#it shapes the worldbuilding and characters so much!

[carnivalcarriondiscarded]

a lil fieldrake hanging out <3

[springcatalyst]

*banging on your door* I'D LIKE TO HEAR ABOUT JULIAN, LILIANA, UND BROOKE PLEASE PLEASE PLEASE.

What are their final thoughts in the dark silence of night before they sleep? How do they sleep?

How do they choose their clothes when purchasing and dressing?

What is a fear that they cannot pull themselves away from? They need it, and they hate it.

OMG HELLO HI HELLOOOOOOOO i am taking ur coat like a victorian gentleman and inviting u inside.  These are so specific and dramatic i love

AHEM

-

Sleep, rather, the moments right before it, is when a person is at their truest.  You can’t really hide from it.  So those final thoughts are typically a lens into the basal forms that make up a character.

Liliana is a character that’s very true, very genuine, so her sleeping mind doesn’t show much that you wouldn’t expect, because there’s not a lot that she hides, at least not from herself.  She’s obsessive: stuck (though ‘stuck’ implies that she’s here by some force other than her own) in this quest that she’s been trailing for years, getting closer but not in any way that’s tangible.  She goes to sleep with ‘what next’ floating around in her skull, and dreams of a goal reached.  And she sleeps like the dead, but only because she puts it off for as long as she can.  Not that she avoids sleep itself, though, rather she stays up and works until she can’t stay upright anymore.  She is laser-focused, set on her task.  It can benefit her, in certain conditions, but mostly it leaves her running on so little sleep she has trouble functioning. Her being a satyr means her sleep schedule doesn’t quite align with a ‘typical’ one anyway, but she definitely fucks it more and also that’s not set in stone atm.

Julian, on the other hand, is a liar and he hides just about everything about himself, including from himself.  Julian and Liliana are similar in a lot of ways but this is not one of them.  So his unconscious truth doesn’t always align with what he appears to be.  It’s careful.  It’s somatic: a sort of ‘is the door locked is the knife within reach is the cane by the bed,’ but it’s also theoretical: more a ‘who here do I trust (in the most basic sense of the word) or who do I watch out for.’  He absolutely is the impulsive asshole he looks like, but the little bit of careful caution that remains beneath plays a role in his continued safety (relatively speaking).  Julian is also a pretty light sleeper, growing up with five siblings (lmao) there’s a good amount of noise in the mornings or if something is wrong at night, so he’s just kind of grown accustomed to waking up, even if it’s that barely-awake state, to evaluate the noise.  And he rises with the sun- mostly old habit, but it’s also convenient for guaranteeing some time unobserved, for safety or just for some quiet.

Brooke is different in that the thing that follows her into sleep isn’t as much a thought as it is a feeling.  Brooke spends a lot of time busy, not necessarily with the intent of keeping her mind securely in the present, but that’s the effect it has, no matter.  So when she isn’t doing something- following or fighting or helping or hurting -she gets that little moment of quiet calm and it’s occupied by guilt.  The weight of it kind of lingers above her, the knowledge of what she was a part of, the remembrance of what she’s constantly trying to undo.  Brooke lives in the shadow of a debt to repay, and it catches up to her when she has a moment of still.  She is an uneasy sleeper, heavy to the ongoings of the waking world, but she rarely sleeps straight through the night, nevertheless.  She doesn’t dream, just wakes with the feeling that she did, even as it evades her. 

-

I feel like this is already so long and that’s just the first thing but like, you gave me the opportunity so I’m taking it <3.  Choice of fashion is a little less dramatic but I’m sure I’ll find a way to make it anyway.  Clothing basically serves three functions: utility, expression, and comfort.  For the sake of character designs I usually focus on the first two unless it’s particularly relevant, which it isn’t for these three so much. 

Brooke is mostly utility.  She has casualwear, of course, but honestly I haven’t really designed much of it and usually just draw her in her armor.  Which is pretty obviously utile, but it’s also familiar.  She keeps this leather armor, embossed around the edges (that I’ll actually design and make mean something eventually but... not yet apparently) and either similar or just the same to the kind she wore with her family, their guild.  Familiar isn’t always a good thing, but it’s all she knows.  If I’m being real she’s still being developed, especially storyline specifics, so not a lot is decided.  I’ve thought about switching around the colors, the blue I typically give her can be a changed version, removed from its ties to before, which was maybe a gold or a purple, something more implicative of importance.  Or of having her rid herself of the armor completely, so caught up in breaking her bonds that she makes herself vulnerable... but I’m a little too attached to how the armor looks... basically, she’s just balancing the safety of utility with the unrest of something recognizably hunter. 

Liliana is mostly expression.  She doesn’t need anything particular from her clothes, so chooses what makes her feel good.  Nothing too extravagant, because she is still wrecking shit and needs to not be hindered by what she’s wearing, but she dresses to look good and be scary, when the need arises.  She wears dresses and skirts despite the fact that, as a satyr, she really doesn’t... need to?  Because satyrs, post-cataclysm, live closely tied with humans in particular, though fauns as well, depending on locale, and as such have absorbed some social elements of theirs- like clothing and gender norms.  She abides by those norms, gender in particular (to a certain degree), not because she has to but because she wants to- because, you know, trans.  She carries a good amount of things with her on average- swords and knives and lockpicks and money and various other whathaveyous -but rarely carries them all at once, taking them on or off her person whenever she thinks she may or may not need them, but her belt remains on no matter, because that’s what she needs to have any of them at all.  Her compass, too, stays on her at all times, but that’s more sentimentality than use. 

Julian is a bit of both, but with him, a lot of the expression melts over into utility.  The puffy shirts, while inherently pirate out-of-universe, are conveniently the opposite of form-fitting.  They make him look bigger than he is like a cat puffing out, but also hide, you know, trans.  Typically they’re white or otherwise lightly colored, because it’s cheap and function-over-form, but later era when he’s particularly full of himself he trends towards darker colors and black.  Black, as a dye, is expensive to make, so wearing it is a way of making it clear that he is either important or dangerous or both- he strives to command respect or fear and it doesn’t always matter which.  Julian, like Liliana, also carries some stuff with him, but the difference is that he has less, and so almost always has all of them.  The exception is his sword, which is bulky enough to always have that unless he for sure needs it, he’ll leave it in favor of a knife (or two, counting the one in his cane).  And because his right hand is typically occupied by his cane, his things are all strapped to his left, another reason he doesn’t always carry the sword- it gets in the way.  Finally, depending where storyline-wise he is, he wears a couple little gold earrings- mark of a pirate.  Been considering having it be a status thing, too: one for crewmate, two for first mate, three for captain, or something similar. 

-

Fear is a really interesting one.  I dig where you’re going with it, and I’m sure I’m about to exhibit some mental illness, but like, fear is possibly one of the most important things in a character, because it’s what’s really behind at least 90% of a characters’ motivations, isn’t it?

Gotta start with Julian for this one.  He is afraid of a thousand entwined things in a way he will never admit and might not even be aware of.  The way he is perceived is so important to him that he lives with the constant threat of what he’s built for himself being taken away.  He’s so... I can’t call him exactly fake, because it’s not all false... he’s so constructed.  Everything he is, is exaggerated.  He is angry, and impulsive, and fast and rude and detached, but the way those things are presented is curated to be viewed in the way that he wants it to be.  And because of that, because everything he is is built on a not-quite-lie not-quite-truth, he runs the risk of having it all crash down around him.  That’s what follows him: the fear of being seen past it all, because he thinks that with that, he’ll end up right back where he was before.  Not to be too insane but in my silly little character.doc that I have for fun there’s this segment that’s pretty much what I just said:

He is afraid of no longer being taken seriously

He is afraid of losing the image he has created

He is afraid of trust being broken and secrets getting out

He is afraid of being patronized or the subject of pity

He would have you believe he is afraid of nothing

Liliana, now that I’m thinking about it, is actually pretty similar to him.  I didn’t even do this one on purpose oops.  Her difference, though, is that what she is isn’t fake.  She has this legacy, this name, that she reigns- people know of her, she commands that same respect or fear that Julian has to try so hard to.  Part of that, though, is taken from her.  She has her... I don’t want to call it a birthright, because that sounds entitled, but she has her birthright, then it’s stolen from her, and she rebuilds it even as she is on a hunt to reclaim it.  And so her fear stems from the possibility of failure.  If she never reaches her goal, if she truly loses what should never have been taken in the first place, then it’s all been for nothing, not only her work, but her father’s.  And the longer she goes without reaching that finish line, the more she is afraid of ‘what if it’s too late’ and ‘maybe it’s already over.’  Because her failure is also his, what she’d lose is also his, and that’s worse than if she just failed herself, because she feels the need to honor what he built, what he left, and what he was, in his absence.

Brooke is afraid of exactly what you’d expect.  A thousand what you’ve done’s follow her.  She terrified of never making it right, of the possibility of her wrongs being something that she never can make right.  She made a vow and she intends with all her being to keep it, but there is no endgoal, there is no ‘finished.’  It’s constant, and as such the constant threat of failure, of breaking that promise, whether by action or inaction, stays with her.  She lives with it for so long that it begins to leech into her, more than it already was, so it becomes what drives her.  But also... it’s what’s always driven her.  For a long time, she’s driven more by what’s behind her than what’s before her, and all that does is make her steep in this guilt and fear, fighting for a repentance that she doesn’t even know if she deserves. 

