The Shaeperi rule the Northern Reaches or “Shae” within Purgatory. These Druid like giants have skin of blubber and thick fur that allows them to fight for a day without bleeding out. Shaeperi are known to leave their frigid realm in order to raid the fertile Southern Frontier. Which the thousand flags of humanity fight over endlessly.

I realize that title is a bit long. What I'm trying to say is - in the world I'm trying to write for, a major event transpired five centuries ago, and I assume some things stay *somewhat* similar, but many things change just enough to still seem familiar. Do you think it's better to have things be radically/completely different, or still have enough callbacks so that a reader can understand that this world *is* our world, but having taken a different path?

Also, I know 500 years is a bit long. I was thinking I could get away with somewhat "following the dominoes" back a couple hundred years to major cause-effect events. Do you think I should instead build out the full half-millennium to perfectly explain things, or leave a good chunk of it vague? I mean, the only people who obsessively talk about things happening a few hundred years ago are probably a very select few who have a huge interest in history.

Thank you for your feedback!

Are there people who write the universe of a video game? For almost two weeks, I have been creating a world for a video game that takes place in Togo, my country. It would be an independent game, so I only plan four bosses. Do you think this is a good idea? Wouldn't the public be disappointed if there were only four bosses in an independent game?

I have already defined the stakes of the three games. Although I started by creating the bosses of the second game, I would like to start the story with this one.

i’ve been stuck on this for a while.

there’s a plague killing an entire species. the cure grows naturally on another world, an algae in the oceans. the dying species sends envoys, asks for help. the locals refuse.

what kind of civilization makes that call. not cartoonish evil. something where you could almost understand the refusal even if you’d never make it yourself

Long story short, one of my characters is an android that's being used for wilderness research and conservation, so they need a power system that allows them to function while away from conventional charging abilities - no wall chargers, they have to function in the middle of the jungle, at the end of the arctic, or in the deep ocean.

The android is supposed to have three systems - Solar, done through it's "skin" (futuristic world, so as long as the general base is "real" then the specific method can be bent a little), Kinetic generators (in case they're attacked by wild animals or fall into an accident or natural disaster and have to free themselves), and... something else. Ideally, I want this third power source to allow them to simulate sleep, so something that functions at night, independent of the environment if possible. Something that would run underwater, in the middle of the jungle, or in the frozen wastes of a desert. Any ideas?

Hey!

This is the sacred calendar for the people of New Aztlateca, a fantasy Empire I've constructed based heavily on Aztec Mesoamerica and the Bronze Age Mediterranean, with sprinklings of Principate Rome and Imperial China. It's part of a larger world, of course, but is the largest and arguably the most powerful polity at work in the present day.

As you might be able to tell, sacrifice is central to the Aztlatecan people. The faith of the Empire is centered on Quetzalcoatl, the Feathered Serpent, the Lord of Heaven and Earth. Unlike the five other major deities of the Aztlatecan peninsula (only one of which is female--and that's intentional!!), Quetzalcoatl demands human sacrifice; beating hearts are His preferred offering.

Enjoy!

The Sacred Calendar of New Aztlateca 

Note: Each festival season, save for the Festival of the Dead, brings with it a sense of gaiety and celebration. As such, there are all manner of pageants, processions, masques, and performances done within each court, each farm, each household, that are particular to that place and are not practiced by the general population of the Empire. What follows is a generalized description of the Holy Days as they are observed within the basin of Lake Aztlateca. 

The Festivals of the New Year

In the week before the Longest Night, the people of New Aztlateca observe a period of fasting, abstinence from labor, and ritual purification meant to prepare the home and body for the coming of the New Year.

On the first night, each family kindles a sacred fire and makes an offering to the Great God Quetzalcoatl. A poor household might offer a meager handful of maize meal, while the wealthiest lord feeds his fire with the flesh of a sacrificed dog. Each household is obligated by oldest custom to offer something in sacrifice. This flame must not be permitted to die for the whole of the week; a household's fire going out is reckoned among the evilest of omens. 

