeply passionate about all of them and it helps me to structure it for myself as well. But I want to know what reasources can help my fellow writers:

[inky-duchess]

Fantasy Guide to Ruratanian Romance

Ever been to the European nation of Ruratania? No? It doesn't exist. Ruratanian Romance is a genre that takes place in a typically small fictional European country.

Getting to Know the Genre

The first Ruritanian novel of its kind was the 1894 "The Prisoner of Zenda" by Anthony Hope. Ruritanian Romance usually take place within the contemporary but there is no reason you can't apply it within a historical setting. The common themes of the genre revolve around the lives of the royal family or nobility of the region, culture clash, political intrigue, the balance of love and duty and adventure. The genre tends to feature people travelling to the nation for the first time and finding a romantic partner or the return of a lost/unknown heir and the villains tend to be corrupt nobles or politicians looking to cash in on the nation's beautiful settings or steal the throne.

Building a Small European Nation

The beauty of Europe is that while every country is unique it shares a history and cultural aspects with their neighbour. To build a small European nation, you need to know the history of its neighbours and how it effected your new nation. Ruritanian nations end to be more idealised, focusing on the more romantic sides of Europe - fine historical buildings, beautiful nature and very modern and progressive cultures and governments. You will need to decide what political structure your nation has, what are its symbols, languages spoken, population size, resources, geographical features etc. I have more under my #worldbuilding.

Culture of your Ruratanian Nation

No matter where you are in Europe, you will experience another nation's culture alongside your own. Whether you're listening to German techno in a French nightclub or eating an Irish Spice Bag in Latvia, the culture of your neighbours bleed through to your own. If your nation lies near France, they may share similarities in language or if they are by Italy they may share similar cuisine. If your nation is in the Balkans, they will have a more Slavic culture than the West. But it's not all spice bags and techno beats, Europe is like one big family and every country has its buddies and rivals. Rivalry can be formed by history or differences in culture and it doesn't mean that the countries and their people will be beating each other up. It's rivalry that involves making fun of one another or cheering when they lose a football match (Remember kids, it's not about who wins it's that England lose) . I have a post on culture under that hashtag.

History

You should know the history of your little nation. And because it's surrounded by real nations, you can easily fit that into your new nation. Did Napoleon ever visit? Did they ever get into a scrap with a country beside them? Which country do they have a rivalry with? Why? Pay attention to where you want to place your nation. Genovia - probably the best known of recent examples - is situated between France and Italy on the Cote d'Azur. Genovian history features the Visigoths and WWII. Your history of this nation doesn't have to be complete of course, mainly readers will be sated with a brief mention of a historical event here and there that will suspend their belief a little.

West is West, East is East

The two halves of Europe, the East and West are vastly different culturally though they share similarities. These differences are due to the Roman Empire having more influence in the West and later, the isolation of East and West in the Cold War. Languages in the East have Baltic, Slavic roots while the Western language family derive from the Romance languages. Western Europe has a long historical trend of faster industrialisation and modernisation while the East tended develop at slower rates. East Europe has a much lower cost of living. The West tends to follow Catholic and Protestant denominations while the Orthodox Church has more influence in the East. Infrastructure evolves faster in the West but the East has a strong relationship with its folk history and culture. The Western governments are often divided between two polar opposite schools of thoughts. Some countries of East Europe have had history of corrupt governments and harsh regimes, like some Western countries. The East has a strong work ethic and communities tend to support each other more while in the West individualism is encouraged and the work-life balance is prioritised. There is a distinct feel of East or West Europe that your Ruritanian nation will emulate.

[fairylandblog]

The Faerie Queen by Edmund Spenser

In Edmund Spenser's The Faerie Queene, faeries are essential in creating the poem's metaphorical universe. This epic work, full of symbolism and moral study, uses faeries to symbolize a variety of values and ideas that were important to Elizabethan society. Gloriana, the Faerie Queene, who represents Queen Elizabeth I, is the main figure and the embodiment of virtue. Her domain, Faerie Land, is a magical place where characters and knights go on adventures that stand in for the pursuit of moral and spiritual values. Not just fantastical animals, Spenser's faeries are crucial to the poem's symbolic structure. Every knight's trip through Faerie Land serves as a symbolic investigation of a particular virtue. For example, the trip of Sir Guyon exemplifies temperance, and the quest of the Redcrosse Knight reflects the virtue of holiness. Faeries challenge and guide these knights, assisting them in overcoming morally challenging situations. Through their dealings with these supernatural beings, the knights encounter both exterior enemies and internal issues, illustrating the nuanced nature of virtue itself.

