#alien apoc setting in space? | Explore Tumblr Posts and Blogs

flimflamfranky · 3 years

Note

Please show me your AUs

*slams down the heavy tome* i hope you are ready for the can of worms you’ve unleashed. also, i’m sorry for any hopes i get and subsequently dash.

so, in no particular order, we have: - klabaturerman franky. now this one i have done things for but i still wanna. do more. like, him interacting with the merry, and the crew learning what he is, that sort of things. - related to this, is a more general sea spirit/fae franky au, just cuz i like fae stuff. i do have some art ideas for this, i just. haven’t done any of them yet. - supernatural frobrobin au, where franky is a (recently turned) werewolf, robin is a vampire, brook is…brook, and they’re all trapped in a magic mansion by some curse. and it’s just them growing close and bonding and trying to break free. also, ghibli vibes. - speaking of ghibli…howl’s moving castle au. featuring franky as sophie with a curse that turns him into a perceptually broken robot, and robin as howl, but with her canon backstory with the government. also has luffy as calcifer, usopp as merkel, brook as turnip head, and nami/crocodile as a weird split version of the witch of the waste (with croc as the villain and nami as the redeemed version). - a pacific rim au, expect it takes place in a post-apoc version where the kaiji have basically won. starts with luffy, usopp, and chopper finding an abandoned jaeger and decided to pilot it. not sure abt the plot on this one, but it does have franky as a disillusioned former jaeger pilot/engineer. - my franky/blueno au, which is being run by vibes and little else. pretty canon-compliant, but with blueno and franky becoming friends (and possibly more) and then dramatically falling out after the reveal. i initially described it as enemies to lovers, but really, it's lovers to enemies. no happy ends here, boys. - several, count ‘em, SEVERAL franky/rosi aus, cuz i got way to into them and had a lot of ideas and then. never did anything with them - main one is them having a meet cute in water 7, before rosi goes undercover with doffy and before the whole sea train thing happens (rosi’s about 24yo, franky’s 21). it’s basically just them bonding and being cute before going their separate ways. - the other one is a sprawling splitting mess of an au that has the two meet as kids on the streets and becoming fast friends. then they get found by sengoku and becoming marines, with rosi training with sengoku and franky becoming vegapunk’s protege. I had one idea where they were close to saul, and after the arrest of olivia became disillusioned with the marines and helped her escape, and then joining her try to save ohara. another branch is rosi still going undercover with doffy, but with franky in tow, and that whole she-bang happening, but with franky, rosi, and law all escaping alive. plus a bunch of minor plot threads that i'm forgetting. again, it's a mess. - various frobrobin aus set in the early-mid 19th century (20s-50s mostly) with mobs, romance and political intrigue. - a roleswap au that i have bits and pieces of written, i’ve just never finished it. unfortunately doesn’t have jinbe in it cuz he’s just too hard to swap with, and i started this before he joined. - i’ve written a summary of this before, but my rouge adopts franky au that ultimately leads to franky being a big bro to asl. - a disney's beauty and the beast au, where robin is the “beast” (cursed child who has been outcast from society and became a monster to survive with a flower motif) and franky is the “beauty” aka belle (intelligence child of an eccentric inventor whose ostracized by the town and willing to sacrifice himself to save another). has lucci as an altered gaston and the straw hats (+ others) as various cursed castle residents. - an arc style idea (not really sure if it counts as an au) where franky gets kidnapped and experimented on by the government. basically my whumptober comic, but in long-fic form. - pokemon aus! i’m mostly entertaining these two: - one piece but with pokemon, and how the straw hats met their various pokemon partners. - and a pmd au with the straw hats as the pmd starters (this one is a drawing, so i might actually finish it) - and i do wanna do something with pokemon gijinka, i just

haven’t given it much thought. - an au where law convinces franky to join his crew bc doffy has been trying to muscle in on water 7 and law is basically like, "we both hate this guy, let's team up". this one is very shaky, but I do still love the idea. - a subnautica au? hear me out. it has the straw hats as space pirates that infiltrate the aurora right before it gets shot down, and they end up trapped on the alien planet. they get split into three main groups: franky, luffy, usopp / robin, chopper, jinbe, sanji / zoro, nami, brook. and they all basically try to survive and find the others in their own ways.