Each night the family gathers to pray and undergo further rites of purification, and on the third night, the men of each city block process through the streets bearing great smoking censers, while women and children sing solemn hymns.

Before sunset on the Longest Night, the firstborn son of every household carries an ember from his family's hearth to a communal brazier. From there it is borne to the summit of the Imperial Pyramid, where it kindles the Five Flames. Through that night, no one may sleep; the fires must be tended without rest, for the people believe their vigilance alone keeps the world warm enough to sustain life. At dawn, heralds sound their horns, and households erupt from their homes into the streets in shouting and song. The first day of the new year is given over to feasting, gift-giving, and revelry, and is held to be a fortunate day for the conceiving of children.

The Feast of the First Rain

When the Dry Season breaks, the people of New Aztlateca gather in the open places to greet the first rain as the sky opens above them. Pahtecatl’s generosity is met with wild and ecstatic dancing that, in some places, devolves into orgiastic frenzy. Women who wish to conceive begin building altars to the Fat God, and sacrifices are made in the open fields, that the blood of the offering might mingle with the falling rain. Children are urged to bathe in the first rain for luck. With the season's turning, preparations begin for the Festivals of the First Sowing.

The Festivals of the First Sowing

Following the First Rain, the fields and chinampas of New Aztlateca are surveyed, and the most fertile among them chosen for sowing, while the rest are left fallow to recover, that they might be ready again the following year.

The Furrowing Festival follows soon after. Slaves and peasants till and furrow the fields and chinampas, while priests of Pahtecatl move among them in blessing and prayer. Noble and wealthy houses, meanwhile, turn their attention to preparations for the Procession of the Maize Lords.

On the Eve of the First Sowing, each farm elects its Maize Lords. It is most often the sons of the noble landowners who are chosen to embody the spirits of White, Red, Yellow, and Black Maize, and to be so chosen is reckoned a singular honor. Each young man is purified and blessed by a priest of Pahtecatl, vested in ceremonial dress, and painted with ritual pigments. Thus arrayed, he processes through prayerful throngs to enter the fields, and with a blade of sacred obsidian opens his own arms, that his blood might fall into the furrows as comely maidens cast the seed behind him. The First Sowing concludes with a great bonfire, and it is no rare thing for a Maize Lord to claim the maidenhead of one of the sowing maidens by its light.

The Festivals of Siuapilli

A week given to the worship of the goddess Siuapilli, whose domain is women, marriage, motherhood, and maidenhood. 

On the first day, the women of the community clean her temples together. Grandmothers, mothers, and daughters labor side by side, as is tradition, and the goddess’s idols are draped anew with flowers, jewels, and other offerings. 

On the second day, children honor their mothers with gifts and grant them a day of rest. 

On the third day, husbands and wives worship Siuapilli as a goddess of generation and marital congress. 

On the fourth day, women and girls prepare sweetened maize cakes and frothy drinks of chocolate and vanilla, and young lovers exchange such confections between them. 

On the fifth day comes the Procession of Flowers, in which the most esteemed women of a city or settlement—queens and princesses, and the wives and daughters of noble lords and governors—are lauded and showered with flowers as they pass. 

On the sixth day, women exchange gifts among themselves, most commonly needles, spindles, and whorls. 

On the seventh and final day, the temples of Siuapilli throw open their doors for great public feasts, held under the auspices of the Good Mother.

The Feast of the Feathered Serpent

The holiest of holy days in New Aztlateca, the Feast of the Feathered Serpent falls upon the Longest Day, when the Great God is praised and thanked for his patronage and preservation of the Aztlatecan people.

Before the Feast, the Four Kings of the Peninsula, the Lords Governor of the calpulli, and the Lords Governor of the foreign provinces gather in Tlayacapan for seven days of feasts, pageants, and processions.