Another important faerie figure, Prince Arthur, represents the ideal of magnificence. He acts as a uniting force within the story. Arthur's search for Gloriana represents the ultimate desire for perfection and the harmonious fusion of all qualities. His inclusion in the poem draws attention to the aspirational elements of Spenser's writing, where the fantastical world of the faeries serves as a mirror for human values and the capacity for greatness. Spenser's use of faeries further enables the intricate interplay between truth and fantasy. Faerie Land contrasts with the flaws in the ordinary world through its magic and supernatural difficulties. This duality highlights the moral teachings woven throughout the story. Faeries, as idealized beings, inspire people to overcome their imperfections and pursue morally superior goals. Their presence emphasizes the poem's allegorical quality, which blurs the boundaries between myth and reality and helps Spenser better express his moral and philosophical ideas.

In The Faerie Queene, faeries play a larger part than just their one-on-one encounters with the knights. They also aid in the poem's examination of the more general themes of bravery and the never-ending conflict between righteousness and evil. Through the prism of Faerie Land, Spenser tackles the difficulties of upholding morality and the complexity of virtue. The faeries are critical to the metaphorical complexity of the story because they serve as moral and spiritual advisors, aiding in the articulation of the poem's main ideas. The way that Spenser depicts faeries reflects the political and cultural goals of his era, especially as they relate to the Elizabethan worldview. He raises the faeries above the level of conventional folklore by utilizing them to examine ideas of valor, virtue, and the human condition through the creation of an allegorically and symbolically rich story. In The Faerie Queene, their deep and multidimensional position is a fundamental mechanism that Spenser uses to weave his rich tapestry of moral study and poetic expression.

[penultimate-step]

JJK S2 Livewatch: Eps 8-12

Hello, everybody! Sorry for taking so long to continue this live reaction. Since this is the part where the fights start in earnest, I had a lot less to say about the show's specifics and more general rambling thoughts I had as watching. It made me unsure about how to write this part up, and I ended up taking way longer than I should have (I watched these eps weeks ago!) Not sure if this will make the livewatch more or less entertaining to read along. But at this point I am going to post and hope for the best. Hope nobody is disappointed.

So, following up the end of the last ep, Gojo is called out to the danger zone. It's emphasized how much he's the one guy who matters and can do anything here. Which does kind of make me have thoughts about the worldbuilding.

Ok, so, what is the size of the jujutsu world, exactly?

Between Gojo and Tengen, we have multiple individuals who apparently single handedly hold the jujutsu world on their shoulders. That is so many points of failure, so many points where things could just go catastrophically wrong at any moment, presumably dooming the world. I know that this is primarily in order to place the plot focus on the important people. but it feels less like the jujutsu world is an institution or a world on its own, and more like a small club. Which could be fine, but its established that curses appear constantly, all over the world. It's hard to believe that a group small enough to need a handful of people to hold critical roles could cover the whole nation We know there are only 2 jujutsu schools in japan, and its unknown how many elsewhere but presumably an equivalent amount. We've seen most of the students at the school competition arc, and there were less than a dozen altogether. So....what's going on here? It just seems kind of arbitrary, and makes the world feel more constructed - which, of course, it is, being a fictional world, but generally we prefer when the guiding hand of the author is less obtrusive.