- an au where the crew stops at a weird marriage theme island and franky and brook get married by accident. which is a problem cuz this marriage is ~magic~ and psychically bonds them together. so the crew has to figure out how to undo it. also features frobrobin and zosopp. - a cookie run crossover au, with the straw hats as cookies. pretty basic, expect i, like with most things, went overboard and then never finished it. - and some zosopp aus! - a superhero actor au, where usopp is a new actor playing sogeking in a new kids show and zoro is the main villain, and they fall in love. - an au where usopp is a tengu that guards a small forest (but mostly plays harmless pranks) and zoro who is a lost woodsman, and they become close and fall in love. And also maybe save the forest from a rich jerk along the way. - a gurren lagann crossover au, where usopp is simon and franky is kamina, with all the angst that implies. i really like this concept, but I haven’t actually finished gurren lagann, so… - a leverage au, where the straw hats are a band of thieves that help people out. basically taking canon and sticking in a thief/modern au. - you know those one piece rewrite aus? i have one of those, surprise, surprise. starts with gin joining the straw hats with sanji and quickly branching off from there. other big changes include: - jinbe getting introduced super early and helping the straw hats with arlong, and then becoming an ally until he later joins - brook getting swept back to the beginning of the grand-line and meets the straw hats when they first arrive. gets to reunite with laboon before decideding to join the straw hats to finish his old crew’s journey. - a delay in loguetown means that croc succeeds in taking over albasta and the straws hats help vivi overthrow him (with robin working with cobra in the background to betray croc); ends with vivi joining the straw hats bc she publicly allied with pirates - franky running from water 7 with the blueprints and ends up working for doflamingo. He gets sent to check in on croc (and search for robin) after he takes over alabasta and ends up kicking it with the straw hats and eventually deciding to betray doffy and join them - there’s like. a lot more, but if I do ever end up writing it I don’t wanna spoil all of it. - but im probably not, cuz this would be looooooong. *lets out a deep breath* and that’s about it. and if anyone wants to steal any of these ideas, please do, i would love you forever.

#in which i have too many ideas and not enough motivation #these all haunt me. constantly. some of these are years old and i still haven't forgotten #but anyway. i hope you enjoy this messy list of aus #if anyone wants to know more about any of these feel free to ask!#asked and answered #what do i even tag this as #my stuff #aus

23 notes · View notes

gailynovelry · 3 years

Text

WIP List Tag

Thanks to @albatris for the tag!

Rules: Share a list of the stories you’re currently working on, regardless of whether or not you have introduced them to writeblr before. I’m going to apologize to you beforehand because all of these are going to long. They are also queer. I do not apologize for that.

Heralds of Rhimn: A YA Dark Fantasy and my oldest project. The first book in the series is Shadow Herald;

“Few gods remain on the world of Rhimn, and the ones that do use special servants known as Heralds as pawns in the conflict between themselves. And not every Herald is happy with their role…

As Navaeli the Shadow Herald comes clashing with the dual threats of the Irongardhe knights and her own vengeful goddess, she finds romance in a handsome hooligan girl and friendship in a young feyrie thief — and with them, the courage to fight back against the injustices of her world.

But can Navaeli break free from the chains of her duty, or will she be the first casualty in the oncoming war between the gods?“

In essence, Navaeli is a dark messiah lesbian who Does Not Want To Be A Protagonist Please, Crislie is a love interest who decides to put her brawling problem to work protecting Navaeli, and Meparik is baby, but baby with many issues. In the time you’ve taken to read these character descriptions, he has probably already stolen your wallet.

The series as a whole involves some good wlw rapid-yearning-to-mutually-protective-girlfriends, REVOLUTION, a new take on fairies and a big ol’ middle-fingered subversion to the Oppressed Mage trope, and eventually some good ol’ fashioned god-killing.

The first book is going to come out May 20th this year! I have made a pretty cover for it, and also for the sequel! I am very proud of this!

Mindhive: A NA dystopia and the first project I’ve written where my characters are explicitly allowed to say “fuck.” They very much need to use this word, given the world I’ve built for them to inhabit.

“Dead-broke and dead-set on paying off his student loans before he’s forty, Nathaniel Emersin signed up as a paid test subject for ReGene, a genetics company with a mysterious new invention that they promise will change the world; the Worker Bee Implant.

But Nathaniel has one little secret that didn’t make it onto paper…

He’s also been hired by ReGene’s rival company, Future Body, to sabotage the trial and steal the mysterious new technology that ReGene’s been working on.”