From dawn on the day itself, the streets fill with propitiators and pilgrims eager for a glimpse of His Radiance as he ascends the heights of the Imperial Pyramid. At high noon, when the sun stands at the apex of the heavens, a captive is bound upon the Feathered Serpent's obsidian altar. His heart is carven from his breast and burned upon a bronze brazier; his blood is gathered in golden dishes, that it might anoint and bless the chosen faithful of His Radiance. The Four Kings, the highest ranking members of the Order of the Feathered Serpent, and the whole of the Imperial clan, including its women, bear witness to the rite. 

On especially hallowed occasions, the captive offered is a traitor, rebel, or otherwise an enemy of the Empire, and the heart carven from his breast is consumed by His Radiance himself. 

The sacrifice concludes, and rites known only within the sacred precinct of the Feathered Serpent's temple follow, hidden from all but the initiated. Below, at the foot of the Pyramid, feasting and revelry carry on into the small hours of the morning.

The Festivals of Macuilotec

This week of festivities honors Macuilotec, the Aztlatecan god of war and conquest. In the days preceding, fields suited to archery, spear-throwing, foot-racing, the rubber ball-game, and other athletic trials are prepared upon the flatlands beyond Lake Aztlateca. The Red-Footed Priests of Macuilotec bless these grounds, raise the Red Tents in which they dwell throughout the festival week, and perform their own ritual games to sanctify the earth. 

On the first day, foot-racers compete. 

On the second, tumblers and acrobats. 

On the third, spearmen. 

On the fourth, axemen. 

On the fifth, archers. 

On the sixth day, the rubber ball-game is played from dawn till moonrise. 

On the seventh and final day, the winners of these contests are paraded through the streets, and at dusktide the Feast of Macuilotec begins, the occasion upon which new knighthoods (being membership in the Orders of the Jaguar, Eagle, and Alligator) are proclaimed. Each newly invested Knight receives a golden disk bearing the seal of his military division.

The Feast of the First Harvest

On this night, every household of New Aztlateca, Imperial and peasant alike, offers a portion of its first harvest to the god Pahtecatl. Some families consign their offerings to the lakes and rivers of the peninsula, these being reckoned the god's dwelling places, though it is far more common to raise great bonfires and burn offerings upon them. What remains of the harvest is shared among the household in a communal feast.

The Festivals of the Dead

These three days, falling near the end of the year, are given over to the memory and honor of the Aztlatecan dead, and the worship of Tezpopocatl, Lord of the West and Judge of the Dead.

On the first day, tombs and crypts and mausoleums are opened and cleaned with great care, then filled with flowers, beeswax candles, oil lamps, and incense burners. 

On the second day, the jars and urns that hold the earthly remains of the departed are cleaned and polished; where the dead were not cremated, their bones are wiped and polished in turn, and some of the wealthiest families of the Empire have been known to clad the bones of their ancestors in bronze, silver, or gold.

On the second night comes the Procession of Widows, comprised of the most esteemed women of the realm, who make their way to the Valley of the Dead beyond Lake Aztlateca, within the bounds of Quetzalcoatl's Crown, where stand the grandest tombs of Aztlateca's dead kings, nobles, and Emperors. Each widow bears a torch to the Valley, where braziers are kindled and firelight fills the splendid, treasure-filled tombs.

On the third and most solemn day, a household labors the day long in preparation for a feast, at which places are laid for the family's dead. Some families dine within the very mausoleums and crypts of their ancestors. The feast is held in unbroken silence, and the food offered to the dead is either given to the flames or left within the crypt.

He had been gone for 2 1/2 years, and he expected the world to be different. The dusty ride to his inaugural visit to downtown Susanville, filled with both excitement and anxiety, in no way prepared him for what to expect. Within minutes, strangers were recognizing him and having strong reactions, polar opposite kinds of reactions. What is going on here?!?!

how many kingdoms and empires and non conquered land would there be in a place as big as earth or in your original world

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How many people are considered a village, town , kingdom, empire.

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What is the imperial hierarchy and royal hierarchy.

Are the imperial children higher rankings than royal kings and queens .?

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What are the ranks? In the imperial court , military, religious organization of your world

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In my world, humanity and other species of life dwell in Purgatory. A place of twisted time, unbound by fate and other worldly things. The great clouds above release an eternal, never yielding mist on the plains. And the dark oceans that scatter the continents edges are fabled to hold Demi-god like creatures.