Some comparisons that can be made are to Naruto, the manga which I am almost certain is JJK's biggest inspiration, and to Chainsaw Man, a contemporary peer. Naruto's worldbuilding is large and sprawling, with plenty of named organizations, locations, and events offscreen. out of universe info books and spinoffs help add detail to this, but aren't necessary. There, it is believable that any given character exists in the context of the world because the world exists as background. in contrast, chainsaw man shares a much tighter focus with jjk. much less exacting detail, minor characters, etc; a greater focus on a small cast. There is no greater detail, readers know nothing about the structure of hell, the goings-on in the US or USSR, or even other divisions and areas in japan. but there is enough there to maintain an illusion that the world exists - mentions of foreign countries, occasional shots of hunters or political leaders. Sure, it's not the same as actually detailing in the world, but there's no need to go that far - enough has been sketched in that the readers can imagine the characters getting on a plane and flying to another country, even if they don't have any details about the destination, it feels like they exist in a real world with real places that the camera just doesn't turn to.

This might seem like I'm being overly harsh to the setting. it is clearly an intentional choice to have Gojo be the lynchpin of the world, there's nothing inherently wrong with it. But as someone who loves urban fantasy as a setting, it does sometimes bother me when I feel like the world exists only for the convenience of the main cast. It's a world close enough to our own that I feel like it should make sense.

Anyway, that's enough of that. Moving on to actually talking about the events of the episodes. I did warn you at the start that I had less to say about this set, though.

The fight between Yuuji and the locust curse isn't a bad fight to reintroduce us to the main protagonist. It's smoothly animated, outside some hiccups when jumping through walls, and the fact that both fighters use fully physical techniques made the whole thing seem very even and straightforward.

It's outshone completely by the Gojo vs villain gang battle at the end of 8 and through 9, though. I love when hidden world fantasy type settings use the clash between the normal world and the fantastical, setting these fights in a crowded city subway was a cool enough idea already, but the villain plan to use ordinary citizens to box gojo in, the use of trains in the battle, all hammered it in. the way the battle goes on around them while they can't even see most of it is interesting.

The almost wild, ruthless way Gojo speaks and fights in this battle make it clear he's been pushed very far. Between this and the flashback eps, S2 hasn't been shy about showing Gojo struggling and on the edge, a stark contrast to the way he was essentially the plot device "I win" button in his season 1 appearances. Where many of his memorable moments then had him floating at a distance to his opponents, untouchable as his technique, this fight is brutally physical. The moment he grabs at Hanami's branches was visceral. I was actually really surprised to see Hanami die. When he had Hanami against the wall, I started saying out loud "You know, the ruthlessly strategic thing to do here would be go for the killing blow on the weakened enemy. I just know Hanami is going to come back and cause trouble in future arcs. But it makes sense the author wouldn't want to waste a villain with so much buildup like that." And then he actually did kill him. Okay! Message received, Gege! I'll stay on my toes a bit more!

Also, as an aside (much as the show does,) I really liked the villain interludes. Seeing them messing around playing games in their free time did a lot to add to their characterization, even if it was just a way to exposit their plans to the audience.

While I'm giving praise, the sound design and music team did a great job. There's so much that wordlessly conveys the emotions going on mid-scene without having to stop and actually demonstrate them. the ominous overlay on the villains, the frenetic piano as gojo rushes to use his domain, and the most evocative of all, the soft and emotional tunes of shock when Gojo sees Geto again.

Also, this is the part where I have to embarrassedly admit that I was already spoiled on present day geto being fake. Rather, I was so spoiled that I assumed it wasn't a spoiler and was revealed in S1, until seeing the big reveal scene made me realize someone must have told me about this years ago. Whoops. Apologies if any of my followers were waiting for my reaction to that bit :(

Ep 10 is mostly a bridge and setup for the next portion, but I do have some brief thoughts on the new characters to touch on before moving on. The drinking old man is not endearing himself to me with his flippancy, the curse user with the hand sword from season 1 is back, and still kind of annoying whenever he's on screen. The unnamed white-haired girl with him seems cool though. also, this may be kind of a late moment to say this, but I really do like mahito as a character. Some of his transfiguration stunts were genuinely unsettling, and the way he alternates between that kind of cruelty and his general playful attitude makes him pretty fun to have on screen. He's far and away my favorite of the present day villains.