-

Okay I’m done being insane now, I hope my fucked up little guys provide enrichment to your enclosure but either way you’ve given me the GIFT of LETTING ME BE ANNOYING so THANK U AGAIN BESTIE. KISSING U KISSING U KISSING U KISSING U K

[mewjimewjimewji]

i love dungeon meshi and the way it views people in a way i grew to think no one else ever would. the way it frames bodies and nudity without it needing to be inherently sexual, and any fanservice or sexualization there is only feels very honest rather than perverse. the neutral way things like the harpies or humanoid monsters have exposed boobs and nipples. or the farcille bath scene being fanservice in a way but feeling intimate in an entirely different way than that to me. it feels so removed from the weight of the way others view people with beauty standards and other imposed characteristics—yet it paints people as beautiful around its own definition based on the way people actually are. the way it frames human beings as a whole, as living like any animal does with universal and inescapable needs. no matter how we see ourselves we still get hungry, we still get hurt, we still get sleepy, we still get thirsty. the characters have magic and anime fighting strength but remain as fragile as any living thing, being able to be killed in one shot. and every shape the different characters take with their diverse bodies is drawn with equal appreciation for their form. there are many things dungeon meshi feels passionate about, such as how clearly invested ryoko kui had to be in zoology and stuff for a lot of worldbuilding, but that wouldnt be complete without this touch too. i just love how much this series was clearly created by someone deeply in love with and invested in human beings.

[theplotmage]

How to Get Started with Worldbuilding for Fantasy Writers

Hey fellow writers!

Worldbuilding can feel like a Herculean task, but it’s one of the most rewarding parts of creating a fantasy novel. If you're getting stuck, Here are some tips that have helped me, and I hope they’ll help you too!

Start with the Basics

Geography

- Map out the physical layout of your world. Think about continents, countries, cities, and natural features like mountains, rivers, and forests.

Climate and Ecosystems

- What are the climate zones and ecosystems like? How do they shape the lives of your inhabitants?

Create a History

Origins

- Dive into how your world came into existence. Are there creation myths or ancient civilizations that set the stage?

Major Events

- Outline key historical events. Wars, alliances, discoveries, and disasters can add so much depth.

Develop Cultures and Societies

Cultures

- Craft diverse cultures with unique customs, traditions, and values. What do they wear? What do they eat? How do they express themselves through art?

Social Structure

- Define the social hierarchy. Who holds power? What are the roles of different classes or groups?

Establish Magic and Technology

Magic System

- Set the rules and limitations of magic. Who can use it? How does it work? What are its costs and consequences?

Technology

- Decide on the level of technological advancement. Is your world medieval with swords and castles, or does it have steampunk elements?

Design Political and Economic Systems

Governments

- Create various forms of government. Are there kingdoms, republics, or empires? How do they interact?

Economy

- Define the economic systems. What are the main industries and trade routes? How do people earn a living?

Build Religions and Beliefs

Religions

- Develop religions and belief systems. Who are the gods or deities? What are the rituals and holy sites?

Myths and Legends

- Craft myths and legends that influence the culture and behavior of your characters.

Craft Unique Flora and Fauna

Creatures

- Invent unique creatures that inhabit your world. Consider their habitats, behaviors, and interactions with humans.

Plants

- Design plants with special properties. Are there magical herbs or dangerous plants?

Incorporate Conflict and Tension

Internal Conflicts

- Think about internal conflicts within societies, such as class struggles, political intrigue, or religious disputes.

External Conflicts

- Consider external threats like invading armies, natural disasters, or magical catastrophes.

Use Maps and Visual Aids

Maps

- Create maps to visualize your world. This helps you keep track of locations and distances.

Visual References

- Use images or sketches to inspire and flesh out your world.

Stay Consistent

Consistency

- Keep track of the details to maintain consistency. Use a worldbuilding bible or document to record important information.

Feedback

- Share your world with others and get feedback. Sometimes fresh eyes can spot inconsistencies or offer new ideas.

Let Your Characters Explore

Character Perspective

- Develop your world through the eyes of your characters. How do they interact with their environment? What do they know or believe about their world?

Be Flexible

Adapt and Evolve

- Be open to changing aspects of your world as your story develops. Sometimes the best ideas come during the writing process.

Worldbuilding is an ongoing journey, and it’s okay to refine and expand your world as you go. If you’re stuck or need specific advice, drop a comment or message me. Happy worldbuilding! 🌍✨

Feel free to share your own tips and experiences below. Let’s build some amazing worlds together! 💫

By the way, if you’re looking for a tool to help you keep track of all your worldbuilding details, check out my worldbuilding bible on Etsy! It’s designed to help you organize every aspect of your world, from geography and cultures to magic systems and conflicts.

I poured my heart into creating this, and I hope it inspires you as much as it has inspired me. Writing is such a beautiful journey, and having a structured way to keep your ideas organized can make all the difference. So go ahead, dive deep into your imagination, and let your creativity flow. You’ve got this! 💖📝

Happy writing, friends!

[theshitpostcalligrapher]

please tell me this manga/comic/show exists i do not wanna have to make it

okok I've posted about this before but I'm watching animation content on youtube again while getting work done and by GOD I WANNA TALK ABOUT THIS AGAIN

There's a specific concept I want to consume as content/art so badly but it came to me in a stupid dream. BUT. Sometimes, a dream means I DID see a hint of it somewhere and my brain accidentally plagiarized it which provides me with the teensiest sliver of hope that exists already and I don't have to work on it

It's a kind of a reverse isekai, right? But instead of an instant portal, it's time passing. And what I mean by that is that it's a Sun Wukong story, but the branch off is that after the main events of Journey to the West he gets either water temple'd or trapped in magic sleep again, not for a few hundred years but a few THOUSAND.

He wakes up to an incredibly far-flung China that remembers his myth and only his myth.

The art style that operated in this dream was sort of. Textured but 3D? Think nimona's buttery lighting but instead of emphasis on light and shapes to operate with the stained glass and solarpunk-medieval style the models are textured in a way that just invokes traditional brushwork and colour bleed even in a more cyberpunkish setting. Think like. Whenever there's a night scene the astigmatism glow of lamplight bleeds a little, like ink feathering on paper.

It's a little bit of a Steve Rogers treatment in a way, the world has moved past him, but also completely mythologized and capitalized on that mythology. Rather than treat that man out of time narrative as an aspect of backstory, it's the MAIN character narrative, because this ISN'T a world that needs him. This world is doing pretty okay, actually.

This a story about him.

Not about his feats or how cool his powers are or the 8 gajillion things the magic staff can do but just.

How ya doing, bud?

From the vaguely coherent notes that I could garner from my sleepily typed googledoc, it seems that I wanted this to be a love letter of sorts to the Asian diaspora experience? A specific sort of loneliness? Where the world you experience has a sort of disconnect in that it makes plain you belong there but you also don't, you never have, and there's no way to go "back" but going forward feels like groping blind through the muck. How much right to the past does he feel like he has? When it's been built into something he can't recognize and is clearly important to other people.

I want the pickup of the plot to gain him friends, family, maybe even a conflict or two but the stakes should never elevate vis a vis physical enemies to battle.

It'd be about 2/3 of this sort of narrative drawn story and the other 1/3 just hogwild worldbuilding and design

I've looked at a few other journey to the west adaptations but they mainly just use him as a funky lil action figure hero that's there to be cool as hell and save the day

99% likely this is just a thing my brain is made up and I'd need a several million budget and about 25 additional skills to start the ball rolling but hey, worth it to ask yall again

[grison-in-space]

Currently rereading Eric Flint's 1632 and reflecting on just how influential Flint was to me and my approach to both praxis and politics as a teenager. I found Flint when I was about thirteen or fourteen, around the time I found Pratchett I think, and he's left an equally wide thumbprint on my soul. Isn't that the most wonderful thing about stories, that people you've never met can help shape our adult selves? Mother of Demons I often recommend for its SFF worldbuilding--Flint built a species with at least four genders, only some of which are reproductive, and associated "normal" sexual orientations, and then proceeded to write in a textually intersex character and queer the hell out of it.

1632, though, is the one where a little West Virginia town in 2000 gets picked up and dropped in the middle of Thuringia, Germany in the eponymous year--right in the middle of the Thirty Years War. The local United Mine Workers of America chapter plays a major role, particularly its head.

As I write this I'm listening to the scene where the little town of Grantville, having admitted after a few days that they are probably not ever going home, is crowded into the high school gymnasium listening to the mayor lay that reality out and suggesting an interim council to help the town set out a sort of constitutional convention so they can work out what on earth they're going to do moving forward--especially since there's a bunch of displaced refugees collecting in the forests nearby. Sensible of them, really; the Americans murdered the shit out of the local soldiers that displaced them, on account of how the shaken mine workers that went out to figure out WTF happened not being super down with suddenly running into a bunch of fuckheads raping the locals and torturing people to find out where their valuables might be. After that, said Americans proceeded to retreat into the town boundaries and gibber quietly to themselves. I would go lurk in their woods, too.