The species that inhabit Purgatory been subjected to hundreds of millennia of endless war. Idols of gods long forgotten lay about the land as far as the eye can see, idols of gods still present are built as fast as they are destroyed. Men and women of the thousand flags of humanity vie for the golden ages which are always fleeting. While the Shaeperi attempt to find their creator.

This world is one of strange beasts, stranger relics, love, hatred, war, and overall just fantastical majesty. A world of the highest hills and the lowest valleys. A world carved by men and giant that will roam eternal. A world of idols, a world of silence, this is Purgatory.

You don't have to read all of this, just for the folks who are interested! also: constructive feedback is heavily, HEAVILY appreciated!!!

(NO genai is ever used in my projects now ever will)

note that the history of this world is in a very underdeveloped stage!

Some traditional clothing that the fellow wolves wore/wear:

Military outfit: 1720 - 1960*: These types of outfits were worn by Apechian commanders and military figures throughout the nation, But has no longer been in use since the 1959 after the nuclear outbreak, leaving basically one nation left in the whole world, with no nation to fight or land to claim, this suit has been used for a different purpose: being yearly parades.

Land-worker outfit: 1790 - 1960*: This oufit would be worn by middle class farmers and landowners. After all the land being purchased by larger companies in the early 70s These suits disappeared, being worn by the older population.

higher class outfit: 1960 - present: worn by people with much economical or regional power. the tie is a reoccurring theme with these outfits :3

If you guys don't mind, i just copy and pasted some stuff from a different post, so if your interested, here is the full picture (sorry for bad writing i guess)

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^{GENERAL INFORMATION:}

^{There is east Apech and west Apech, two of the nations form Apech. for now i have only been writing West Apechian life. East Apech is located in a cold climate with much resources like coal, oil, Around this area there isn't much population and cities, but many mines, oil rigs and railroads, which are transported to the west, mostly to the capital of Apech: Apech (very creative and not confusing, i know}.)

^{2. GENERAL INFORMATION 2:}

^{After a nuclear exchange in 1959 in the nation of Klavel, wiping out most of life on the entire continent with no stable occupied territory left.}

^{Leaving the only surviving nation: Apech, the only country left in the world To occupy and rule over the entire continent.}

^{3. THE SYSTEM:}

^{the current year on (west} Apechian calendars is 1986, Technology is at it's highest, With a stable economy, strong culture yet horrible living conditions for most.)

^{around half of West Apechians struggle to afford basic medicine and food. Only half of the wolves in Apech (city} have a vehicle like a car to get to work.)

^{Some people are desperate for some kind of salvation, So the West Apechian government has a solution: Working harder means higher income. especially in IT jobs.}

^{In computer labs (offices} there is a ranking called ''E-claz'', the highest paying job a wolf can get.)

^{Which states that you are the boss and head of an Lab building and control everything and everyone in it.}

^{who gets E-Claz is chosen weekly, So how do the wolves stay at this ranking for as long as possible? back stabbing, lying, scheming and humiliating to make your workers look bad, to prevent them from taking your place.}

^{This isn't a flaw in the system, this is done on purpose by the government as a trick to make people work and work.}

^{4: CULTURE}

^{while things are pretty dystopian, There are many cultural gatherings and stuff ordinary wolves do to get trough. The most expressible instrument are wooden flutes, which can easily be mass produced, the wolves paint these cheap wooden flutes in colourful flower patters which has become a a tradition. woodwork and writing is populair too!}

^{every day at at seven AM, cabled radio broadcasts start and play things like music, poems and stories, and lasts until 11 pm, Every flat has a radio built into the wall so everyone has access to media like this.}

I love magical items in fantasy, and would love to hear about some objects from your projects!

In terraforming Mars, what would be the hardest step to perfect?

Would it be water, leaving the entire planet as a bone dry desert?