Skipping ahead to the fights in eps 11 and 12. The montage of murders by the curse users actually disgusted me. Which is kind of funny to contrast with the appearance and fighting style of the man who fights Yuuji and Megumi in this episode. His face and movements are different than most of the cast, reminding me more of some kind of demonic looney tunes character, jumping around and letting hits bounce off him. The fight is a cool showcase of 10 shadows, as well as giving some fun interactions between Yuuji and Megumi.

Actually, as I look back on it, I'm somewhat more impressed by this bit than I was as I was actually watching. None of the individual moments are super impressive or thought provoking, but as I come in to write down thoughts I realize that this two episode span seamlessly transitions between 4 different fights, done well enough that I didn't see it as an interruption, and only realized while writing this about it afterwards.

I don't want to dwell too much on the Nobara and Nanami vs hand guy fight, because that guys icks me out. Mei Mei's fight is mostly offscreen, but I do have a meme about it, because I cannot stop my brain from making unfortunate connections. The fight between the masked sorcerer (I don't remember if we got his name?) and the pair on the rooftop, though. It starts pretty slow - I don't think either of their powers or the way they use them are very interesting - but things tick up immediately when Toji shows up. Just like in the flashback arc, he just grabs the attention in every scene he's in, an

While I'm on the topic, one thing I noticed is how efficient the flashback arc was. Pretty much every element from there makes a direct return now, not even 10 episodes after the fact. Geto and Toji are shown off in the past right in time for them to be introduced in the main plot, not wasted elements. Not sure if this is a good or bad thing but it did feel noticeable. Possibly this ties back to the stuff I was talking about at the start of this, where JJK keeps making the tradeoff of telling a tighter and more focused story while cutting lose any elements that could be seen as extraneous, for better or for worse.

Anyway, that wraps up that watch session. It was pretty good, I didn't enjoy it as much as I liked eps 1-5, but much more than I liked 6-7. as a whole I think I can start to calibrate my expectations for how good this seasons is going to be now, very well executed but much more straightforward than that first arc would suggest. Less exploration of world and characters, more cool fights and action scenes.

I feel like I said a lot without actually saying very much, I worry that this was almost entirely recap of things any watcher knows already. I'll try and write the next section much faster, and hopefully I'll have more interesting things to say about that one.

[writingquestionsanswered]

Hi so I have a question, but how do you write a monarchy, specifically one in a fantasy setting?

Monarchy in a Fantasy Setting

How you research and write a monarchy in a fantasy setting depends on the type of monarchy you want to have:

-- Constitutional Monarchy: the monarch is a ceremonial head of state with limited power, with political power being in the hands of a constitutional government such as a parliament. (Example: the UK)

-- Federal Monarchy: the monarch serves as the collective and mostly ceremonial figurehead of a federation of states, each with their own monarch or government. This is a rare type of monarchy. (Example: Malaysia)

-- Absolute Monarchy: the monarch has absolute political power, giving them the ability to create and amend laws, appoint political leaders, and conduct geopolitical affairs. (Example: Saudi Arabia, England prior to 1215)

-- Mixed Monarchy: combines elements of aristocracy (rule by a small privileged class), monarchy, and democracy. (Example: Liechtenstein)

*** Since the British monarchy is perhaps the most familiar monarchy for most people, it's important to note that it didn't go straight from an absolute monarchy to what they have today. After 1215, when the Magna Carta acknowledged limits to the monarch's powers in England and established a council of feudal lords (which would eventually evolve into parliament), the monarch still held the bulk of power. Between the 1600s and 1800s, parliament evolved into the representational government we have today, with the monarch evolving in parallel to a ceremonial figurehead.

*** It's also important to note that monarchy looks different the world over, and throughout different eras.

Once you've decided on the type of monarchy you want your story to have, you can do research on that specific type of monarchy to learn how it is structured and how they typically work. You can also research specific monarchies of that type, whether modern monarchies or past monarchies, to get examples and inspiration for what you can do with your story's monarchy.

Here are some general posts about writing royals and monarchy, though they are mostly geared toward European monarchy, particularly historical European monarchy. Make sure to research the specific elements to make sure they fit with the type of monarchy you want to portray:

Guide: Writing Fictional Royals “King” Doesn’t Mean “Husband of the Queen” Forms of Address for Royals and Nobility Creating a Fictional Kingdom

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[dawnexpanse-central]

Infrequently Asked Questions

What is the Dawn Expanse, and why does it exist?