Anyway, the mayor sets up this proposal, everyone agrees, and a CEO who was visiting for his son's wedding at the time steps forward and says: look. I know how to lead, and I'm probably the most qualified person here. I lead a major industry corporation effectively and I did that after my time as a Navy officer. I put myself forward because I'm qualified. Now, we're going to need to circle the wagons to get through the winter, tighten our belts, but we can get through this. We can't support all these refugees, though; we'll have to seal the border so they can't bring disease--they're a drain on our resources we can't afford--

and the UMWA guy, he gets really mad listening to this. There's this Sephardic refugee woman he's real taken with who got swept up in the town first thing, and she's sitting in and listening; he's thinking about throwing her out, thinking about how much she knows about the place they're found in, and he's furious. But he gets a good grip on his anger and he marches up and he says, look. This dude has been here two days and he's already talking about downsizing?! You're going to listen to this CEO talking about cuts, cuts, cuts? Nah. Trying to circle the wagons is probably impossible, it's stupid, and if you think my men and I are going to enforce that, you can fuck off. That proposal is inside out and bass ackwards. We've got about a six mile diameter of Grantville here; how much food do YOU think we're going to grow? How about the soldiers wandering around, do you think we're going to be able to fight armies off on our lonesome? Look at the few refugees we already have in the room, they'll tell you how those armies will treat you! We could do it for a while, the amount of gun nuts here, but so what? We don't have enough people to shoot them! Not if we're going to do anything else to keep us going! We have about six months of stockpiled coal to keep going, and without another source or getting the coal mines working, we're screwed. We have technical strength but we don't have the supplies or resources we would need to maintain it. Those refugees? They're resources. We need people to do the work we will need to keep ourselves. The hell with downsizing; let's grow outwards! Bring people in, give them safety, see what they can bring to the table once they've had a moment! He invokes: send us your tired, your poor!, and the CEO yells in frustration: this isn't America! so he yells back "it will be!"

And of course everyone cheers. I love Flint for many reasons but he is unapologetic about affection for the America of ideals--ideals, he freely admits, that are often honored in the breach rather than the observance, ideals that are messy and flawed, but nevertheless ideals that can work to inspire us to become the best version of ourselves. For Flint, history is as valuable as a source of stories to inspire ourselves as it is a repository of knowledge, and on this I tend to agree with him. We must learn from our moments of shame but equally we must learn from moments that show us how to be our best selves.

It's been twenty three years and the text is now an interesting historical document in its own right, hitting points and rhythms in beats that are sometimes out of place today. It's not perfect. But the novel contains a commitment to joy and to emphasizing the leaps of faith and understanding that regular, everyday people make every day to try and support each other that I routinely try to match in my writing.

Anyway, one of the strengths of the novel, I think, is its gender politics: it's a very ensemble kind of novel, lots of characters, and it's preoccupied with positive masculinity in a lot of ways. There's a lot of these hyper masculine characters--Mike Stearns perhaps more than anyone else--and--and...

... And Flint's characterization of Stearns, as he sketches out who the man is--his pivotal American leader, ex boxer, working class organizer, big man.... well, it lands equally on "he is delighted and astonished to find a local woman who quickly assesses how the cushion of air in tires works," and "he considers who to set up a Jewish refugee in the middle of Germany up with and he thinks to ask the Jewish family he grew up with to host her and her ill father because he thinks she'll be most comfortable there", and "he views people as potential assets rather than potential drains." A younger man asks him for advice on whether to pursue a professional sports career because of the boxing and he says no, you're in the worst place of not being quite good enough and you'll blow out your knees without accomplishing safety. He frames that interaction such that he allows his own experiences to make him vulnerable and invite the younger man to understand when a struggle have worth it.

It's actually a really deft portrayal of intense masculinity that also makes a virtue of a bunch of traits more usually associated with women: empathy, relational sensitivity, the ability to listen. As a blueprint for what a positive masculinity can look like, vs the toxic kind, it's very well done. I think sometimes when we look at gender roles in terms of virtues, and when masculinity is defined in terms of opposition to femininity, people get lost by arguing that virtues assigned to one gender are somehow antithetical to another gender. In fact that's never been the case: virtues are wholly neutral and can appear in any gender. What the gender does is inflect the ways we expect that virtue to appear in terms of individuals' actions within their society.

Gender isn't purely an individual trait, basically; it's a product of our collective associations. Two characters with different genders can display the same virtues and strengths, but we imagine them expressed in different ways according to our cultural expectations around gender. And I just think that's neat.

[scribefindegil]

Losing my mind over how well Ann Leckie does material culture. So much of her worldbuilding is deeply grounded in the realities of material and labor needs and how those shape the setting. It's so prominent in the Radch books: the evil space empire is obsessed with tea, so they annex planets with the right conditions to grow it and replace all the native agriculture with tea plantations and staff them with transportees from their other conquered worlds. And in a sense that seems so obvious that it's almost silly to write it out; like, yeah, that's how imperialism works. But the difference here is how much focus the books afford it: it's not just worldbuilding for worldbuilding's sake; there's a multi-book plotline about the field workers striking for better conditions! But most Radchaai characters would never think about this: tea is just something you buy, the work of its production several levels of abstraction away from you, so you don't have to consider where it came from and whose labor went into making it.

And I just read The Raven Tower and I cannot stop thinking about how it views divine magic as just another kind of abstracted labor. This is one of my favorite sentences, from near the beginning:

"A man sat on the bench between them, wearing all white--white shirt, white leggings, white cloak, the sort and amount of perfect unstained white that can be achieved only by a god's intervention, or else the labor of dozens of servants with no other work than bleaching and laundering."

You read it, and at first it seems like a clear distinction: you can do this with endless, laborious human work, or you can do it with magic. But as the book goes on you realize that magic in this setting doesn't actually make things less laborious. Gods can do things that humans can't, but they're still required to draw on equivalent power. If you can't grow food, a god can provide, but they need to exert the energy that would otherwise have gone into germination and photosynthesis and threshing. If your divine protection against disease expires, you can accomplish the equivalent by continuously straining and boiling your water. If you want your clothes to remain perfectly white, you can get the labor from servants or you can get it from a god, but it's labor either way and the cost will have to be paid.

[fumifooms]

do you happen to have that page that talks about the beauty standards of each race?

Yeah sure. While scavenging pics for this I found this neat reddit compilation & chart & theory talk too. I had um, way more to say than I anticipated (I know you only wanted the one page. I have nothing to say for myself. Like most topics in Dunmeshi things snowball because they’re so interconnected. Mercy…) so, many races and observations are only mentioned near the bottom.

Beauty standards and race in Dungeon Meshi

Not pictured there’s also how elven society is harsh on visibly disabled people, and how the demon took away Mithrun’s silver eyes and ears to take away his pride. There’s also how Senshi might have fit in with the orcs more easily because of the dwarven wide body shape, and how they tend to have more body hair too I suppose. In the extra on orcs we see Senshi living with the orcs and he gets judged because of the hierarchy rather than his looks.

What is fashionable also differs from culture to culture, and there’s how tattoos only seem common with elves, though dwarves and others do also sometimes have some. They seem to not raise much brows, which makes sense since for many essentially they’re for professional (magical) purposes especially with elves. Gender roles also differ in type and importance, but generally they are similar to irl ones for the races we see. Elven society seems to be the least gendered, which would be an unsurprising logical outcome of having lesser sexual dimorphism aka they look more androgynous. Comparing fashions and gender roles and how they affect beauty standards would be a whole other compilation and conversation. Kui has great worldbuilding partially because she’s got such a good grasp on sociopolitics and geopolitics. History affects cultures and beauty standards greatly. Kui’s oneshot Distant Utopia was very eye opening on her way to worldbuild and the consideration she gives these things, I do really recommend reading it.

Out of the big 5, we know the least about gnomes, but their sheet does say both culture and region are similar to dwarves’ and they end up being confused together often, so we can imagine the beauty standards are similar to dwarves’ as well.

I wanted to touch on this in a post eventually, but how one daydream hour page said half-foots tended to be curvaceous like in the artwork below puzzled me for a long time, all the half-foot characters we see during canon are rather slender and lanky after all, Chil’s succubi also being more curvy than plump. Economics are for sure a factor in that I imagine, the half-foots characters we see are all implied to be some flavor of poor or malnourished, as are half-foots depicted as empoverished oppressed minorities in general. Even comparing the artwork with the half-foot sheet’s depicted average half-foot, the ones on the left seem bigger. Wouldn’t it make sense though, if unlike dwarves half-foots don’t have similar naturally wide bodies, yet due to idolizing dwarves they work towards having a similar body shape/type to emulate them?

It’s said half-foots tend to stick to pretty ethnically homogeneous regions (aka half-foots-only communities) unless they move to the big city with ambition to try and make it big (like Chilchuck and his wife & kids did), and that’s interesting imo because then that would mean that in a ton of half-foot communities, they rarely see or interact with dwarves whom they try to emulate. Of course, one thing about beauty standards is that when they get adopted, at one point it stops being "this is how dwarves look and so this is how half-foots should look" and just becomes "this is how half-foots should look", most people feel as though beauty standards aren’t learned but innate, so I figure the half-foots wouldn’t have any problem still seeking dwarvish traits when there are no dwarves around.