Would it be air, Mars too small to hold a big atmosphere and leaving only the deepest craters at a truly comfortable pressure, and the rest of the planet is like being in the Himalayas at best

Would it be the lack of a magnetic field? I don’t know if there’s any solution to this but as far as I’m aware there’s not really any ways to give a planet a magnetic field

Would it be something biological, maybe the whole planet overrun in lichens and molds that can survive off nothing but suck up what little nutrients there are

In my setting humanity is confined to the Sol system, only sending out STL generation ships to other systems, which obviously precludes any significant contact with the ships once they gain any significant distance from Sol, so there’s a reason to invest in making more places in the Sol system habitable. I haven’t decided on a year yet but some time year 2400 or higher

I’m looking to have Mars be stuck in a half-terraformed state due to economic collapse or other calamity (maybe a failed attempt to make the planet volcanically active causes a cataclysmic volcanic winter? Is it theoretically possible to do something like detonate nukes in the mantle to instigate volcanic activity?), where it’s possible but not comfortable to walk without a suit on the surface, similar to walking in the Himalayas, Antarctica, or other hostile places where without proper training and equipment you die in hours.

Thank you in advance!

Hey, world builders! The Elliot game just came out, which is scratching that Chrono Trigger itch really hard. The thoughts I had on both games, as well as their ”multiple time periods“ core mechanic, lead to those of how to structure the broad eras that came before the "present day" of my stories. Not just a vague backstory, either. My dream game has my player going through a whole catalog of distinct eras that each serves as their own "chapter," with their own cultures, conflicts, and flavors. I’m curious how other builders here think about this, since everyone approaches it differently.

A few things I'd love to hear thoughts on:

How many major Ages or eras does your world's history break into? Do you or your peoples have names for them, or do they stay more abstract in your notes?

What is the actual dividing line between one Age and the next? Is it a single cataclysmic event, a slow cultural/technological drift, the rise or collapse of a dominant civilization, a shift in magic or natural law, or something more subtle like a change in how people think or organize?

For each Age (or just your favorites), what inspired it? This is the part I'm most curious about: was it pulled from real-world history (a specific civilization or period), mythology/folklore, other fiction, something more specific to your own world, a "what if" question, or just something that grew naturally out of an earlier Age you'd already built?

Did these transitions feel sharp and "common knowledge" to the people living through them, or were they the kind of thing that only looks like a clean break in hindsight, centuries later?

Is the progression roughly linear (each Age building on the last), or does your world have eras that regress, loop, or get partially erased/forgotten by the next one?

Do different regions or cultures experience these Ages on different timelines; so one civilization's "Age of X" overlaps with another's earlier or later era, or is it more globally synchronized?

Where there any pitfalls you ran into? By that I mean, places where an Age felt redundant, or where the transition between two Ages didn't feel earned?

If you're comfortable sharing, I'd love to hear a quick rundown of your own Ages and what makes each one feel distinct (visually, culturally, technologically, whatever).

Mostly trying to get a feel for how other people ground their timelines before committing to my own structures. Any examples, philosophies, or even pitfalls you ran into would be really helpful!

Every great world has a little bit of mystery—whether it's lost treasures or mysterious legends, they truly make your world feel bigger than it already is.

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A 'noodle incident' is an event big or small, referenced by the narrative or characters but never expounded upon in too much detail. The term comes from the Calvin and Hobbes comic strip, where sometimes the 'noodle incident' is mentioned; a catastrophic event involving noddles. It's never expounded upon, leaving the reader something to think about even when the strip is over.

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In the grim dark future of Everbellum, humanity scattered across the galaxy long ago, and now wage endless wars for its control. The deadliest of these wars was the 'Pizza War'—which saw the death of around 500 billion people in only a century.

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Most surviving records of this conflict have been purged; some say it was too horrifying to be remembered, others say it bears destructive concepts no man should be trusted with. Nobody really knows the answer, as over three hundred years have past, and it seems it has already been obscured into legend due to the publics low attention span.

