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amaiguri · 8 months

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A Brief History of my Fantasy World

As you may have noticed, all my cultures tend to rely pretty heavily on myths and legends to explain their history. You probably want to know the ACTUAL history of the world, right?

Well, congrats -- I don't definitively have a whole world history! I know, shocker: The history nerd doesn't actually have a comprehensive list of all the major empires and developments through history?! Unbelieveable. However, here's a broad overview of developments and eras of history in the world:

Era of Gods (More than 4000 YA)

In the beginning, the Gods made the world or perhaps were made by the world. Asarlai and Damaer were the creators of humanity and did, in fact, give them a nice little home in the alpine tundras of the North, where they taught them to see runes in the Ysse to use as magic. This led to the invention of writing around the same time as cooking, who Damaer taught them.

Humans also invented or perhaps were taught pottery and started befriending animals at this time. Most notably, hunters on the south coast of the North befriended seals. When the Great Abyssal Trench -- the biggest Ysse Spring in the world -- opened up, the seal and human hunter fused in the waters and became the first selkies.

At some point, an ice age happened (maybe caused by this opening?) and some humans traveled south over the sea -- leading to humans being on the isle of Telethens and the Southern Continent. All these different isolated humans led to the start of vastly different cultures. Humans probably invented and improved metals through this time period, with the help of Danvyr, God of the Forge.

Sha Hir'za at this time are just vibing in the desert, not yet sapient.

The humans in the South reinvent agriculture when the ice age ends. It's much easier in the south too, and the population grows quickly and healthily.

The end of the Era of Gods is marked by the very first murder of one of the Gods -- namely, that the God of Endings tore apart the God of Beginnings and made Their corpse into the Demon race.

Era of Demons (~4000 to ~2000 YA)

The Demons, being designed by a God unconcerned with the balance of the world's ecosystems, were -- to be blunt -- a little OP. They quickly began taking over the world, headed by a Demon known as Kivihk. They built a small Empire in the south and started trying to domesticate the humans there -- since Demons require blood and gain magical power from drinking the blood of sapient creatures.

During this time, they domesticated the Sha Hir'za but they became Sapient faster from eating the Demonic dinner scraps. This led to the weaving the of the Fifteenth God, and they escaped back into the desert.

Notably, Demons also made it North during this period but never established an Empire -- instead, they just assimilated into the human cultures there.

Also, at some point, some of the Selkies leave to the elsewhere and starts new civilizations on other continents.

The Era of Demons ends when Yeulia, Seeress of the World, Godling of Dyeus, is born and begins to lead the humans. (Godlings are like... the humansonas of their Gods. Think like the Jesuses of the Gods XD) Yeulia leads the humans to rebel against Demons and invents Monotheism -- establishing the Ecclesia of Dyeus.

Era of Heroes (~2000 to recently)

The Era of Heroes is categorized by the human heroes who rose up to shape the modern cultures around Yssaia today, starting with Yeulia in the South.

The Svanihk cultures that flourished under her religious guidance eventually turned their eyes towards world conquest, starting with Kallipolis and the Isles of Telethens.

This lead to the creation of the first Philosopher King who started to lead a counter-conquest -- before falling in love and then going on a murderous rampage when he was rejected. He was disassembled but the Telethenians swore to make a better Philosopher King one day. And also, the beginning of the Aftokratoria around 400 years ago.

During this time, magic technology is improving significantly, mimicking (in small amounts) some technologies WE have, like fridges, guns, and early prototypes of airships. But we can't mass produce these things yet.

In the North, similarly, there were rising and falling Kingdoms -- passed from King to King (not-gendered) through a tradition called a Trialhall (basically a puzzle box/rpg dungeon designed to pick the next King). One of these Trialhalls was a simple sword in an avil -- if you could pull it out, you became King. Except, no one could -- no matter how strong -- until this 14 year old kid named Riavh Solais, son of Scathach and (allegedly) her Dragon mate, could see the sword's name and just asked it really nicely. He went on to unite the North with the help of the Yeulia of that era, only for him to become depressed and his son ended up tearing the Thuillean Empire apart in a civil war.

Due to his insane propaganda machine, there was a permanent schism in the North — between the Imperial Valley, where the capital became Nouveau Thuille, and the rest of the North, which became the Saegen folk. The divides between these people are blurry and arbitrary, even to this day, as their shared history leads them to have relatively similar cultures.

The Era of Heroes probably can be thought to have ended with the invention of the Assembly Line or the Radio or something. (Radios are just like morse code lights, not actual sound-waves yet.) Something something, industrialization.

Modern Era (Recently???)

Okay, so the War -- What happened?

First, the Aftokratoria successfully ate all of the South. They turn their eyes North and began to conquer the Selkie Isles about 10 years ago. The Selkies ask the Northerners for help, and so the North comes back down and kicks out the Aftokratoria.

The brings us to 3 years ago, when Senator Diacaius then took over as the General. He brought a swift end to the bitter war against the Northern Alliance through strategic island hopping north until finally, nuking Togen Oyer. Though some terrorists (like the protagonists) tried to disrupt the Peace Signings, Diacaius sieged Nouveau Thuille and managed to garner their surrender in a single afternoon.

AND THAT'S THE ENTIRE HISTORY OF THE WORLD, I GUESS!

#world history #fantasy history #worldbuilding #worldbuilding lore #fantasy worldbuilding #worldbuilding concept #writerblr #writeblr #fantasy writing #creative writing #fictional history #yssaia #Amaiguri #entire history of the world i guess

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mask131 · 8 months

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One of the things I look for, when I start a fantasy book or fantasy series (and I am talking about the "traditional" genres, like epic fantasy, heroic fantasy, dark fantasy) is the... "uniqueness" of the world created. No, uniqueness is not the word... The specificity. The flavor.

The point of creating fantasy works is to explore new universes and create new worlds. And we have all complained and sighed about the wave of "derivative" works and "carbon copies" that plague the genre. But... There is actually "derivative" and "derivative". There are works that are clearly inspired and derived from earlier classics of fantasy, but they still manage to get on their feet and stand out as their own, because they still feel different, and they feel their own work - with their distinctive... flavor? color? scent? They distinctive feel.