There’s also stuff you can glean here and there if you want to extrapolate more. Like how in the race swap artworks, Mickbell is only smiling in the dwarf portrait, and Rin’s elven portrait looks very close to her elven one- Rin who is stated to be beautiful in her profile blurb. Benichidori’s extra does teach us tallmen can definitely have harsh beauty standards, but also since the text portrays her as very dysmorphic that’s likely reflected in her thoughts to a much more intense degree than is common, not an accurate strict baseline to go off. Ah, Kabru’s blue eyes are also why he and his mother lived a rough life in Kabru’s hometown, but that seems to be regional. Good post here on the topic of Kabru’s blue eyes and ties to irl history. There’s a lot to be said about Kabru being a man that in many ways is close to elven beauty standards, and how that might have affected or been affected by his upbringing with elves + his persona as someone that can effortlessly charm most people. Marcille’s section here in this essay also goes into Marcille’s struggles to fit in with the ideal image of an elf.

Looking human

Also notable are beastkins and demihumans: Demihumans are all dehumanized which makes people treat them worse. So if you differ from the visual idea of "human" (an in-world subjective categorizatiom just as much as demihuman is) most people do judge you negatively. Elves and dwarves get to fight about which type of human is considered the prettiest, but demihumans are below tallmen and half-foots, they are considered as simply below the beauty contest, incompatible with it.

Onis are perhaps the demihuman people we know of with the least cultural influence on the dunmeshi world, and with less intensely different appearances than other demihumans, but even them are treated as lesser than human, treated as beasts to slain for reputation points or useful strength to have around and command. It’s said their "magnificient horns" and fangs are often shaven off when the oni lives in tallman towns, so you could easily make the argument that onis are denied the right to have their own beauty standards, having to conform to other people’s and going through mutilation to take away features they might otherwise have taken pride in. Inutade was bought by the Nakamotos from a dangerous sumo fighting ring that got one of Inutade’s tooth broken on her first and only fight. Remember when I said different fashions existed in dunmeshi and how those could also affect beauty standatds? Like the elves, if you look at the portraits pages that include a lot of characters that aren’t in the story you can see distinct cultures within the same races, for example one young elf is bald which is in sharp contrast with usual elven long luscious hairstyles, and that’s especially true for onis I think. Maybe not only from different regions but different eras as well… They have a bit of population in the very north of the western continent, so I like to think some of the ogres live in very cold, maybe even subarctic conditions. The point I’m getting at here is that within a race, culture/ethnicity like with Kabru as well will also influence them, different communities will have differing beauty standards. The oni history blurb and third row first collumn portrait remind me of Mongolia (which historically was a lot of different nomadic communities with different cultural identities as well. Something something, the oni empire experienced a decline and then tallmen overpowered them, and now they’re governed and split apart by stronger social classes & slavers and the richness of culture was hurt for it), but obviously many of them are dressed and look rather japanese, makes sense considering living in/close to Wa, and first row second collumn portrait reminds me of ainus which again would be logical considering geographical placement, though I’m far from an expert. Interestingly, ainus are indigenous people both in Japan and Russia- Perhaps the northern western continent ogres are meant to be closer to Russia than Canada like I imagined? Ok tangent over.

The kobold sheet says they’re especially sought after as slaves because they’re "adorable", but locally in the western continent they’re repeatedly said to be seen more as ferocious and dangerous. The dehumanization is most apparent in the first comic below. The language barrier and conflicts no doubt worsen this by a lot, but I think it’d be hard to deny that their canine appearance makes the dehumanization worse. "They’re ferocious beasts, they’re demihumans, they can’t be communicated with". Most characters in Dungeon Meshi’s world are desensitized to slavery and most characters are prejudiced one way or another. Point being, kobolds are fully removed from human beauty standards, but no doubt for kobolds, other kobolds are more beautiful than humans are. They’re assumed to be an uncivilized bunch, but just like any other people they like to aforn themselves with nice clothes and jewelry and keep themselves clean and groomed; they too take care of their appearance and take pride in it.

And the orcs! This one we have the most contact with in canon, with not only there being foreigner characters from the ethnicity or hearsay of their homelands and culture but full on contact with a community. We get to see up close what they’re like and what they think, and of course in turn they’re our introduction to how demihumans are harshly looked down upon and seen as inferior, less human and thus less worth valuing and less dignified. It’s text that orcs are ugly to most humans and humans are ugly to most orcs. Since I judged they didn’t need accompanying explanation the pictures showing this are in the pictures dump at the top.

God forbid you sell vegetables to orcs my god- but then again they do basically mandate adventurers to kill any orcs they come across so yeah the world isn’t above that even a bit.

So yes, my main point here is simply that orcs are yet another evidence of the physical ideal of "human" being an important beauty standard for human societies globally.

Izutsumi is our glimpse at how beastkins are treated in the world, and in Wa at least that’s ending up being caged and mistreated as part of a freak show. Izutsumi hates her appearance and wishes she could leave the feline part of herself behind to only be human. Interestingly, not that we have a lot of info on them so this is very much a take with a grain of salt situation, but there seems to be less stigma around artificial beastmen, those who can shapeshift at will. The main difference is of course appearance, that most of the time they simply look like average tattooed humans. Artificially creating humans is an illegal practice, and no doubt it’s not well regarded, but being able to hide that makes them less likely to be discriminated at any moment, or even just discriminated less intensely. Again, looking human is important, not only for belonging but for safety’s sake. Beauty standards rule the world with harsh hands.

Mermaids and fishmen

Ok we’re done now right? Right-! But wait… Wait…! Mermaids and fishmen are said to be demihumans too, special separate cases to the main three demihuman species however, which is also represented by how mermaids and fishmen both are in the Adventurer’s Bible chapter Monsters meanwhile ogres, kobolds and orcs are in the chapter World. They’re an interesting topic because they directly tackle this topic, not only in a meta way for the readers but also making characters themselves struggle to quantify their humanity with the goal of knowing wether they should be eaten or not, especially Chilchuck. Chilchuck’s "is it really just a matter of feelings?" mini arc.

The party asking themselves "Should we eat this?" is very common, and often they end up playing a little loose on morality, like eating the red dragon’s meat despite it having digested Falin. Not unsimilarly Marcille freaks out a little over the vegetables they harvested having been grown with fertilizer, aka largely human poo. Half of the motivation of "should we eat this perhaps sentient creature" is out of consideration and compassion, but more strongly and more often, the characters struggle with a sense of taboo at eating something too closely related to humans. Even, feel uncomfortable because of the deepseated impression that eating it would dirty them in some way. Cannibalism is an interesting and relevant topic in many ways, but what I want to mention is how there’s the more or less universal belief that committing cannibalism inherently taints you as a person and turns you more monstrous, morally but also literally depending on some myths such as w*ndigos and onis in some cases, like in Touge Oni. Marcille and Izutsumi both express a fear of eating monsters turning them monstrous. Maybe this is part of what Laios was hoping for, honestly. There are two fears here, if eating a demihuman monster constitutes as cannibalism or not, and so, will eating it taint you because it’s a human, or will eating it taint you because it’s a monster? You are what you eat, until it’s a little too literal. You morally are the means by which you get your food, and you physically are the result of your nutrition. Dungeon meshi manages to mix an exploration of humanity with the theme of food because our relationship to food is very deep and complex, psychological as much as physiological.

In the end, the characters sort of shrug and accept that they’ll never quite understand the world of mermaids and fishmen and how they operate, and what that means about them. Laios is the one always challenging these notions other characters take for granted, it’s not obvious to Laios why people are softer on mammals than other animals and plants, it’s not obvious to Laios why people would be afraid of eating a monster just because it’s a monster, it’s not obvious to Laios why some food is gross to Marcille but not fish testicles, it’s not obvious to Laios why you should immediately regard orcs and kobolds badly.

"Cows are probably closer to humans [aka closer to being human] than fishmen, though they’re clearly intelligent", dehumanization to lessen empathy towards them to be able to eat them. Meanwhile, mermaids seemingly have a less noticeable "civilization" or intelligence, they hunt in groups like fishmen, but they don’t use tools and such, they feel more primal and similarly instinct driven, and yet… Do they attract sympathy more? Mammals, humans, is it because of their nature or because of their appearance?

Both the nature and appearance of fish are ones people don’t typically sympathize with. "Fish don’t feel pain", "goldfish only have 5 seconds of memory", "it’s okay to keep in bowls too small and empty for them until they die", so many lies and misconceptions exist that make people less considerate of them. The average lifespan of a goldfish is 10-15 years, the record is 43, but they’re not seen as lives that really matter, so a lot of goldfish die in a few weeks of bad aquarium conditions. There’s a lot of research on animals evolving to look cute and appealing to make some predators want to kill them less and parents want to care for them more, including humans. First good google research result gave me this credible short article on the topic. In Chilchuck’s weighing wether a fishman is far enough from being human or not, "face is 100% fish" is his biggest argument for it being more acceptable. The face, the most important thing for empathy and recognition. The face, the decapitated fishman one that falls into his hands next chapter.