The Dawn Expanse is an aroaceagender worldbuilding project created by @roguetelepaths.

It can best be described as an act of radical imagination— if we only ever see ourselves as outsiders in an allonormative, amatonormative, binary world, then we have no choice but to accept our marginalization. If we build worlds with ourselves at the center, we can become confident enough to center our own needs and aims in this world.

Queer worldbuilding projects of all kinds are important and often neglected tools of empowerment, and this blog would love to connect with others running similar projects.

What do you mean, "aroaceagender worldbuilding project"?

The Dawn Expanse can be loosely compared to Aristasia (though without the reactionary and imperialistic overtones of that project) — a femme lesbian subculture based around a fantasy country where femininity and relationships between women were considered not just default, but a fundamental law of nature. I should note that while this subculture has been made up of people with varying and often abhorrently conservative political positions, it no longer really exists and those I've seen talk the most about it these days are mostly left-leaning trans women. There is no real-world subculture based around the Dawn Expanse, or at least, there isn't one yet, however, the basic principle is the same. The Dawn Expanse is a world in which everyone is aroaceagender. More precisely, it's a world in which gender, sexuality, and romance never had a reason to exist, and therefore do not. The project aims both to provide comfort to those who have the specific experience I'm representing here and to explore the unique social structures of such a world.

So do you hate gender/sex/romance, or people for whom those things are important?

If this blog was devoted to cat videos, would you ask me if I hated dogs?

I'm not aro, ace, and/or agender. Can I read this?

I'm not a cop.

I'm not aro, ace, and/or agender. Will I enjoy this?

I don't know. Will you?

Are you some kind of aroaceagender separatist?

No. The number of different experiences under each of those labels, the incredibly small subcategory of people who fit into all three, and the even smaller fraction of that group that experiences their identities in the same way I do would make an honest to goodness real-world "aroaceagender separatist" position both a laughable one to take and an impossible one to execute.

I am, however, an aroaceagender person who prioritizes my relationships with those who either share my experience or are willing to show that they respect and affirm it.

If the Dawn Expanse doesn't have 🌶️🌶️ spicy romance 🌶️🌶️, what does it have?

Literally everything else? Idk man, is your world so narrow that you think a piece of art has to have that to be interesting? You've got BookTok, 99% of AO3, and many, many sites specifically devoted to written erotica if that's what you're after. Let the rest of us have one thing.

But to answer the question in more detail, the tone of the Dawn Expanse aims to be tonally similar to animated series such as Steven Universe, The Owl House, or She-Ra and the Princesses of Power in its approach to balancing interpersonal conflicts with higher stakes world events. Thematically, it aims to explore community bonds, sense of place or lack thereof, and the false dichotomy of order and entropy.

Can I write my own stories in the Dawn Expanse setting?

Yes! I'll be writing a more detailed post about what to consider when doing this at some point.

Can I run a tabletop campaign in the Dawn Expanse setting?

Absolutely. In fact, one of my eventual goals for this project is a system-agnostic RPG setting guide. (Though, knowing me, it'll probably be biased towards the Cypher System, my favorite do-it-all RPG ruleset.)

You're really mean in some of the replies to these imaginary questions. Why?

I'm tired. That's why. The good news is that if you actually take the time to talk to me in good faith, I'm not nearly this much of an asshole. So the rudeness is probably not directed at you.

[kimyoonmiauthor]

Media Imperialism and media fetishists

Over the years of translating dramas, relaying ideas to Korean, Japanese and Chinese writers, and interacting with the fanship, there's a segment of the population who watch these dramas and say they "love" them, but then insist they should be more like, usually US and UK dramas, but occasionally "Like home," and I don't understand these media imperialists.

For reference, I didn't make this idea up:

You want to call these dramas "Wrong" instead of say, brush up on your history, media literacy and actually, ya know, read some fucking classics from those countries.

OMG, you didn't use the 3-act story structure and MY Creative writing teacher said it was the ONLY WAY.