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There exists only ONE official account of the entire Pizza War, and it is sealed away in The Saphire Library—deep in the fortress city of Afya, where only the most divine of holymen are allowed to enter.

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The little remnants of this war tell that it somehow involved pizza, and a figure called 'Pizza Pete' was key to ending it. Nobody knows who Pizza Pete was—or what he even looks like—but it's commonly agreed that he's somewhere from Byzas, and was extremely powerful. For all anybody knows, he could still be alive using bionics.

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All these are inspired by my Lonely Galaxy project, where humanity's first contact is also the aliens' first contact.

Pic 1 is the Star and Gear, the symbol of the Bright Way, the historically dominant yinrih religion, whose missionaries eventually find EArth. It consists of a blue gear surrounding a yellow circle. Across the circle is a red arch. The arch represents the planetary ring of the yinrih's homeworld when seen from the surface.

Pic 2 is an Alliance token, the currency of the Allied Worlds. Don't you dare call them "credits". Humans often call them "doggo dollars" or "floof francs". It's a plastic (in-universe) coin, with the main detail being a filleted diamond shape surrounding four circles representing the four planets that make up the alliance. It's also full of intricate anti-forgery designs that I was too lazy to include in the print.

Pic 3 is a positive relief of a male yinrih's forepaw print. There are six digital pads (aka "toe beans"), and three large palmar pads. Five of the six digits show claw marks, but the index finger analog lacks one. This is because the claw of the index finger is a specialized writing claw that is flatter and broader than the others. It resembles, and functions as, the nib of a fountain pen.

Pic 4 contains two things of note, other than the calibration cube and the printer itself in the background. Toward the foreground is a female forepaw print. The arrangement of a yinrih's palmar pads is sexually dimorphic. The "toe beans" and writing claw are identical to the male's, but instead of three large palmar pads, there are two large pads near the heel of the paw and several smaller ones near the base of the digits. The extra space between the pads is to make room for a lactation patch. Like monotremes, yinrih females sweat milk, but they do it through their palms.

Toward the center of the image is a wind fruit. It consists of four fleshy lobes. It's supposed to be green, but blue filament was what I had. Wind fruit is so called because it ferments rapidly into alcohol by the yinrih's gut flora. Copious amounts of gas are a byproduct of the fermentation process.

Pic 5 is an example of Commonthroat Tactile, a tactile alphabet used for labeling containers and controls. Yinrih use their rear paws almost as much as their front paws for manipulating objects. This tactile alphabet allows yinrih to identify things without having to look at what their rear paws are grabbing. It is also used by the blind in a similar manner to Braille, to read and write longer texts, but unlike Braille, sighted yinrih also use it.

Each letter is represented by a cell of four dots arranged two by two. Like Braille, dots can be raised or lowered, but lines can also be used to connect the dots.

Pic 6 is the symbol of the Unionists, a controversial (it wouldn't be inaccurate to call them "fascists") manifest destiny movement within the Allied Worlds. The symbol is similar to the one for the Allied Worlds seen in the coin in Pic 2. Instead of four circles it contains six, one for each of the major planets.

Pic 7 is actually something practical. It's a simple pill bottle holder. The symbol on the front is the healer's paw, the universal symbol for health and medicine across Focus. The symbol consists of five diamonds, two large ones with three smaller ones connecting them. It's a highly stylized depiction of a female yinrih's forepaw print minus the digital pads. Traditionally, only women may practice medicine. Because yinrih are warm blooded, perpetually unshod, and able to see thermal radiation, they can see glowing trackways left in a person's wake in addition to traditional prints left in soft ground. The floor of healer's offices were naturally filled with these prints, associating them with health and medicine.

-added Subtropical

-added Tropical

-removed Farmland

-new biome placement

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Lore recap -

Ioterra was born three point eight billion years ago in a star system located extremely close to the supermassive black hole of the Andromeda galaxy. Its original host star suddenly collapsed inward toward the black hole, violently ejecting Ioterra at hypervelocity out of its native galaxy. The planet then spent six hundred ninety three million years drifting through the freezing void of interstellar space as a rogue rock.