To quote @room-surprise: "Chilchuck can't explain why it's wrong to eat the merpeople, even though it's NOT complicated. But the problem is Chilchuck would have to accept and acknowledge that the merpeople might be people? And that's outside of the worldview he passively believes, so he can't just say that, because he doesn't think that's true. But that IS why he "feels" it's wrong. And it's all you'd need to say for Laios to understand! But it would require acknowledging that maybe the way they're treating and talking about the merpeople is wrong."

The idea of Chil not being able to grapple with how maybe some monsters are more humans than they seem, him who had been an advocate of half-foots rights, half-foots who get undermined and treated as inconsequential sacrifices… Grappling with how he could relate to the merpeople’s situation almost, and pulling away because it’s so existentially horrifying. I do not want to see myself into an hostile fish-faced warrior I can’t communicate with. In a way this also relates to Chilchuck being the only party member who doesn’t see Izutsumi as a cat in the relationshio chart, the only one to treat her with full human dignity. He knows the struggle to be taken seriously, he knows being infantilized and he knows what it’s like to be treated as less than human.

Below, you will see Chilchuck draws the line of where they become not okay to eat as when "they already look like mermaids". Above, there’s speculation that the algae hair is partly to mimic "the mermaids’ beautiful female form". Is it because mermaids are their enemies and the ambiguity might give them extra seconds to attack or flee? Is it to trick adventurers instead? It’s striking to me that this is what works, with the adventurers. Sure the fishmen are intelligent, but explicitly here, what makes them no longer acceptable prey to Chilchuck is that they look close enough to a mermaid, close enough to human. Mermaids who of course themselves have this form to entice and seduce and charm the adventurers they prey on. Chilchuck considers the intelligence due to the tridents, but most of his internal debate centers around their appearance, and the image of a fishman skewered sickens him. The power of mimicry… Mimic being a beautiful human woman. Mimic being cute, babies being wired to make us feel protective and softened. Half-foots, sometimes pretending to be children for scams or help or avoiding trouble.

The mermaids are only concerned by their differences and not their similarities, and have no trouble treating the fishmen as food rather than peers. To an outside perspective like us, the audience, all these categorization of "more human" and "less human" between onis and orcs and elves and tallmen etc seem stupid and unfounded, but to the people living in Dungeon Meshi’s world, elves may as well be mermaids while onis are fishmen, not alike at all, unworthy of empathy and thus fine to eat.

Ultimately, Dungeon Meshi promotes unity. It’s about seeking to understand the unknown and the misunderstood, the dehumanized and the inhuman. It shows the good that comes from seeking to understand what you do not, even when that’s one another.

[thebowieconstricker]

Head Over Heels - Prolouge

(The Creature x Reader)

A Lisa Frankenstein (2024) fic

masterlist link

Alright, monster lovers, I’m gonna try something a little more ambitious: an actual fic. Constructive criticism welcome! Please be kind because I have no proof reader and I’m still learning how to write good stories lol. I’m also gonna be fleshing out some characters to better fit the narrative I have in mind for this story. I hope you enjoy the prologue!

Warnings: slight language, my best attempt at worldbuilding, and our gender neutral reader is an orphan, so discussion of that. Also, (N/N) stands for nickname!

~~~

1986, Brookview, Indiana

“Oh. My. GOODNESS, (Y/N)! You have to try a face mask! It’ll help you with those dark circles under your eyes!”

“But (Y/NNNN), pink is totally your color! Just give it a chance, your nails would look SO pretty!”

“You didn’t even jump! It’s like you’re built for these movies, (N/N)!”

Comments like these had already gotten old around- you checked your watch- two hours ago. You considered yourself a survivor of some ancient teenage girl ceremony. Saying polite “no thank you”s to Taffy and the rest of her much too perky friends was becoming quite the laborious task. Some may say you were being too stubborn, as they had treated you with nothing but kindness since you came to town, to which you’d argue that Tricia certainly seemed like she had a bone to pick with you. Along with her, you had unfortunately seen enough of the world to understand one of the most important rules of high school:

The popular girls were mean, and these girls were certainly popular.

You had no idea why Taffy had run up to you on your first day of school and excitedly introduced herself, her gaggle of friends confusedly following after her. You figured this was some kind of territorial power move, checking out the fresh meat before inevitably deciding to kill.

But then Taffy kept hanging out with you. And complementing you. And begging you to hang out with her group of gals.

You took it as some kind of elaborate bit, but hey, they were nice.

At least they didn’t look at you like you were a rotten corpse walking down the halls.

Your thoughts snapped back to your current situation at Taffy’s house. Her mother, Janet, had actually sneered at you when you walked in, but other than that, the night was shaping up to be your average “new girls first sleepover”. Grease had taught you well. That was, until the truth or dare game started.

Lori had brought it up, and it started pretty normal.

“Who’s your crush?”

“OMG, I’m not telling!”

“Come on, Misty! We won’t tell! Right, (Y/N)?”

“Uh, yeah. I mean, no.” You mentally cursed yourself.

This is how it continued for a while before you finally perked up.

“I dare you to go to the Bachelors Cemetary Grove.”

“WHAT??? No way, Tricia! There’s no way in hell-“

Your eyes widened in intrigue and you blurted out without thinking, “There’s a bachelors cemetery?”

The girls turned to look at you.

Tricia raised one of her perfect eyebrows.

“You haven’t heard about it? It’s like- uber haunted.”

That piqued your interest. Life in the foster care system had caused you to grow accustomed to the darker sides of life, and you had always had a special interest in the dead. Your own parents had died in a mysterious fire when you were just a baby, leaving you with no real memories of them. You believed that everyone deserved to be remembered, especially the average, unremarkable person.

(Mainly because you knew that’s how you would turn out, and you’d like to be remembered.)

Enough of that, though, because everyone is still looking at you, so you cleared your throat.

“Would I have to go tonight? Or like, right now?”

Tricia rolled her eyes. “I mean, I didn’t ask you-“

“Oh, shush, Tricia! She’s participating!” Taffy smiled widely at you.

Tricia shot you a look.

“Fine. Yes, tonight. And you’d have to bring back a vine to show that you actually went there. The place is full of them, so it should be easy for you.”

You detected a hint of challenge in Tricia’s tone, but ignored it. You wanted to do this to quench the thirst of curiosity that was bubbling in your brain. This seemed like the first interesting thing you had heard about in this boring town.

You stood.

“I’ll do it.”

Taffy cheered and Lori looked at you in amazement. Misty immediately began to try to talk you out of it, worrying about your safety, while Tricia went silent.

Your mind was set, though. Time to see what all the hooplah was about.

~~~

The walk to the gravesite had been much more peaceful than you thought it would be.

Taffy’s house was constant noise, light, color, total overstimulation. However, the cool mist that danced across your skin along with the eerie silence of the woods soothed you. It helped you clear your head.

After walking through the woods for what seemed like hours, you finally came across the old rusted iron gate that sadly displayed the text, “Bachelors Cemetery Grove”. You frowned, finding the disrepair of the cite pitiful. This place should be filled with respect, not to be forgotten by vines and leaves.

Speaking of, holy shit, Tricia was right about the vines everywhere.

Thick, bright green foliage covered every inch of the area, graves poking out here and there to display faded names. It was enchanting to see so much life growing in a place of death. You could have snapped off a vine and booked it out of there, but you were drawn to this cemetery. Careful steps led you deeper and deeper into its heart as you swerved this way and that to try and make out the occasional name.

Then, through a beam of moonlight that shone through a break in the trees, your eyes caught on a specific grave.

You walked closer and came face to face with the stoic expression of a handsome young man, carved in the same stone his grave was made of. He had a strong nose, with beautifully curved lips and hair that flipped upwards on the ends. He was looking slightly downwards, his eyebrows painfully curved upwards, as if to express a dramatic feeling of grief. Resting beside his bust was an arm and a hand, attached to nothing and slightly curled. He looked like a man that would recite beautiful poetry, professing his deepest desires and most intimate thoughts.

Your mouth was slightly agape as you admired him. Despite your more logical thoughts, you brought a hand up to gently caress his cheek, finding a raised texture chiseled there that suggested sideburns. A sigh escaped your lips as you realized the romantic-ness of it all. A man who seemed perfect, a lover, full of life and emotion, condemned to a permanent fixture in a buried world.

You could say it was love at first sight.

[astro-cattus]

Flatland (The book) is pretty good!

I read Flatland not too long ago, I´m afraid to admit that I saw the 2007 adaptation before I read the book fully. I didn´t change the fact that the movie was a hot mess to me.

At first I chalked it up to be just an indie movie from almost two decades ago, of course the script would be messy and the visuals jarring. But the moment I gave myself the time to read the book in it´s entirety, I realized how bad Ladd missed what the book was aiming to teach, and make fun of. Bigots like him :^/

Not only that, but something that irks me so fucking bad is the whole Chromatists ark in the movie; not only is it extremelly inaccurate to the book. This being A.Square´s retelling of a historical event that happened so long ago, we can´t really take A.Square´s word for it, as it was probably altered to make the Chromatists as "irrational liberals" and the Circular Priests as "the voice of reason".

Bringing this very much innacurate retelling to the present day of Flatland feels to me, like a very poorly made strawman.