Sorry to break it to you, but your Creative Writing Teacher didn't read anything outside of White Male writing Guide books.

How about trying any of the books/movies/dramas cited here: https://kimyoonmiauthor.com/post/641948278831874048/worldwide-story-structures

Well, Korea/Japan/China is selling to the United States [aka the world], so they clearly have to bend to US rules.

Except they aren't–they sell to Korean people first. I know. This is a huge idea. You might go and look at the last debacle and say the JTBC drama, King the Land folded under international pressure, but they didn't. They folded under the Korean citizenry being disgusted with JTBC and being that tone deaf.

Sometimes, it's not all about you. I know. Huge concept for an imperialistic nation that per capita does not publicly put subtitled shows on TV from other nations like Korea.

BTW, Korea also imports more German books than you'd think, especially after WWII under the idea of "Know Your Enemy"

The US also exports a large number of media to all three countries as well, which you'd know if you actually went to or lived in Korea, Japan, etc. There is a whole English channel for you. In Hong Kong they play US shows. Does it sound like I physically went there? Yes I did.

Did JK Rowling, knowing her book sold to Japan, bother to ask a Japanese person for a decent name for a magic school or look into the Politics of the idea of centering a school in Japan for all of East Asia? Hell no. So this is totally about media imperialism, because it doesn't happen in the reverse.

Why the hell are you making this argument when you don't actually know anything about importation and exportation of media? This is one of my favorite subjects of all time. I can run you down through censorship and the differences, but usually these people don't want to really get into the numbers. They want to shout me down.

Genre definitions have to be exactly the same as the US.

They don't. There. I know, didn't you know that Xianxia ends SADLY always before about 2007-ish? It is the quintessential Romantasy before that was coined.

Did you fucking bother to read Romance of the Three Kingdoms, and it's labeled as *gasp* Romance.

Fuck, there are new subgenres that defy US expectations.

And that should make your extremities tingle in excitement instead of trying to discipline it.

Or are you going to argue Romance of the Three Kingdoms should be relabeled as, "Love Story of the Three Kingdom" just to make it fit your after 1950's US Romance definition. OMG, I actually fucking looked up the history of Romance and they didn't always have Happy endings until the 1950's, but you're bothering to discipline foreign media.

Why does fantasy have to be exactly like the US? Why does SF from Japan have to follow UK conventions? If you don't like it, then you have no obligation to watch it.

But, but the US RESCUED (Korea, Japan, China, insert here).

Your History teacher was lousy, but when facing other media, you need to get past a high school level for it? Perhaps even read Classic literature. If you are busy trying to justify your love of Korean media, etc with this, no. You can just like it without being a media imperialist.

You can enjoy the differences, and then investigate WHY it's different and see if you can politely ASK about those differences. I didn't get XYZ, would you mind answering some questions. Questions don't make you "weak" it means you're curious, and I celebrate curiosity. I usually invite people to ask questions that are genuine.

Beyond that, No, the US did not "rescue Korea"

Here... white guy's video going over it. It was already split prior.

In addition to that the US didn't quit imperializing after. There's rumors they helped install a dictator, they busted unions VIOLENTLY prior to the Korean War, During it and after.

And then there are the rape slavery camps.

which then these people try to downplay as "sex camps" because holding a whole country's security hostage after you destroyed most of its military isn't imperialism at all. Give us your women so our soldiers can "behave" themselves.

To be clear, I don't hate Sex workers, I hate the US for being assholes that are willing to rape women to get what they want while calling Japan evil for doing the same things (granted Japan used heroine and sometimes young as 12 year old girls, which the US military didn't do, but it doesn't make it better.)

The US has over and over again put their own economic interests over Korean lives.

Those "Made in Korea" shoes were made with US economic interest.

Should we cover Japan and the amount of cancer they struggle with?

Should we cover the "Opium" (really Tea) War?

Name a country I'll tell you how the US and/or Europe imperialized it. This makes the power imbalance higher, which is the core idea of Media Imperialism.

You aren't really Korean because you're not being submissive.