Take "Deltora's Quest". When you know your Tolkien, it becomes massively obvious that it is "Lord of the Rings for kids", and the influences are very strong and obvious. And yet, Deltora's Quest stands out as an excellent piece of fantasy for teens and a great series on its own - because it does its very own thing. Because of two things. 1) It explores different topics and themes. The Lord of the Rings has a manichean "industry is evil, nature is good" message - while Deltora's Quest takes back this topic but nuances it into "Nature can be as bad as good, but it is nature and thus it has to be protected against unnatural pollution and dangerous science". The Lord of the Rings's evil relies on things such as greed, seduction, corrupted ambition, tyrannical order - and it has all very Christian themes. Deltora's Quest's evil is not served by people corrupted out of misguided desires, sweet treacheries or their own flaws - it rather explores evil as something that uses inhuman beings (pure monsters or sociopathic humans), alongside its own victims - people driven by fear, cowardice or trauma. And whereas fighting evil in Lord of the Rings is fighting the temptation in the Christian sense of the word, in Deltora's Quest fighting evil becomes clearly a metaphor for fighting depression and similar mental illnesses. Etc etc...

But why are these themes treated differently - or why are new theme brought into the classical tale? Because of the number 2) There is a different cultural influence. This is something I cannot insist on enough - cultural background is everything for every fantasy work. Deltora's Quest was destined to always feel different from Lord of the Rings because it is an Australian work by an Australian author - and thus it is filled with Australian concerns and influenced by Australian culture. The treatment of nature in Deltora's Quest and its difference from Tolkien is notably a result of the cultural backgrounds - in Lord of the Rings, Tolkien reflected on his nostalgia for the English countryside and the horrors he saw appear in the industrial World War, whereas in her books Roda reflects how Australia has to defend its ecosystem against dangerous or toxic invaders, and how Australians have come to learn in peace with their very unusual and dangerous flora and fauna.

I blame the Dungeons and Dragons craze for the existence of the belief in a "generic" fantasy. When you look at fantasy literature, you will note that before D&D, "generic" "derivative" fantasy wasn't a very common thing (except if you count pulp-like fiction which tended to repeat itself a lot). After D&D, there was a boom of it - and it took some times for people to return to a more varied form of fantasy. D&D, for the sake of having an open-ended game, created a "generic fantasy world" by mixing elements of various works together into a melting pot. This then created in people's mind the idea that there was a "general fantasy world", a sort of "basic generic setting" that was the setting of all fantasies... But the truth was far, far from it. "Generic" fantasy did not exist before D&D (and other affiliated games) - because each work of fantasy was unique and different from each other.

Some times ago I was asked what were the "other books that started the Tolkien-like epic fantasy". And I couldn't answer this because there was just Tolkien, and no one else, and all the other works that participated in this line (The Sword of Shannara, The Belgariad, etc) were all created afterward, during "second" or "third waves" meant to revive or recreate the Tolkienesque fantasy - but at the root of this fantasy, there's just Tolkien, and all the other works around it are forgotten because they were not "Tolkien-like", and so people ignored them. Because somehow, in people's mind, what is "breaking the Tolkien mold" HAS to be modern. Turns out: not at all! There are very old fantasy works that were designed precisely to break down the Tolkien formula, and they were classics of their time, but forgotten thanks to the resurgence of Tolkien that drowned all things before it. Take the Earthsea stories. In the late 2010s there was a HUGE boom of Earthsea, reprinted in every library, talked about everywhere on the Internet, etc etc... The Earthsea stories fascinated people because they had everything people wanted in modern fantasy: people of color as main characters, no big battle or war story, no good vs evil separation, a non-European setting (Earthsea being a series of islands), no chosen one, a more abstract and philosophical adventure where character growth is more important than anything and holding a sword won't solve everything... Can you believe the Earthsea stories come from the 60s? THE 60s! Ursula Le Guin greatly admired Tolkien, but already by the 60s she had noted how people reduced fantasy to his work, and so she decided to create the very opposite of Tolkien's Lord of the Rings, with Earthsea.

Another example: the Elric Saga. Also created in the 60s, also becoming a classic of fantasy (and one of the founders of the new genre "dark fantasy"). And also designed to oppose in a mirror way Tolkien's work - by creating an anti-Lord of the Rings. A story where the hero isn't a chosen one pure little Hobbit, but a tragic sorcerer serving the gods of chaos and using demons. A story where the elves aren't hidden realms of wisdom and great benevolent power, but a destroyed decadent and corrupted empire of oppressors, enslavers and torturers. A story with no clear quest, no clear goal, no way to save the world - just endless, pointless roamings and survival throughout a world eventually doomed to fall to Chaos.

People like to think that "breaking the tropes", "flipping the genre", and "avoiding the cliches" is something new. It isn't - in fantasy, it is just a recap of its history. The fantasy genre built itself onto this very principle - you have a great success admired by all, then authors react to it by works doing something different or debunking or studying the old work, and then they in turn become classics dissected, rejected or inverted by new generations. There is the very famous example of the "Conan to Discworld" line. It all started with Conan the Barbarian, which became a massive early success of fantasy and shaped the genre of "heroic fantasy". Then, Fafhrd and the Grey Mouser came along with the intent of parodying and debunking the Conan-like story and the Conan-fantasy, but ended up becoming itself a classic of fantasy and its own representive of a fantasy current (sword and sorcery). And then Terry Pratchett began his Discworld series with the intent of parodying while paying homage to some fantasy classics - including Fafhrd and the Grey Mouser - only to become on itself a behemoth of fantasy and the herald of its own subgenre, the "humoristic fantasy" or "light fantasy".

Now, to go back on my original point - one of the things that become prevalent when you read fantasy works throughout history is that one of the key component of the success of a fantasy work, is when it chooses a different cultural background not done before. I know that, at least, it works for me - whenever I feel like an effort was made to search different influences and references than the "classic" fantasy, the work immediately feels better to me. People tend to forget that Tolkien's Lord of the Rings did not come out of nowhere. People treat it as the "generic fantasy" - but forget that this was actually influenced specifically by the Nordic Eddas and the Finnish Kalevala, with a dash of Arthuriana and a teaspoon of Bible sprinkled over it all. This is what give it its unique, "Tolkienesque" feeling - and people tend to treat the Tolkienesque work as a sort of "whole" that inherits from nothing and was created out of nothingness, with no influence.