I need to mention too, the leader of the Chromatists, an irregular shape. Which could´ve been an interesting approach to the differences between both kindoms. But,, the way he´s characterized really hits me the wrong way, feels extremelly ableist. And just serves to further the point that Ladd Ehlinger didn´t comprenhend the message the book was trying to comunicate.

Or he did, afterall, the Chromatist movement was a in-book version of a human rights movement, as it seeked women´s and irregular liberation and individuality.

To be honest, It could be interesting to explore a Chromatist resurgence in Flatland, the book has plenty of worldbuilding and potencial to have new stories written about it. (I´m yet to hear of a good adaptation though, If you have any good adaptations around this world, I would love to read it!). But not by people like Ladd.

Another thing I would like to mention is how much Ladd butchered A.Sphere´s personality in this movie. I hope I´m not the only one who has this sentiment. A.Sphere is supposed to be humble, he scoffs at the idea of somehow being a supperior, perfect being. He´s also empathetic and patient, things A.Square mentions he associate´s with women, and therefore inferior. Something that is supposed to challenge his view, as he has this notion that A.Sphere is a godly entity.

I believe this was a counsious desition; by scrumbing this character of this personality, now he doesn´t have to challenge A.Square´s (and by proxy Ladd himself) bigoted views.

I can still understand people might´ve grown attached to the character, I trust you have two brains and understand the core message of Flatland regardless.

This just goes to show media literacy is a very crutial skill, specially as an adult.

Anyways, have this quick thingy before I run to my Uni because just now I realized I ranted too much and now I´m late lol

[jccatstudios]

dude i love the way u draw jesper so much??? like it just fits him so perfectly?? something about the hair and face shape he just like looks so alive

Thank you! Jesper's one of those characters that I love more and more every time I draw him. Same with Matthias whenever I have the chance to doodle. Unlike Kaz and Inej, whose expressions I already amp up a bit more than canon, Jes lets me do some bold expression work like the comics I'm inspired by. Thought I'd take this opportunity to share some design notes.

Hair and freckles - Both a callback to Jordie. Jesper and Jordie don't have the same hair texture, but as you'll see on the next set of pages (working on them finally!), they have the same hair part, which is opposite to Kaz's. I love a good moles and freckles character design dynamic.

Earrings - Little Kaelish worldbuilding thing. If I ever get to drawing Colm and Pekka Rollins, they'll have earrings too. Simple small gold hoops or studs.

Vest - I like adding dark side paneling to all his vests. Jesper's described as tall and skinny, and that panel alters his silhouette to accentuate that. I also don't add a lapel to his vests like I do with Kaz's, and that's just to make him look more like a cowboy.

Revolvers - I've got to solidify the designs for his guns at some point. All I got so far is that they're pearl and gold with jurda blossom filigree.

Boots - Cowboy boots with a heel! Regular dress shoes seemed more like university Jesper than Barrel Jesper. I already draw Kaz shorter than his canon height, but the heels also add to that difference.

[theresattrpgforthat]

Any games with a lot of collaborative world building?

THEME: Collaborative Worldbuilding

Hello friend! I have so many games for you. At the end of this recommendation post is a list of other posts I've made that are directly related to this theme!

Data, Nerves + Acquisition, by Ben Newbon

Based on the Beak, Feather & Bone SRD, this game gives you a way to build out your world and develop communities within it organically, all the while creating your own stories and lore to fill in the gaps.

Built on another critically-acclaimed city builder, DNA uses a deck of cards to generate a city and the factions that live within it. Players will generate Data, which corresponds to a person or faction; Nerves, which corresponds to the faction the characters interact with; and Acquisition, which represents what each new faction’s goals are. At the end of the game you should have a city that is criss-crossed with territory, relationships, and threats that give the city a unique feel.

Data, Nerves + Acquisition is designed to create a cyberpunk or futuristic city, although the creator states that the setting is still rather flexible.

In This World, by Ben Robbins

Nations have borders. Police have badges. Dragons breathe fire. You work for money. That's the world we've come to expect. But in this world—the world we create together—we can question those assumptions and imagine alternatives. And instead of just making one world, we'll make a whole string, each exploring a different slice of what could be… all in a few hours.

In This World is a fast game of big creativity, by Ben Robbins, the creator of Microscope and Kingdom. It is designed from the ground up so that anyone can play it, even someone who has never played any kind of story game before, and have no problem just jumping right in.

It overcomes the usual challenge of inventing ideas out of the blue by starting with a framework of real world facts, things we already know, and then inviting players to stand those ideas on their head and imagine how the world could be different.

In This World is designed for making more than one world at once, using a series of speculative questions - a number of what-if’s. What if vacations were much more common? What if everyone in this world travelled by train? What if this world had libraries for more than just books?

In This World is also designed to be no-prep and GM-less, which gives everyone equal control over the creativity of the world, and doesn’t require a lot of work or set-up beforehand.

Gathering Storm: Origins, by David Blandy

This is the time of feeding, A steady glut, Of fruit and labour That has made them drowsy and complacent. The store grows, Of their alien fruit While the others, Hear whispers Of a reckoning. A different time is coming. But how will the Authority fall?

By placing your characters on a faraway planet, Gathering Storm: Origins hopes to tell a story that has parallels to a real series of events that happened in Geneva, Switzerland in ours. It uses a deck of cards and an oracle to create characters as well as events that these characters will have to navigate to determine how the people of your planet will react to the actions of an Authority that demands the production of their Alien fruit, even though that production is to the planet’s detriment. If you want a futuristic metaphor for political actions that have had a very real effect on our world, you might want to check out Gathering Storm.

Planetes, by Cambilla Zamboni

Welcome to Planétes, a language-learning tabletop role-playing game in which you will create cities and communities, and you will become Dwellers and Wanderers. While shaping and exploring your communities, you will discuss and compare your values, and decide whether to stay in your city or explore new ones. Throughout this process, you will use the target language to interact with other communities, enriching your perspective and reflecting on your experience without relying on familiar structures. 

This is not just a roleplaying game - it’s also a language learning exercise meant to be used in a room of language learners, and it’s designed to work with very large groups. Multiple tables create their cities and their characters, and then each city sends one Wanderer to another city to visit and learn about the culture. Wanderers will ask the new cities questions, and the city members will do their best to answer. The Wanderers return to their home cities with the new information, coloured by their character’s worldview and values. At the end of the game, each character will have to decide to either stay in their city of origin, or move to another city - and the migration that happens will change core elements of the city.

Planétes exists on a single brochure, making it easy to print and hand out to a large group of people. If you want a game that works for large groups and can double as a learning exercise, I recommend this game.

The First Epoch, by Tib Winterfield.

Work with your players to build out the pantheons of your world, give them the gift of creation and allow them to put their own mark on the world. 

Completely system agnostic, a light-weight and simple game to help you build a co-operatively build your campaign world. 

The First Epoch is a world-creation game from the perspective of the gods, creating a mythology alongside a series of truths that will exist in the world that you create. Each player embodies a god and chooses specific domains. Every turn, one player will establish truths about how their domains work, and then roll Fate dice (dice with + and - on them instead of numbers) to determine the impact these truths have on the world. At the end of the game, there is a twist that will challenge all of the gods, and leave you with an end-state that you cannot predict.

If you really like mythology and want to re-write physics, magic, or how death works in your game, this is probably the game for you.

City Upon A Hill, by Hunter J Allen

City Upon A Hill is a table top collaborative city building game for any number of players. It requires a full deck of playing cards and note taking tools.

This is a game about building up a city and watching it fall. Work with your friends to populate a city full of life, commerce, legends, traditions, and secrets, and then bring the city to its knees through death, conflict, deficit, and crumbling infrastructure. Bring the city to a peak during its Boom era, and guide the city down to ruin in its Bust era, creating a setting rich in history and tragedy. Draw cards to decide the city's fate, working together to weave a tapestry that tells the story of your City Upon A Hill.

City Upon A Hill is divided into two phases: Boom & Bust. Boom follows events and details that define the city’s success, and reflects a heyday of some kind. Bust marks the decline of the city, through a series of unfortunate events and changes that affect the citizens’ well being. The game is played using a deck of cards, with the first Joker draw sparking the transition to the Bust, and the second Joker draw ending the game. I think this game is a really interesting way to create the history of a once-great city, baking in information about industry, tourism, infrastructure, and economic changes that affect the city and likely also the world around it. If you want a game that has somewhat of a melancholy ending, I recommend City Upon A Hill.

Our New Neighbours, by Whimsy Machine

In this small village, at least a few hours’ drive from any city of note, a small community has grown a bizarre polyp. As spring turns to summer, the roiling heat hatches the eggs of a startling development. New neighbours scuttle and squirm and gallop from the bushes and dirt and into unlocked sheds, messy mudrooms, and stinky attics of the village. Mutants are here, they’re weird, and they’re not sure what to bring to the potluck.

This is a collaborative storytelling, community-building, and map-making game, telling the unraveling tale of a village beset by oddities. The players take on non-specific roles, occasionally dipping into the voice of individuals, to weave something larger together.