Fuck. lol Take it up with my Korean ancestors and 100% Korean blood. Also, stop believing Madame Butterfly and Memoirs of a Geisha for all of "How Asians should act."

I come from a history where Korean women threw rocks at generals and held rights longer than Europe did. We overthrew a president who was being overzealous about Korean textbooks. Where there are political protests all the time. Where we did resistance. Where we asked the US to be accountable. We had kickbutt men and women throughout history and you expect me to roll over while people want Korean media to be exactly like US media, when Korea faced mass genocide at the hands of Japanese? Oh really?

You want to fucking think about that? When did you hear about an ajumma just rolling over?

Nyahh, Korea has a LONG LONG history of resistance.

Conclusion

When I call out Koreaboo for not being willing to read such classics as Hong Gil Dong (Which got translated, though I dislike the translation, honestly), or Weeaboo for not being able to know who Natsume Soseki is, which is like not knowing Iunno, John Steinbeck in English Literature, it's not saying "You are wrong for liking these media." It's saying you are wrong for insisting it be exactly like home. Romance of the Three Kingdoms ends sadly. Fuck. And it's in the title. Chinese romances didn't have happy endings until a few years ago, and it was pressure of Chinese people, not foreign powers that did it. There is a whole thrust of Historical dramas where it focuses on Romance, and then ends effing sadly that still plays on Chinese TV. I mean, all you need to do is explore.

If it should be "more like home" then you have a whole library and new TV shows in your language to consume that's "Just like home" because it is home. You need not tell a whole other country to bend to you because you don't want to bother learning the language, the history or the culture and up your enjoyment and the understanding. You can stay insulated in your bubble and instead of insisting it be all the same BE CURIOUS. INVESTIGATE.

Why did you deviate from your home country's media if you love it THAT much that you want to impose it on other fans that love to investigate those differences?

Also, I wouldn't chase after the person giving you media literacy on being mean about imperialism. Really, it's the kindest thing I can do for you is to tell you you live in a bubble reality. The rate of importation is low. You need to read world media before 2000. Why not ask me for books and classics to look up? Why not look for seminal favorites that haven't become TV shows? Why not expand your world so you aren't that awkward tourist that only thinks about "Oppa" and thinks K-dramas with office workers with 5,000,000 KRW phones, can afford them?

There's puns you didn't get? Ask about them.

Again, questions don't make you weak, and it will make you stronger to expand your media literacy outside of structuralist AH white men. I mean, have you read Audre Lorde? Did your effing teacher notice the influence of Griot?

Spend your time outside of dramas and I promise your enjoyment of them will go up as you understand more about them. BTW, I'm still impressed with the amount of people who want to preach about Confucius as non-East Asians, East Asian drama fans who have never read him. Not a single line of his Analects. They also confuse Neo-Confucianism with Confucianism. Damn. Some teachers are failing you. You can't preach about a text you never read.

[just-a-bookish-reader]

A Fragile Enchantment Review

Thank you to Netgalley for the digital advanced reader copy!

A whimsical and cozy standalone fantasy, Allison Saft's newest book (01.30.2024) just about perfectly balances elements of fantasy, romance, magic, political intrigue, and oppression and family - both in pacing and emphasis. Complete with representation not dissimilar to her 2022 release (A Far Wilder Magic): a briefly implied Jewish Spanish woman, and a handful of queer characters, all shimmer like the divine-blooded under the spotlight in this novel, diving into the relationship between what appears to be a magical version of Ireland and Great Britain.

A Fragile Enchantment heavily explores themes of what it means to live, to truly experience life

"Her heart beat. Her lungs swelled with air. Life was here, right in front of her."

as well as a romance that, at first, appears to be quite unexpected, despite the cover art. With a dazzling thread of strongly structured plot, threaded through the needle that is Allison Saft's enchanting writing style used to sew together the fabric of every detail, every romantic scene, every gesture, Saft guides the reader through the resulting story full of life, love, longing, and yearning, that is just as magical, just as heartbreaking and just as powerful as any single garment that Niamh Ó Conchobhair could sew by hand, imbuing the novel with all the emotions and care that were so meticulously described as the result of Niamh's own magical craft.