I already talked about Deltora's Quest, which has its distinctive "Australian" flavor. I can testify on my part that the few French fantasy books I read also have a very distinctive "French" feeling to them, with clear influence of French culture and history. The world of Earthsea was created by taking inspiration from various civilizations of everywhere except Europe (though European concepts were sprinkled on top of this new setting). One, the great successes of Hickman and Weis, "The Rose of the Prophet" is so engaging because it is a traditional fantasy series, but it is set in an Arabian setting, inspired by Arabian mythology, the Muslim religion, The One Thousand and One Nights, the culture of the Bedouin. A more recent example: the Chalion duology by McMaster Bujold is already enjoyable because it chooses to depict a fantasy inspired by Spain, especially its Reconquista era, and this is reflected as much in the landscape and social hierarchy as in the way they treat the fictional religion and pantheon. And a more recent example yet: Kingdoms of Thorn and Bone. I only read the first book, and I can describe it as "Game of Thrones X Chalion" having read these previous works, and so I might have been bored or feel it derivative... But I as fascinated by how European this felt. Continental Western Europe to be precise. People believe Tolkien is "European" in feeling - as a French guy I can tell you it isn't. Tolkien feels Anglo-Saxon, as in a mix of English culture (Arthurian and countryside folklore) and Norse cultures (the Eddas, the Kalevala etc). But with Kingdoms of Thorn and Bone, you have much more "medieval Europe" feeling that DOES feel like medieval Europe, with scriptorium and a big monk presence, with a cult of saints rather than gods, with the use of medieval beings and European legends such as the Green Man, the gryphon, the basilisk, the Wild Hunt, fairies on the hills...

To conclude I think I want to insist that doing a "by-the-book" fantasy, a Tolkienesque fantasy, isn't bad in itself. And you can do a great Tolkien-like fantasy... But the key is to twist it or play with it enough that it isn't a copy but an homage. Take The Belgariad: why was it such a huge success, why did it break-out? Because it was made with one goal in the mind: as the 80s ended and everyone thought epic fantasy was just a fad that was now out, the authors decided to re-create a Tolkien-like saga, using all the tropes of the book, all the cliches and all the untold rules of high fantasy, but adapting it to more modern days and expectations, playing with or debunking several of the basis of it all, and putting in it their own twists and their own inventions - and the result was a brand new Tolkien-like fantasy that felt different enough to stand on its own and create its own boom and its own renewal of the fantasy genre. That's the key: reinvention. Know your models and pay homage to them or play with them, but do not just rewrite or redraw them.

Fantasy is a genre of constant renewal, constant challenge, constant opposition. Fantasy authors keep renewing what another one established, fantasy authors keep avoiding what made another author famous, fantasy authors keep rejecting what has become a certain fashion, fantasy authors keep searching for new sources and inspirations and new things that haven't been explored or detailed yet. And those that just do copies, try to do everything as it was done before, try to recreate the old successes without putting their own twist or spin on it, those that just want to "do the same", they all sink and fall down and get buried under the rest - the inventive, the new, the fresh, the untold yet that all live on and become in their turn classics.

It seems like an evidence, but it actually has to be told given how people receive fantasy nowadays. On one side you have so many people that treat fantasy as some sort of well-established recipe with rigorous codes, ignoring that fantasy is a maze of imagination, freedom and dares (for the better or the worse - as we know, some authors dared to do too much and ended up making some vile pieces of works, that's the thing with such an open genre as fantasy). On the other side, you also have so many people that reject any "old" fantasy because in their mind it is all just cliches and stereotypes. My advice is always: when you want fresh and new fantasy, or if you think you saw it all, do not just look at the future, but also look at the past, search through the fantasy works that haven't been adapted into movies yet, that were forgotten by modern audience, search for the very old stuff that founded or created genres and sub-genres. And you will be surprise at how many things in these old works feel "fresh" or "new" or "genre-breaking". But they don't break the genre - they just made the genre, and what you think is the "genre" is just one tiny path in a giant highway system.

#fantasy #fantasy literature #fantasy books #fantasy history

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purplenickel · 7 months

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#fantasy history

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cierpienieartandlore · 5 days

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Thanatos Trentius, ~425, Third Age of the Empire

In the several thousand years between his first steps taken on the continent, to the events of Bloodline: Or The Burgeoning Darkness, Thanatos, Lord of the Great Cardius, had truly come into his own, for better or for worse. Here, he holds forth on War, in the face of the bold words of a traveler he and a new friend had reluctantly allowed to accompany them.

Some centuries into the First Age, Drevina had become disheartened; while she had given him something to live for, he had unintentionally taught her, in his drive for eternal life, that death was not necessarily something to be afraid of. The two came to terms with this, and while he did not fully understand her perspective, Thanatos respected Drevina's wishes, and held no disdain or bitterness in his heart, when the day finally came for her to end her own life, and be laid to rest.

Eventually, he took on an apprentice, who sought the knowledge that the vampire had within him; Marcin Nowak, of Siega.

This kinship between master and apprentice would not last long, as Marcin's loyalties were swayed in favor of another, more promising teacher - Thanatos' own granddaughter, Carmala.

The time came, around the year 1A 500, for Carmala, Marcin, and the two other Dukes of Siega, to make a move against Thanatos; resulting in his imprisonment within Drevina's own carved-stone coffin, bound by enchanted chains, within his own fortress.

Seven thousand years were spent fully conscious and with a burning hunger that would never kill him Until he was released by a treasure-hunting scavenger, by the name of Emil Burkhart. And from that point, the two were bound, and they set out on a path to uncover the full extent of Carmala's treachery...

#fantasy oc #fantasy worldbuilding #fantasy history #vampire oc #thanatos trentius #cierpienie marcin nowak #carmala trentius #emil gabriel burkhart #duke roderic whitmore #duke vaylen karthus #cierpienie the great isle

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kyliafanfiction · 2 months

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Historical Perspectives on Arelis, the First Empire of Bayetzian Civilization

In my setting, called the 'Kantriverse' after the Kingdom of Kantrias (which sort of serves as the Protagonist nation of the setting, or at least the one I focus on the most), there was a great city that had a master of magic still unequaled that rose on the lip of the Canyon of Ghosts, above the shores of Lake Orman, and that city was called Arelis. It built a mighty empire, and fell after more than a thousand years, once dominating from one end of the continent of Bayetz to the other in networks of trade, tribute and daughter-cities, but withdrawing overtime. Many of it's ruins have been swallowed up by the Glass Desert, the surviving daughter cities diverged and merging with the desert nomads that the original Arelans disdained.