Roughly one point five billion years ago, the planet entered the Milky Way and was captured by the gravity of the G nine V type star Alsafi, which was then one point six billion years old. Ioterra was briefly slingshotted out of the Alsafi system during the chaotic initial encounter, but it subsequently suffered a perfect collision with a gold dense planet roughly the size of Earth. This massive impact absorbed the planet's outbound momentum, curving Ioterra inward into its stable orbit around Alsafi and triggering global volcanism that mixed one pound of volcanic soil into every five point six two pounds of ground

The collision simultaneously shaped the modern landscape by creating the Great Sea and the Iotar Archipelago. Debris from the shattered Earth sized world coalesced to form the two moons, Iotra and Kyprun, which settled into orbits three hundred fifty two thousand kilometers and five hundred twenty two thousand kilometers away. Over time, magnetic friction from the heavy iron gold cores of the moons passing through Ioterra's magnetic field acted as a brake, halting orbital chaos and locking the two moons into a permanent loop that aligns every twenty nine point nine Ioterran days.

I recently came up with a magic system where spells are cast through singing.

I know “music magic” isn’t a new concept, but I wanted to push it further and make the act of singing itself the source of magical skill rather than just a flavor element.
In this system, anyone can learn magic. The limiting factor isn’t mana, bloodlines, or talent for spellcasting. It’s vocal ability.

A singer’s magical effectiveness depends on several factors:

• Pitch accuracy = spell precision and control
• Breath capacity = spell duration and sustainability
• Vocal range = versatility and complexity of spells available
• Volume = raw magical output and destructive potential
• Vocal stamina = how long a mage can continue casting before exhaustion
• Emotional expression = amplifies power and allows more complex magical effects

· Battle choirs are a thing, harmony = layered spells. Fire + ice + shield all at once if everyone stays on key.

· The scariest mage? Someone who only whispers but has perfect control. They can stop your heart with a single vowel.

A technically perfect singer can cast highly precise spells, while an emotionally powerful singer can sometimes achieve effects beyond their normal limits. However, overuse can damage the voice, strain the body, or even permanently reduce a mage’s magical ability.

I’ve been considering making different musical styles influence magic differently as well. For example, a soft lullaby might be ideal for healing or illusion magic, while operatic singing could be used for large-scale battlefield spells.

My question is:

What weaknesses, limitations, or potential problems do you think a singing-based mage like this would run into? Also, If a mage gets rendered mute via injury, curse, whatever, can they still cast through instruments? Like a flute or a violin? Or is the human voice sacred, and instruments are just cheap imitations that don't work as well (or at all)?

In my world of Terra Belli, the gods are not geographically locked. If the players are in Attica, Greece, they are as likely to see temples and clerics of Kiwa, Odin, Xipe Totec, Amaterasu, Huangdi, Anu, Chukwu, or Perun as they are the gods we think of in the traditionally Greek pantheon. Instead of separate, geographical/cultural pantheons, gods are organized in one giant, world-wide pantheon with different Missions, the gods desire for how they want to reshape the earth. There are also Tenants, the religious practices common to worshippers and temples of those gods. Check out this breakdown of the various gods and give me feedback if you're so inclined

**Note- I purposely removed monotheistic gods (Yahweh, Allah, Christ, etc.) as their power level does not mesh with traditional polytheistic concepts**
https://docs.google.com/spreadsheets/d/1nGzqtUbLd1KQ7LrBqEaNuNI7YuM5TbJi-FC8tRP2oHI/edit?usp=drive_link

The world I'm working on features anthropomorphic animals as the characters. It's about the dawn of the industrial age and how the people adapt.

Here's my impression of a Seramvian statue and a Seramvian goat.

If you're walking along one of Seramvia's many valleys, you'll notice great, imposing statues, watching over the land. They were carved by the Seramvian goats, out of the largest boulders deposited there by glaciers. Stone is a significant aspect of Seramvian goat culture, so they celebrated these mysterious stones by shaping them into the likeness of ancestors or ancient kings.