Our New Neighours uses both a deck of cards and polyhedral dice to flesh out your map. The dice are first rolled onto a piece of paper to determine where on the map specific locations can be found, and the numbers rolled will determine how various places feel about the new arrival of Mutants. The cards are used to both generate mutations for your characters, as well as their needs. Once you have these defined, the cards will be used to generate events that may help or hinder the mutants - and prompt you as the players to respond.

Other Recommendation Posts To Check Out…

Two-Player Worldbuilders

World-Building & Roleplaying

Town-Builders

Map-Making Games

[the-cat-and-the-birdie]

I don't know who needs to hear this, but you should make an OC.

You should make an OC. Specifically a Spider-Sona. Like now. Preferably yesterday. [A MEDIUM-LONG essay about OC's, fanfiction, and how to enrich and better your writing skills in literally every sector. Throughout this essay I reference my two characters Disco-Spider and Inca-Spider as examples of the way OCs can be used.]

_________________________________________

"But no one cares about OCs -"

OKKAYYYY??

IDK about ya'll but fandom is NOT my final destination no siree

I feel like a lot of the time we get so caught up in posting and notes we forget that for many artists and writers on this platform - fanfiction is not the true end goal.

Many of us write and draw fanart for years -

But the fact of the matter is if you want to be an author someday, if you want to be a graphic novelist, an animator, etc, etc - You're going to HAVE to make OCs.

If you want to study English in college or publish books - you're gonna have to write an OC at least once. If not hundreds of times.

If you want to study art - chances are at some point you're gonna have to fill a portfolio with original pieces, including some of OCs.

If you want to do something with your writing, if you want to get better - or make a career out of your art, you HAVE to make OCs at some point.

And this is especially true for fanfiction writers.

You can get very very very good at writing in your specific fandoms, you may have the emotions of the characters on point, and the ability to describe the scenery.

But if you don't know how to create and design a character - if you don't know how to worldbuild, or come up with scenarios without the help of characterai and ChatGPT - you won't be able to write a book.

If you're an artist and you don't know how to draw an original character from scratch, how to match colors, how to draw certain skin tones, certain hair, wheelchairs and mobility aids, how to design a character from looks, to clothing - it's going to be so hard to expand your art outside of fanart. You'll always be beholden to the notes and popularity of your particular fandom.

Do it - even if you've never written or never draw before. Even better.

That's why I CHAMPION Spider-sonas so much. They're basically OCs on easy mode.

Can't write backgrounds yet? Here's a bucket on canon events to pick from? Can't draw faces? Blank mask with eyes.

Hell, if you're really really new about it - just pick a character and make a slightly different variant. Make a Hobie of your own, make a Peter variant. Make a Mary Jane variant. Pick a something you like and turn that into a character.

Can't write? Just fill-in the 'My name is [blank], I was bitten by a [blank]' script that Miles does. Can't draw, just draw out a basic shape of a body and color-out the suit, no fancy pose needed. That still counts!!

Make a self-insert. Make yourself fit into the story, design your suit, write out how you fight crime, how you'd act at the Society, meeting Miguel or Miles.

That's still character design, that's still worldbuilding.

We always hear people say 'Make art for yourself' and yeah that sounds nice - but people also misinterpret it.

Make art for yourself doesn't just mean making art that you personally like.

Making art for yourself also means making art that develops your skills even if no one gives a fuck. It's about making art as practice without the intention of it being 'completed', making OCs that never get used, drawing locations you see or writing a random ass short story then shoving it into your Google Drive forever.

Making art for yourself means making art that invests in yourself.

It means making art that interests you, challenges you, or helps you develop.

And making OC's helps develop your fanfic writing skills.

In may fandoms we begin to fall into these routine 'tropes' between characters and their personalities. This is usually known as the 'fanon' characterization.

Because when you have a set amount of characters and people, there's also a set amount of interactions and relationships between those people.

Writing OCs and having those OCs interact with canon characters allows you to dig deeper into sides of the canon characters we'd never otherwise see.

That's why I wrote Disco-Spider Diane like I do. Often, we see Hobie characterized as the chaotic, rowdy, confident type - which is perfect characterization for him. But in almost all of his interactions - he's the wilder, bolder, extroverted one. I wanted to put him in a situation where for once, he was the calmer one. I wanted to explore more grounded and chill sides of Hobie, one where he's the one grounding the other, and thinking logically - because in canon, we're hinted at a side of Hobie who's way more methodical and slow-paced and willing to stop and wait it out and play it off. And I wanted to see that. I wanted to explore what he'd do if he was faced with someone just as chaotic, who put on a cheeky ironic act - just the same as him.

Because no other characters serve that purpose in canon.

If there are elements of a character or concept you think are interesting but outright ignored by canon and fanon, you can create an OC to explore those parts.

For Disco-Spider: I wanted to explore how someone like a militant Black Panther would handle being Spider-woman, when Spider-people are usually shown as pacifists - what that would look like or how it'd shape her morals based on era, etc. For Inca-Spider: I realized there were so many culture based Spider people like Pavitr and Spider-UK. But none for indigenous communities, and NONE from countries that only existed in other universes. So, I created an indigenous character from Tawanti - a country that's located where Peru would be for us.

You can give a canon character a sibling, to explore how they'd interact with family. Give them a partner that acts totally different than their canon partner, write how that'd change the way they show love.

OC's make your original writing better, AND your fanfiction writing too. They can help you understand canon characters on a deeper level.

And sure, nobody likes your OC. NOW.

But every single character you write about, is someones OC. Every character you write about was once treated that way. Once upon a time, Dean Winchester was just some rando character in the pilot script of a show that hadn't picked up yet. Probably no one gave a fuck until CW picked it up.

The writers had to not only make him and develop him - they had to BELIEVE in him enough to pitch him to a TV show channel to make people care.

That's always the first step. Believing your character's story is worthy enough of being told and presenting it as such.

ESPECIALLY if your OC represents a demographic you don't see represented. Cause yes if there isn't any black women in canon then I'll Thanos this shit and do it myself.

Make OCs.

Write them. Draw them. Even if it's bad. Who the hell cares. Big Mouth is on Netflix with multiple seasons, have you seen that show?? 'Ugly' art is not a crime.

Make piccrews, fill out OCforms or take quiz's as them. Write little blurbs of them hanging with canon characters then post it in the tag.

You don't need a huge Spidersona sheet or a long long fic explaining their backstory. They can just be there.

MAKE OCs.

Make them to explore more in your fanfiction, make them so future you can write that novel or draw or that comic or sell those prints or whatever it is you plan to do.

Make it so your fanfiction AND original writing can grow stronger. It isn't just about notes and content and follows.

Make an OC. Make a Spidersona. Literally you have nothing to lose but your chains.

"Nobody cares-"

Oh they'll care when you pop out with that 6-book publishing deal. They'll care when you're designing big characters for movies. Cause that's how it happens. Watch.

ANYWAYSSSS if you made it this far I hope this inspired you to at least play around with the idea of OCs and Spidersonas in general.

Here's Hobie.

BYE.

If you want to make a sona and are kinda lost on where to start, lemme know!! Because I think they're amazing starting places for those who have never written or drawn before. Or if you have a sona but want to develop them further.

I haven't seen a guide to spidersonas and i wonder if that's something some people might want/need.

Seriously if I can even get one person into writing or drawing I'll be over the goddamn moon.

MAKE OCS PLEASE.

[storgicdealer]

ahem. cracks knuckles.

you know what time it is boy

highlights of attacking the innocent (also balling): general analysis of influencer arc episode 1

(so. the green onceler arc might be actually real)

THIS EPISODE WAS SO SICK. the animation????the music??????? the 3D CYBERSPACE??????????? MWAH chefs kiss . and the most interesting new thing: new character to play dolls with (thank you everyone who put their 5 cents in and shared a braincell: calling him greenscreen)

and. god.

the 3d insides of the computer box and programs... GOD !!!!!! GOD !!!!!!!!!!!! THIS IS WHAT I LIVE FOR BABY!!!!!!!!

i NEED to find out the dimensions of it.

the way the ab team decided to expand on the 3d perspective just like this is. oh my lird

personally this means SO MUCH for me as the #1 lover of the "internet is walkable" trope. one of the main reasons why i adore avam so much

more points on that: the icons dont seem to.. "gain shape" until they're interacted with: in this case picked up by the cg. another point: sticks need to apply force to an icon to open an app . swag

additional note: the episode itself seems to begin in sticksfight?? or just a random table that was drawn

additional note electric boogaloo: green seemed to hit the CEILING when performing his ballin movement. is the gui of the computer really not that high?? and.

where are the doors. where are. where is the backstage that the sticks constantly come out of. hello

the way they interact with adobe premiere is SO SO interesting. the whole process of videomaking in the universe is something im gonna be thinking of for a GOOD while

(small note: i know sticks own hammerspace and can basically bring out anything but. is the red cape the red fabric green used in the matador short?

now, onto our new character

greenscreen seemed to appear out of the adobe video being overloaded? with effects n unnecessary sfx and clipping masks and such, causing it to glitch. in fact, adobe itself warned to proceed with caution the second the cg put too much stuff into it.

honestly, we can always put this monent into the "something glitchy-fucked happens and there are consequences" category, with the consequences just happening to be a new guy (thank you so much whoever did that). but worldbuilding wise, how exactly did it manifest? did the excessive amount of effects and glitches.. shape a creature into existence? with it taking the appearance of green as the main character that appeared in the video the most. sort of like a puzzle to create a being?

what's interesting, the screen focuses on the cg throwing the video away before the sequence with it gaining sentience by taking the form of green starts.

now, the main thing about the fight scene to me is how greenscreen took all of his movements/actions from the video itself,

and how many people have already pointed out, is that..

he doesn't seem to have wanted to attack in the first place.

screen, from the beginning of his existence only possessed powers/moves that green & cg themselves have shown in the video. and of course, the main point of the video itself was fighting a monster — obviously filling up the video, the whole essence of the character, with mostly that. his whole being was shaped up that way.

screen might've tried acting friendly, or neutral at least — but the whole way the video, a fighting video, was jumbled with glitches kind of.. forced him not to exhibit any other behaviour. perhaps, if not for these glitches, he could've controlled his own actions — he would still know the most of the world from the video, but at least, if he wanted to fight — he could control it. and do it himself, if he wanted.