But study of Arelis continues now, even more than a 1500 years after the city was emptied. Attempts to study or even reclaim the city of Arelis itself have failed time and again, earning it the grim moniker 'Kingdom of the Empty Throne', and yet, even now, people still pick over the ruins left behind all over the continent. Some for magic, some for knowledge, some for wealth. It may be the start of an age of Steam and Industry, but the stones and bronze of Arelis still hold mysteries unknown.

But everyone has a different opinion on Arelis - the people below are meant to be generally representative of common threads of opinion, though by no means do they represent the only opinions, or the only opinions in their respective nations, though in many cases they do represent a dominant trend at least within a significant segment of their country/culture.

One thing I do like to do with my setting is think about the history as perceived in-universe. As the 'omniscient narrator' of the setting, I do spend more time thinking what is the actual truth of it all, establishing the factual clear timelines and known historical causes and effects, but in-universe, of course, that's not how the study of history or archeology would go.

There is also a map of Bayetz to provide a bit of a frame of reference for locations mentioned above. https://i.ibb.co/ys4JjCb/Bayetz-Map-With-Borders-and-Disputed-Territory.png

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"My tribe was here, in the desert, before Arelis was built on the lip of that howling Canyon. My tribe was here, in the desert, when Arelis rose and straddled the continent. My tribe was here, in the desert, when the Empire forged by Arelis crumbled and fell. My tribe is here, in the desert, now that Arelis is an empty city of ghosts and dust, a corpse your people pick upon like flies. My tribe will be here, in the desert, when your Kingdoms crumble to ash and dust and are picked over by those who come after you."

-Alzarhus, son of Morhmaan, elder shaman of a Marlion tribe in the Glass Desert

"Arelis was once the very pinnacle of civilization, unequaled in the sophistication of its bureaucracy and administrative apparatus for centuries, until the modern era, really. Their constructions dwarf almost anything else, even what we build today with the aid of steam-powered devices and constructs. Their magic outstripped even the greatest of our mages and witches. It was a glorious Empire... built on the back of slavery, conquest, exactatory tribute and a top-heavy administration that shattered when circumstances turned against it. I can admire Arelis for its glories and successes, but Kantrias stands today as an Empire that may not rival Arelis's in size, but certainly does so in greatness."

-Doctor Rabius Khaine, Professor of History at the Royal Kantrian Academy of the Arts and Sciences, Capital City Campus

"Arelis? Arelis was merely another conqueror. They destroyed the Vampire-Kings of the Barrier Peaks, and set to rule us on the banks of the River. First they divided tribe from tribe, then city from city, then King from King. When that failed, they set out to claim us directly. But Arelis, for all it's magical glory and greatness, did not adapt, so slaved to how they built their Empire in the first place. It took centuries, but our forebears in the Old Thovartans wore them down, just as we did to eventually drive out Voluz. Their magics are worthy of study, of mimickry, when they do not cross into vile practices. The history of the Empire is of useful and admittedly interesting study. But I do not research Arelis, I do not plunder its ruins for magic and for art to honor it, the way some of you southerners do. But to profit from it, in mind, spirit and gold."

-Tarondo Vazagand, Explorer, Adventurer and member in good standing of the Arelis Research Society, Angron Chapter, in the Mazandian Union

"Arelis was both our first, and perhaps greatest enemy, and our first, and perhaps greatest teacher. The cities that arose on the shores of the Sea of Storms were copied from the daughter-cities Arelis built in our midst. We paid them their tribute, studied their ways, and in time, under the greatest of Fathers and Kings, Patroyvi Vanivora, we destroyed them. The forebear of the Despots of the North commanded the winter against those desert peoples, and destroyed them at Lake Gradstal. And yet, even after Arelis exacted tribute but did not punish, we continued to study, to learn, and to exceed them. Arelis fell, and Voluz endures. It is by the grace of the Triumvirate Gods and their Vice-Regents in the Emperors and Empresses of Voluz that Voluz has survived for so long, existing for longer than even Arelis. And yet, Arelis still teaches, by example of its fall and the sins thereof."

-Uruslavi Theondoptava, Patriarch of Kargengate for the Volutian Triumvirate Church

"Arelis? There is little to say of Arelis. They did not bother with us here, in the Vale. I do not know if they feared our elementalists or feared the great distance and cost to reach us or if they did not find value in our lands. Save for that one fortress that studied the nature of our Vale, ignoring and ignored by my forebears, Arelis had no impact on us. And yet, that fortress, with their tablets, gave Kolyat the information he needed to Know Truth, and to give rise to the Elemental Mysteries, that Truth that binds our people together. But Kolyat was a singular mind, and with his long life, he would have Known Truth eventually. Arelis merely sped up the process."

-Archmage Blean-Trai, Archon of the Fire Tower in Kolyat-Var.

"There's an art to faking an Arelan artifact. You don't want to fake anything anyone's going to test, of course. No blades or anything bronze really. And you have to be careful about not making it look too perfect. In my experience, Third Dynasty is the way to go. It's easy to copy the blue glaze, and it's all the rage in Kantrias. Hah! Nothing makes me happier than to know I'm feeding my family by selling trash to some ignorant merchant in that pestilent kingdom of busybodies!"

-Guradam Ylessien, Forger in Al-Maliya

"Arelis never subjugated the Baleric peoples. The Free Cities have always been free. But it would be wrong to say Arelis played no role in us. To be Baleric was to not be Arelan. It has always taken a strong enemy to bind our peoples together, for we love our homes and cities far more than our kin in distant lands. To be Baleric was to be everything Arelis was not, to succeed at everything Arelis failed in. Or at least, to aspire to both. I sometimes wonder how some of my kin justify enslaving the Lizardmen, when Arelis built itself on Slavery."

-Arkturan thel'Kaeris, patrician and polymath in Iranserra, in the League of Free Cities

"Arelis? That's some city in the endless sands to the south? I have better concerns than to study such a place. Disdain us all you want, but our story, our history here in the Moors is of far more interest and value to me. What care I what some Empire gloried to far from here? The stories and battles and deaths of my forebears, the study of our towns and castles, the lords and councils here, in the Moors, is of better value - and aye, better interest. It's the stories of people, of the foibles of Moorish men and women, not the stories of cities and monuments and Priest-Kings. Arelis! Bah! Come to me when you can speak with authority on the battles fought by Hanzor against the mountain tribes!"