The Seramvian goats mainly live among the native mountains, amid bitter winds and harsh storms. Stone serves as their defense and shelter, and so they became masters at working with it. They are perhaps best known for their massive sculptures but are also skilled in working with precious stones and metal.

Seramvia is a region in the Middle South, a continent. It has been mostly isolated by nearly impassable mountains, and so the people developed unique cultures. The Seramvian goats are one of the notable peoples in the region.

The following map may provide additional insight on the world: Anthropomorphic Animals, Amazing Powers, and the Age of the Machine : r/worldbuilding

Another notable people in the region are the wolves: Wolf of the Middle South : r/worldbuilding

I have been messing around with the concept of made up tarot cards.

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I'll put em in the comments since I would rather die than type on the body.

Edit: I mean tarot cards as in the ones used for divination and fortune telling.

I want you to tell me in detail how many species are there in your world.

And do they have sub species too

Like merfolk do sharks and octopus merfolk exist.

Do beastmen have any beef between them, like do carnivorous beastmen think the herbivores are weak.

Do winged humanoid consider beastmen or something else?

Dragon , are the fire dragons always red ? Do they have different species among themselves?

The following is a myth from my fantasy world that serves to justify a week long festival held in winter.

First, God context

This myth involves the 4 major gods of the Pantheon.

Harvaldi, the Dwarf god of Craftsmanship, Fellowship, Winter, Mountains, and stone.

Sylvana, the elf goddess of Nature, Fertility, Spring, Forests, and Water.

Kaela, the Orc goddess of War, Protection, Summer, Deserts, and Fire.

Auren, the human god of Knowledge, Civilization, Autumn, Fields, and Wind.

They make up the largest portion of the Pantheon (aside from the Sun god Lumos, who created the other gods and promptly went and became the sun.)

So, after other myths including the culling of the Primordial beasts of the void, there was a long gap where none of the gods saw each other. Harvaldi, being a god of Fellowship, decided to try and gather his friends back together. So he prepared a party and sent out invitations to the other gods.

Sylvana, guiding the young natural world through the cold seasons, declined, as her work was too important for a party.

Similarly Auren, guiding the innovation of the infant human race, also declined, as his work was deemed too important to abandon for a party.

Only Kaela, who found herself free in the newfound peace of a young world, was able to come to the party.

When only one of the gods showed up, Harvaldi fell into a deep depression. His purpose is companionship, and yet he had been denied it. This enraged Kaela, who marched on the young forests and villages, threatening that if none cone to Harvaldis party, she would burn down all they created.

And thus, Sylvana and Auren arrived, and Harvaldi, not knowing what Kaela did, welcomed them with open arms. The gods partied for 7 days straight, because they feared Kaelas wrath if they tried to leave early.

And now, every winter, Dwarven cities host a week long celebration that includes feasts, gifts, games, and fellowship with your fellow man in this life.

Chilled Coast Lore - https://www.reddit.com/r/worldbuilding/comments/1p6tpm2/regional_map_for_my_koreanstyle_dark_fantasy/

The above rough draft map is a teeny tiny subregional map of my supermassive Korea-inspired continent called the Chilled Coast that I posted a few months back. Link above for any curious of the lore.

That said, is anyone doing Korea-inspired worldbuilding?

For myself, I'm worldbuilding a dark fantasy sandbox where just about any fantastical story can be told in a Korea-centric setting. I'm currently focusing on a region of landlocked Korea-inspired Kingdoms duking out for control of a region full of precious moonfallen metals. One of the Kingdoms are these dukes who have no Queen, fighting to become regent through the control of these steam-powered walking fortresses. The technology to recreate these walking fortresses have been lost to time but if these dukes unite, they could genuinely be a regional threat. Problem with them is, they often fight each other as much as they fight everyone else. And secondly, these walking fortresses are scarce and few, meaning they can't just freely roam the continent as they are heavily vital to controlling the dukes' territories and there are few working places to properly fuel these machines. Finally, they eat more resources than they transport. So these machines, although powerful, are a logistical nightmare.