(additional note: greenscreen seems to glitch everytime he's hit, also.)

the time he does attack, himself — is when he is cornered, and has been shown nothing but violence from others.

woah that pal has some seeerious issues to get under control ! anyways, onto other highlights of the video! (/silly)

the new video did a WONDERFUL job at showcasing the cg's fighting style in a new, clear manner. the gang regained the weapons they have wielded in the first part of "wanted", but in another form.

orange, equipped with the classic brush tool, seems to be mostly focused on defense. (regaining the previous defense styles based on the last parts of wanted & avm s3!)

red seems to focus on melee and hand-to-hand fighting,

blue, classic: fighting at a distance with the bow.

yellow seems to also fight at a certain distance, but it is only a hand's reach: enough to hit, enough to not get hit. (this also heavily reminds me of yellow's behavior with the staff, where in fight she has mostly hung out in the middle: aiming and attacking from a certain distance.)

i'm not particularly sure what category to put green in, also taking in his usage of the rod in avms3 and a .. gun. in the beginning of wanted. but his moves are the most agile and sharp (literally) out of the crew.

a bit of the video i am . Really interested in

finding out about his adobe-abilities, screen consumed other bits of the program to use it for attacking. including posterizing time, which is not only a quite strong ability in on itself, but!

..also seemed to affect other sticks, while he, himself — was unaffected by time.

the move seems to be incredibly powerful??? like. if it was that easy for a glitched video to consume parts of adobe, use it for his own powers, to a point of manipulating time???

damn. the cg basically created an adobe demigod????????

another supposition i have onto why it worked on sticks: the cg were drawn themselves, and drawn in adobe flash, therefore being interacted with as symbols whether they were affected because of just being drawn beings themselves, or because of some kind of influence all adobe programs might have on each other — their creation itself is probably the reason for this. (once again. they created a killer machine and provoked it itself!!!!!! damn pick a struggle!!!!!/j)

the episode finishes off amazingly in my opinion by the cg recreating and using the basketball movements they learned when filming their first video. they Slamdunked a stick. good lord

anyways. FEEL FREE TO ADD ON TO THIS POST WHATEVER YOU WANT !!! i appreciate all notes !!!! :D

[perpetual-stories]

How to Write Compelling Character Backstories: Step-by-Step Guide

Hello, everyone! Happy Day! Hopefully everyone is ready for the weekend!

I don’t have much of an intro so, let’s get to it.

What Is a Character Backstory?

A backstory is a comprehensive overview of a character’s history that extends beyond the story in which the character appears.

Devising backstories is a crucial part of character creation since a character’s background will inform the action of the main narrative.

Writing character backstories can be part of the worldbuilding process. It’s a way to create fully formed characters who resemble real people with nuanced personality traits.

How to Write Compelling Backstories for Your Characters

Backstories are essential to creating memorable, authentic characters in your writing. Here are some tips to help you write compelling backstories:

Build a timeline of your character’s life events. Plotting out the key events in your character’s past can help you better understand your character’s personality and point of view. What were they like at a young age? What was their high school experience like? Did they have a best friend? When was the first time they fell in love? Continue plotting out these key events until you reach the present day. Not only will this exercise help you better understand your character’s thoughts, personality, and quirks, it will also give you a bird’s eye view of the formative events in your character’s life.

Make sure backstory details are relevant. When writing backstory for a new character, it can be tempting to include every bit of personal history that seems funny or interesting. However, focus on backstory that directly informs the plot points and conflicts that your character experiences in the main story. For example, if your main character’s best friend dies in your novel or short story, backstory that explains the depth of their friendship will deepen the emotional stakes. On the other hand, backstory that explores your character’s favorite food or an adventuring trip they took with their parents will feel like a waste of time, since it does not connect to your character’s present emotional reality.

Draw inspiration from real life. Writing a believable character backstory can be difficult. That’s why it’s helpful to draw inspiration from real life. Think about the way you recount formative events in your own life. Pay attention to the way your friends and loved ones tell stories. Read biographies of celebrities, politicians, or historical figures to understand the important episodes that shaped their lives. Taking note of real peoples’ backstories will make your character’s backstory seem all the more authentic and genuine.

Show, don’t tell. When weaving details from your character’s backstory into the text of your novel or short story, it’s important to avoid info-dumps. Too much backstory at once can cause the reader to become bored, which is why it’s important to vary the way in which a character’s past is revealed. Show, don’t tell is a writing technique in which a character’s personal history is revealed through actions, sensory details, or emotions. In other words, the author attempts to “show you” what happened rather than simply telling you what happened. Revealing your main character’s past life through tangible details and flashbacks can help the reader gain insight into the character’s background without relying on info-dumping.

Don’t overload your first chapter with backstory. When writing the first draft of a novel, it can be tempting to try to get all of your character’s backstory out of the way at the beginning. However, frontloading your novel with backstory and exposition will likely cause the reader to get bored since backstory often gets in the way of plotting, conflict, and organic character development. Try to spread out your backstory over the course of the whole story, deploying information as it becomes relevant to that character’s current situation.

There you have it folks, a quick and short post! Have a wonderful day everyone!

Please like, comment, reblog and follow!

[cloudmancy]

I have no desire to get you in trouble but I would be curious to hear your thoughts on the new episode and the preview because I also have.. thoughts and I'm interested in what other people clocked as not great or kinda.. idk. other people's concerns, because I have had a lot of them and I never see people really talk about those things

they're doing a new format this season where they film a bunch of rp episodes in a row then take a break when there's a battle so the crew can get the battleset ready, so I understand the dissonance. but the tone of this episode from the tone of last episode was SO jarring. I was ready to chew drywall at the end of episode 17 but we head into the episode 18 fight and at the end all I can say is... damn! that sure is a battle that happened. the entire fight felt really low-stakes even though objectively a few of the bad kids were in mortal danger, but the mood at the table was so relaxed and chill and there was almost no roleplay at all... which drove me so crazy

>no rp except for fun silly party stuff (no callbacks to the adaine elven oracle in a storm thing? after all the fun setup last time??)

>fought 8 different antagonists and none of them said a word

>nobody questioned why or what oisin's grandma or all those dragon were doing there they just started taking them out one by one like raid battles in world of warcraft

>cassandra/nightmare king showed up only to not make any impact or get a single word in

>dos2 lady vengeance fight did the floating boat/ballistas/dragon fight better SMH

and then after all of that we're headed straight into ANOTHER battle episode judging by the preview... and it's against the rat grinders and porter/jace! let me out I want PLOT & DIALOGUE fhjy cannot end like this (5 hours straight of battle where they just kill everyone that moves). there's 2 eps left so I really hope they do the last ep as a 4 hour long roleplay only epilogue episode because as we've all seen ending campaigns on a battle leads to frankly really rushed character and world decisions. it's ultra disappointing too because I loved this entire season so much so far. the setup and buildup and plot points and mystery of fhjy is the best they've ever done it in dimension 20 period

ep 18 fhjy battle was a letdown to me... not giving the party an rp episode after 3 hours of loredump + going straight into a final battle without being able to interact with the world after gaining info is bad. they should've had a chance to process everything they learned about house sunstone, porter's plan, the rat grinders being used as ascension fodder, whatever the whole deal behind ambrosia and lucy frostkettle and why they needed a helios cleric in buddy IN ROLEPLAY. I don't want all this stuff explained to me after the battle by brennan or in some throwaway lines in the adventuring party - I want the bad kids to talk to people! I want them to investigate! I want fig to pull some BS with porter knowing the full extent of all his plans. it really sucks for us as an audience too to be hit with all this lore and get approximately 0 time for it to sink into the implications of how the worldbuilding was shaped by it or realizations of "ohhh that's why that happened at the beginning of the season" before we go straight into killing everyone.

with the way this is going I don't have any confidence they're gonna be able to actually empathize at all with the rat grinders too before they start lopping heads off because in battle episodes everyone kind of just. becomes numbers and an objective to take out except for pet favourite npcs of the cast. and they've mostly been interacting with the rat grinders as nuisances all season 😭 I'm PRAYING to be proven wrong and the last 2 episodes of this are fantastic but it's not looking good folks