-Ottoron of Vaelstal, well-regarded historian in the High Moors

"Why do I buy so many Arelan artifacts to display in my mansion? Why else, but to prove I can afford to? My vineyards and my fishing fleets keep me rich, but there's no value in money kept in a vault. One must keep score, and the best way to do that is to impress your friends and enemies with what you spend your money on. My grandmother had an extensive collection of Porcelain from Guayas, but fifteen years ago even fatherless merchants with but a few ships to their name could have some of that now. And so now I buy Arelan artifacts. Only the best, only the most expensive, of course. Come, let me show you my latest acquisition: a bronze ceremonial sword from the First Dynasty. Cost me a fortune at auction, but well worth it, given everyone who saw me buy it."

-Count Velazkych Grodno, prominent nobleman in Vorstock, in the Dominion of Korvall

"There is no 'Aurelian Consensus on Arelis' anymore than there's an Aurelian consensus on anything but staying independent and united. Ask the Noreshi, and the general opinion you'll get is that the Arelans were monsters and brutes, too uncreative to think of ways to build empires but on the backs of slaves. Ask the Batharites, and Arelis was the Great ur-Mother of modern civilizations. Ask ten Vrisi and you'll get twenty answers, but then that's why you don't ask a Vrisi. I think that Arelis was the most powerful state to rise on this continent, yes, and I think they left a legacy that still guides many kingdoms and states today. I also think it was guilty of every sin of Empire. I know the Kantrians and Volutians like to think they've avoided the sins of Arelis, and aye, they don't trade in slaves, don't trade in the vile magics Arelis was said to by the end, but they commit all the same sins of Empire beside. And yet - Arelis's name is burned onto the pages of history. My father once said 'Might doesn't make right. But it does make people notice you.' And unfortunately, he may just be correct."

-Doctor Breldne Cessawiry, Professor of Theology and Philosophy at the Grand Collegium in Rindoc in the Commonwealth of Auralia

#Worldbuilding #Fantasy History #Fantasy Worldbuilding #Writing #Fantasy Historiography #I don't even know how to tag this to get the most eyes #The Kantriverse

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machineofreality · 2 months

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Not a geographist

240210 Today we’re on worldbuilding minutiae. Here I am, about to start editing about Wirrin going to Halvit, and I’ve got myself thinking. Why is Halvit important? It’s out of the way and it’s geographically constricted. Surely Eberal is a much more relevant sort of place? Wait, here’s a link to the map in case you want to follow along. In the original, I basically just skipped past Eberal…

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#fantasy #fantasy history #fantasy map #posting about writing #rambling about Wirrin #Wirrin and the Fiends #world building #Writing

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salrikstrongbow · 5 months

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A cave painting dating back to 5000 A10 of Arkanos Earth, Northwest Siropea.

Pictured above appears to be the early modern species fighting some kind of extinct avian creature (troll, goblin, orc) and protecting their village (dwarf, elf, human). This cave painting is essential to understand how the species of Arkanos Earth became co-dependent on one another, rather than competing as individual species. This also appears to have been the purpose of the painting itself, to instruct the place of this particular tribe of prehistoric peoples.

It is theorized that proto-orcs and their ancestors 'kept' proto-humans and their ancestors as 'pets' to tend to prehistoric camps. This was a great advantage as the human species were able to cook and construct their camps and villages while the orc species hunted game and defended territory. Over time the other sentient species that evolved on Arkanos Earth integrated into this system to create more and more successful settlements. Trolls were large as well as able to stand still for hours at a time, goblins could wriggle into tight spaces and scout ahead, elves could aid everyone with rudimentary understanding of magic as well as natural, and dwarves were strong enough to quickly erect/dismantle camps as much as being small enough to reach smaller areas in-camp.

Collectively, the idea that went into becoming unified groups and ethnicities together rather than competing in mono-species groups separately was similar to how wolves were domesticated into dogs - gathering together over time to share resources and abilities in a way that benefited the whole.

*Note: The only species not pictured here are the Giants and Ratfolk. Ratfolk were largely subterranean and did not formally join their sentient kin immediately, often burrowing under or nearby and living off discarded resources from sentient camps. Giants were likely in the same role as their cousins, the orcs and trolls, but were likely feared at first for their immense size. Both species, however, did ultimately join the others and integrate into niches that they could fill.

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goldhornstories · 1 year

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#goldhorn #fantasy history #fantasy #worldbuilding #fiction #writing

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ancientroyalblood · 6 months

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World-Building in Fantasy Writing: Crafting Unique Realms

In the realm of fantasy writing, the creation of worlds is an art unto itself, a meticulous process where each word, each detail, bears the weight of building something extraordinary. The task is daunting, for within these words, worlds must spring to life, realms that breathe and stir with unique cultures, landscapes, and histories. In this exploration of world-building in fantasy writing, we…

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fortunaestalta · 14 days

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#artists on tumblr #ai artwork #alternative #fantasy art #fantasy history #“The Great Ohio Margerine Disaster of 1954”#humorous art that shouldn't be funny

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caluartsblog · 7 months

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La cabeza flotante, un evento canónico

Incentivando mi mañana busque una canción en YouTube, cualquiera sonara animada y ya haya escuchado antes, condición necesaria, era de esos momentos que mi bienestar dependía de la seguridad que me genera escuchar música que escuche un centenar de veces antes de cansarme por completo de esa melodia y no querer oirla nunca más, como suelo hacer con las canciones en general que no me interesan tanto. Me permito escucharlas hasta el cansancio y olvidar las, es un poco cruel poniéndolo así. Coloqué la primer canción que llamo mi atención y, en vez de alistarme para ir a trabajar, casi sin darme cuenta me perdí en el vídeo, un vídeo de dos cantantes, comencé a lembrar que una de las artistas pertenecía a una banda que todas las niñas de los 90 éramos fan, me recordé con mi outfit de seis años; una pupera color turquesa (donación de una prima que vivía en la ciudad) hacía juego con una mini de algodón blanca que tenia una foto impresa de esa banda y unos boladitos, en mi recuerdo es blanca como una prenda de una nena de seis años sentada en la vereda, en fin deslumbrante bajo el sol. Mi infancia resumida en un solo recuerdo, un momento único, un sol de la hora de la siesta y una niña curiosa mirando todo como si buscará una respuesta a una pregunta que no sabía cuál era, acomplejada y en su mirada denotaba la creencia de estar en la etapa de operaciones formales cuando en realidad todavía y faltando un año se encontraba en una etapa preoperacional.

Volví a mi presente con una curita en el corazón sin saber si estaba contenta o nostálgica, premenstrual o triste. Encontré en mi una sensación como si me hubiera podido decir a mi misma de seis años -tranquila, todo va bien por acá. Quien eres es hermoso, no eres un adulto puedes equivocarte no tenes que ser la niña buena todo el rato. Divertite y disfruta, todo está bien por acá me lo dije de nuevo para que me quede claro porque recordando yo siempre estaba con el temor que quien seré en el futuro, que tal si me equivoco o soy una mala persona, ni hablar de las cosas que me imaginaba que estaban mal en una mujer, como ¿y si no tengo marido? Yo quería hacerme saber que todos esos miedos eran absurdos e innecesarios, está resuelto, no tenemos marido pero ahora tenemos otros valores.

Este tipo de recuerdos me lembran a una serie que decia "el tiempo no es lineal" tal vez esa niña sentada en la vereda me vio, porque siempre me imaginé y ciertamente me imaginaba más o menos así. ¿Lo imaginado se hace realidad? Prefiero creer en que esa niña me vio y no le contó a nadie.

Volví a mi presente y abriendo el cajón de mi escritorio encontré un block de hojas de dibujo muy pequeño que compre en Andorra con la esperanza que me incentive a dibujar pero, está nuevo, mientras iba terminando la canción y caí en la cuenta de que estaba todavía mirando el vídeo dibuje a esa mujer, rápido haciendo líneas mientras mi percepción me dictaba. Por supuesto que hoy cuando mire el video compare mi dibujo con la mujer del clip y realmente son primas lejanas.

Mirando con más precisión mi dibujo es una cabeza flotante trazada con una sensación que en ese momento me inundaba el corazón cargada de coraje, amor propio y nostalgia.

Comparto el dibujo con amor.

https://calu99.blogspot.com/2023/09/la-cabeza-flotante-un-evento-canonico.html

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circa-specturgia · 2 years

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hello circa!! *throws confetti* storyteller saturday!! Your attention to detail in the world-building is so inspiring (your spear and good news and thaddeus drawings were INCREDIBLE), what other technology does the world have? Is there a strong drive to invent weaponry? Also, if you were one of the winged Aeris, what color would your wings be :0

Thank you! I absolutely love worldbuilding and pay it a lot of mind while writing, I’d say my stories are not just plot-centric but also world-centric to a degree, so I’m glad that that aspect of my writing shines through!

Note: Some terms here may be confusing if you don’t know the magic system of my WIP, Circa Specturgia! I suggest giving my TL;DR on the system a read, if you find that stuff interesting! If you want to jump in though, the simple words are: Specturgy - magic Specter - wizard/mage Matrix - magic circle Jynkaturgy - branch of specturgy, elemental magics Viðumancy - branch of specturgy, conceptual magics

Technological Advancement

The world of Istra is historically in a moment of technological revolution, or rather, right on the brink of it, with the events occurring over its course! I plan to have new technologies rising up every week, such as the assortment of guns mentioned above, made by Tamara!

In a bit of background, preceding the revolution occurring in the in-world 1700’s, was a period of a few decades spanning the middle of the 16th century, 200 years back: The Specturgic Aktriparivence, a total revolution of the way in which specturgy, the worlds magic, is studied, harnessed, and utilized, becoming far more available and widespread, no longer a mysterious art form or weapon of military use!

Now, the most advanced nations in terms of specturgic technology (and technology as a whole), are Ahætiem and Hevksiita, the second having been the birthplace of the Aktriparivance.

Atz & Verter, Atzverter & Aurecim

Aurelius Verter and Cimana Atz, recognized names now called the Parents of the Revolution, lauded with the kickstarting of the above mentioned technological revolution with the invention of the Atzverter engine, the more modern invention of the Aurecim Engine, and the funding of many other researchers and inventors, funding great minds around the world.

The first of the two engines was invented several decades prior to the revolution itself, however its resurgence was only brought around thanks to funding being give to the innovative duo, which allowed them to continue and expand their own research and create the second of the engines as well as fund others!

The workings of said engines are described below, in slightly worldbuilding/technical heavy jargon, though if that’s your thing, feel free to read!

In essence though, the Atzverter engine is a combination of a mechanical and specturgic device that uses specturgy to power it, with an output of energy which can be used in a variety of other technologies. The Aurecim engine, however, is able to provide propulsion, or negate the gravity on a vessel allowing for it to fly.

Applications - The Ahætieman Bullet Trains and the Hevksiitan Skyachts

Neat inspo images cause I love y’all

As mentioned above, these two technologies along with several iterations, modifications and versions, is entirely changing the way in which power is generated and provided across the world in many sectors, but for now I’ll focus on transportation!

As was said, the two nations with the biggest boom in new technology and research are Hevksiita and Ahætiem, both with very differing applications! Both nations are in a mutual and yet friendly rivalry, being military and political allies, for centuries now, with great kinship between their peoples. Their race is more akin to pushing each other to new heights, the Hevksiitan Imperial Dynasty and the Kings of Ahætiem being on a friendly basis, though showboating their successes between each other on the chances they have to do so.

Ahætiem uses both the Atzverter and Aurecim in tandem, in their bullet trains. The designs had originally been for a network of locomotives powered by the Atzverter engines, but upon the Ahætieman Council of Blood inviting the two geniuses to the nation to oversee the project, they simply announced they could give Ahætiem a much better system if they were given the proper funding and some time.

They did not disappoint! Within a few years they’d perfected their previously theoretical (at that point in time) Aurecim engine, and redesigned the whole system with the idea of using trains with far larger carriages, and far more power, aided by advanced Atzverter’s for the power, and the new Aurecim’s for negating parts of the weight and speed, letting them make the trains far heavier and yet far faster than what would have been imagined possible with just the first engines! The network is still being constructed, but many connections between the cities on the mainland continent exist already!

Hevksiita however… It was the home of the duo, and so they worked on a design for their homeland, one set in the mountains, a bay overlooking the ocean. The result was the Skyyachts, vehicles capable of full flight, far smaller and sleeker than airships of the past which relied on balloons, instead entirely relying on the most advanced Aurecim’s to date!

The risk coming with these is twofold. Firstly, any flights over the ocean or in any vicinity to Storms, or where Storms are predicted to spontaneously form, are far too risky to be allowed to be taken. While the Atzverter’s which power the Aurecim’s draw on the ambient energy of their surroundings during continuous use, and the high atmosphere and areas surrounding Storms is one of high energy, the risk of being caught in one or crashing over the ocean is too great to make.

The Skyyachts are this used for flights at high altitude, above the mainland, or in some cases, at lower altitudes, but further distances.

Military Technology

Current events have been slowly causing international tensions to rise between several nations, and as a result the Council of Blood AND Council of Names of Ahætiem have both called for the designing, preparation, and construction, of several war machines powered by Specturgy.

However, it is important to note that during the past decade of the revolution, several international summits and later conventions and have been held, on the topic of how specturgic technology could be applied and researched, in the goal of protecting life from any sort of unethical machinery, and from unethical testing in the goal of creating any such machinery. These international laws of course limit the design and use of any machinery and weaponry created.

So, yes, there is a drive to make technology, but, it is limited by the international rules agreed upon by the nations which have the capabilities to produce advanced specturgic tech.

Wings!

More light-hearted now!

I made a post about this here, if anyone wants to give their own answers! I wanna hear em!

As for myself, I’d like to say either snow white wings with flecks of gold and silver across the tips of the feathers, OR, pure black, ravens wings, shimmering in blue and purple in the light… Something ostentatious, but uniform, which I could match to clothes and all!

But realistically speaking? I’d probably get something a bit more mundane, something hazel or dark brown to match my hair? Maybe a few specks of white. Honestly anything corvid would make me happy I love corvids.

That’s about it! Hope the answers were satisfying! ✨ Feel free to ask as to anything!

Taglist? Taglist! ✨ @bloodlessheirbyjacques @athenswrites @magefaery @writingonesdreams @muddshadow @awritingcaitlin @agrimedena-drax @pinespittinink @tryingtimi Let me know if you want to be added! ✨

#circa specturgia #wip.circa specturgia #writeblr #writers on tumblr #writing community #writing #writing inspiration #writing thoughts #wtwcommunity #fantasy technology #fantasy history #hard magic

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mask131 · 9 months

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The arduous path to French fantasy

If you recall, not too long ago I posted a rough translation of an article by the BNF (National French Library) called "A cosmogony of French fantasy", taking a look at the fantasy genre in French literature. Well I just discovered something that blew my mind.

The journal this article was part of, was actually one of a series of journal-reviews published by the BNF entirely centered around fantasy. The article "Cosmogony" was from the issue centered around "Worldbuilding", but I found another article talking about the history of the fantasy genre in French literature, this time coming from an issue of "BNF - Fantasy" with for theme "Modern success".

So here is the rough translation of: Fantasy in France, a long road... Originally written by Anne Besson

Fantasy has been present in France for numerous decades, but it had to wait until the turn of the 21st century to actually be recognized as its own genre, thanks to the work of fans and of independant publishing houses.

The main reason fantasy arrived quite "late" in French literature was due to a lack of identification. Numerous fantasy works were already published in France for a long time - but there was no specific collections dedicated to fantasy, and the very name "fantasy" wasn't used. For example, J.R.R. Tolkien's The Lord of the Rings was translated in France in 1972-1973, by the publishing house Christian Bourgois - which is VERY late compared to other European countries, that had done a translating work long before. Other main works of fantasy only came in France under the shadow or as satellites of other literary genres. First, under the fantastique genre, with the collection "Aventures fantastiques" (Fantastical adventures) by Opta, then under the science-fiction genre. [Note: I said it before, but "fantastique" is a genre of French literature centered around a supernatural element arriving into a mundane and realistic setting very similar to our own. Dracula is "fantastique", for example] The works of Jack Vance were translated by the "Club du Livre d'Anticipation" (The Anticipation Book Club), Roger Zelzany's Chronicles of Amber was found originally in "Présence du futur" (Presence of the future), then in "Folio SF". In fact, for a very long time the term "science-fiction" will dominate the French edition, used as a general category for many non-realistic work - even what was identified by the 80s as "heroic fantasy" was named by French editors "science-fiction".

It is only at the end of the 1990s, and at the beginning of the 2000s that the word "fantasy" appeared - it was when specific collections and specialized publishing houses also formed themselves, such as Nestiveqnen or Mnémos, all derived from the editing industry of role-playing games. In 2000, the publishing house Bragelonne will decide to translate the works of David Gemmell and Terry Goodkind, great fantasy authors that hadn't been translated in French yet, and which were massive successes that helped the expansion of the fantasy industry in France.

Fans are definitively those that make fantasy live the most in France. Alongside the fantasy boom of the 90s-2000s, numerous actors appeared in what was called the "micro-edition", a very dynamic but very fragile world. Numerous festivals started popping out everywhere, and fandoms appearing thanks to the Internet became the main sources of information about the genre.

The growing importance of this sector, and the apparition of "experts" of fantasy, is translated by a new care for fantasy as a genre. Numerous classical authors ignored until this point get translated (such as William Morris, by "Aux forges de Vulcain", "In Vulcan's forge"). Numerous "integral" editions are offered by Bragelonne, Pocket or J'ai Lu. You also have several re-translations, offering a new French text closer and more respectful towards the originals (Patrice Louinet reworked on Robert E. Howard, while David Camus offered new H.P. Lovecraft translations, and Daniel Lauzon completely redid the French Tolkien works).

But truly French fantasy works - as in, French-written fantasy works created by francophone authors - were for a long time considered as "secondary" works. Late to the party, they had a hard time imposing themselves among the many translations of English-works. But today, we can consider that the French creation reached a level of "full maturity". In fact, we re-discover today an old French fantasy that had been forgotten by previous generations - Les centaures by André Lichtenberg in 1904, re-edited by the Callidor editions in 2017 ; or the duology Khanaor by Francis Berthelot in 1983. But, again, it was at the end of the 90s that the "New French School" of fantasy appeared, embodied by the trio of Mathieu Gaborit (Les Chroniques des Crépusculaires, 1995-1996, The Chronicles of the Dusk-people), Fabrice Colin (Arcadia, 1998 or Winterheim, 1999-2003) and Henri Loevenbruck (La Moïra, or Gallica, both starting in 2001).

Editors started accepting in their ranks authors with very unique, peculiar or demanding imaginations. Among these specific works we can find the Horde du contrevent (Horde of the counter-wind) by Alain Damasio, in 2004, by the house La Volte, or Jean-Philippe Jaworski's works (Récits du vieux royaume, Tales of the old kingdom, 2007, or Rois du monde, Kings of the world, 2013) in the house Les moutons électriques.

Other independant editors (note: In English I don't know if you can say "indie publishing houses" or if the "indie" term is only applied to video games and animation) also started imposing themselves. Scrinéo published Gabriel Katz, ActuSF published Karim Berrouka, Critic's published Estelle Faye and Lionel Davoust. Finally the "historical" actors of the domain, the "ancients" of the fantasy genre, also started encouraging the growth of French talents: L'Atalante published Régis Goddyn, Mnémos published Adrien Tomas and Charlotte Bousquet. As for Bragelonne they have Pierre Pevel, who is the great example of a fantasy inspired by the old French feuilletons - his Les Enchantements d'Ambremer (The Enchantments of Ambersea, 2003) are inspired by Arsène Lupin, while his Les Lames du Cardinal (The Blades of the Cardinal, 2007), reference and pay homage to Alexandre Dumas. About this last series: it was actually the very first French fantasy series to ever be translated in the United-States!

#fantasy literature #fantasy #french fantasy #french literature #fantasy history #fantasy references #fantasy novels #foreign fantasy

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realtis-historian-society · 1 year

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Recap of Wars

Within Realtian history, there have been three major wars. The Niiolyk-Realtian War, the Hevadenian War, and the Viranan War.

Below will give a brief summary of each war and the more important details we have found so far.

My own thoughts will be noted in the tags.

The Niiolyk-Realtian War

This is the best known war of Realtian History as it intersects with a major point in Niiolyk History. Realtis was one of the first few nations to incite a rebellion that would lead to a war.

The Niiolyk Empire was set into several different districts that would each focus on a specific industry to help the nation. With Realtis, they were focused on creating mages to support other industries. The training conditions were harsh and left little to no individuality among the populace.

We recently found a diary of a student drop-out from one of the numerous training facilities detailing the environment. There was little to no socialization among peers unless it was for a group project. Everything was graded based on a rubric and would often not allow for creative outlets for new ideas unless the mage was among the higher working class. This would leave bright, new students stuck being unable make changes to the system. This idea of a ‘perfect’ mage suitable for the empire would have severe effects and would begin an underground organization of students and drop-outs.

As the organization grew, it became known as, ‘üksyk’, the Niiolyk word for ‘individual’. This would eventually grow to have people from all ranks and domains in the area. Eventually a noble family would join their cause and later become known as the ‘Valvira’ family. They would attempt peaceful protests at first, but when violently put down, they began to use their magical abilities.

It is currently unknown as to what magic was specifically used as they all seemed to be some form of original spells with links to later spells used in history. With our current knowledge we are unable to determine what exactly the runes mean or what spells they would be in themselves.

The first retaliation against the palace guards would begin the war. The war would continue on for about 7 years. During this war, several others would be started as other districts attempted to retaliate as well. Only two nations out of six would succeed in independence. This would be Realtis and Imenlatem. Both of these nations were part of the magic-based districts within the empire which factored into the war.

With the rise of new magic spells being spawned from the efforts of war, normal soldiers struggled. Most of the notable battles would have been between the mages of the rebelling nations and the specialized soldiers and mages of the empire. The Valvira’s seemed to have had military experience based on maps found within Realtian archives which allowed them to know what would be the tactics of the Niiolyk Empire.

The Valvira’s also used their connections with other nations to gain help from certain noble houses discreetly. We were able to find a few letters, but it seems that most of them were destroyed in the name of secrecy. We were only able to find the last few letters which detail the successes towards the end.

By 185 A.B. Realtis would become an independent nation.

The Hevadenian War

From our research, Realtis founded a subdivision of the main religion of Niiolyk, focusing more on the fae of the realm. This will be later discussed in a separate post.

As the royal family was seen as being chosen by the divine, the church and state closely worked together. Though, as humans continue, a wish for power grew within both sides and conflict began. Each were vying for more power over the other. The Fernan family took note of this and thus brought upon the idea of removing the church from power. Peaceful negotiations were attempted, but it seems that they were never able to come to a proper agreement. In fact, both sides would cause more offenses to the other.

By 538 A.B., a civil war had broken out between both sides. The nobility would become split upon both sides. The most notable houses were the Fernan’s and the Opilant’s. The Fernan’s would use this war to solidify their trust with the royal family.

The war lasted for three years until they came to an agreement separate church and state. This would lead to another faction being created within the political sphere later on as the church attempted to regain their lost power.Though it seems that with a new leader, they would maintain neutrality within the sphere. The government would, for the most part, become separate from the church and reign on its own without relying on them.

The Viranan War

Immediately after the Hevadenian War, the Fernan family would backstab the Valvira family with a surprise coup in 541 A.B. It is theorized that during the Hevadenian War, the Fernan’s were working together with other noble families and foreign sources to remove the Valvira family from power.

Thus would begin another civil war within the nation for the next four years. The nation was broken into three factions, those sided with the royal family, those sided with the Fernan’s, and those who remained neutral. This is where it is believed that the church began to maintain their neutral position within the politics of Realtis as they did not see the Valvira family as having the divine right to rule anymore due to the Hevadenian War, but also not fully accepting the Fernan’s as the next family to replace them.

The Valvira’s generally lacked resources due to the previous war, but they still maintained excellent strategies that took note of what they had. The Fernan’s had their wealth and abundance of resources and would use attrition warfare to eventually win.

After the loss of many resources, the Fernan’s did a final storm of the palace and executed most of the royal family. Within the chaos, Kainus Valvira escaped to Elisymina where the rest of his story remains unknown to us as of this point in time. Augustus Fernan would also die in this last raid, seemingly stabbed by Agnesia Dresik (Who was queen at the time), which would result with the decision to execute the rest of the royal family.

Thus in 545 A.B., Darius Fernan would take the throne at age 20 with the end of the war. He would later marry Mira Lynrya in 564 A.B. and have Lucien Fernan be born in 565 A.B.

#war #fantasy #fantasy history #realtis #I cannot wait until I am to go into depth about specific figures from realtian history #theres so many people i could not help but mention within this post such as agnesia for being someone who never seem to want to be part of #the royal family in the beginning she would put so much effort within her lifetime to help them #the entire story of darius' downfall is also such an interesting perspective to see and especially with how it would later be adapted into #its own play and story #it is such a good tragedy and with the later story of lucien dealing with foreign affairs in vaktal the fernans made for such a good study #kainus is also such an interesting person to discuss seeing how someone recuperates from the downfall of their family and having to start #completely fresh but alas i need to get through our main findings first #also for some reason my tags arent allowing me to type in full so apologies for the weird spacing #original work #original fiction #worldbuilding #dont mind this i forgot to add a few tags

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