Complications arise due to the presence of a very amicable security AI and the fact that Nathaniel gets attached to the two other lab rats he gets assigned to for the trial. And by “attached” I mean “develops mutual deep crushes on both Lucine and Avery, has a few cover-compromising panic attacks over it, and eventually reveals to them that he’s being hired to be a secret agent guy doing secret agent things.”

So he sort of decides to run away with his new girlfriend and datemate to an activist group who could a) remove the implant possibly and b) sue ReGene?

Needless to say, ReGene nor Future Body are happy with this turn of events, and decide that they should probably stop him before they experience consequences for the human experimentation and corporate sabotage.

Also, they take the AI with them. His name is Vertigo and he would like for someone to explain to him what a Vocaloid is.

Galactic Empress: This story is me indulging in my very specific need to write a royalty space opera political thriller. It is very high up on the Maslow’s chart of needs for me. It showed up one day and did not leave my brain.

“After the unresolved assassination of her mother, sweet but politically-savvy Princess Glissandrah Ayamarak — known better as Gliss — ascends to Galactic Empress earlier than she’d ever wanted to.

With her mother’s murderer still at large, Glissandrah turns to outsiders to protect her while she figures out just what game is being played in the Galactic Quorum. And it turns out that turning three hardened mercenaries into loyal royal bodyguards is harder than she first thought… but when anyone inside the Quorum could be after the crown, what other choice does she have?”

The hot and slightly controversial bodyguard team in question consists of Li-ah-li, a polite and slightly tired space furry, Yuukmi, a plantperson gunslinger with a space blaster in each of xer four hands, and Jennifer, a gruff human mercenary with a protective streak for her two alien comrades. This story is also polyamorous!

The Ghosts of Grimmigkeit Manor: I literally started working on this one again yesterday; it’s a reworking of a VERY old fully-OC pokemon fanfiction I wrote when I was fourteen, which has been subsequently lost to time. The genre is uhhhhhh paranormal shenanigans with semi-mystery vibes and a strong dose of snark. Probably NA.

The story follows three protagonists. Firstly is Eustace, a coroner who is doing a terrible job of divorcing himself from his family’s slightly goth business and reputation. Secondly is his triplet sister Alison, who is currently being The Responsible One running the family business of selling funeral caskets and who maybe should stop breaking the maids’ hearts in her free time. Thirdly is Dirk, the other triplet, who looks up to Eustace quite a bit and would really like it if his siblings got along more and maybe relaxed enough to let him leave the manor to go to college?

Anyway, during Eustace’s yearly Christmas visit to the family manor, it turns out that Eustace and Dirk can both see ghosts! This phases Eustace significantly more than Dirk, since Dirk has schizophrenia and didn’t realize at first that the ghosts were separate from his usual hallucinations.

The story at large involves family secrets, intimidating and quirky relatives, a murder that happened a quarter of a century ago, and this one really terrible ghost who needs to STOP MAKING THE WALLS BLEED BLOOD and who maybe is the triplets’ father. They have to figure out how to yeet him into the afterlife so that he stops causing problems.

Also, a different and more chill ghost owes Uncle Freddie money.

Misc: I have a dozen other ideas that I float around but Deliberately Wait To Work On because my stories are stews and they need some time to simmer in the crock pot that is my brain. Among these are a mermaid/selkie wlw romance, a mlm post-apoc ??? story, and various wlw Eragon ripoffs where there’s dragons being ridden and cool things happening.

#writeblr #tag games #WIP summary #lgbtq fiction #trying to clear these out #i've been busy whoops #Heralds of Rhimn #Galactic Empress #Mindhive #Ghosts of Grimmigkeit #this is good practice for summarizing!#i need more work on that

16 notes · View notes

horrible-monstrosity · 3 years

Text

I find myself increasingly concerned with the direction Legends Arceus is taking the relation between humans and Pokemens. No, I'm not talking about the bit with Pokemans attacking the player directly when you don't have your own Pokeymans ready, that was going to happen eventually, but just... the Sinnoh myths had stories about humans and Pokemon being so close they were considered the same sort of being, there's marriages, what have you, coming from thousands of years back. But this game apparently taking place only some hundreds of years ago... and it's "before Pokemons and humans lived together uwu"? The fuck? I feel like the games have been significantly moving away from humans and Pokemon being equals of a sort who both benefit from being together to Pokemons being some superior beings who humans benefit from but not vice versa and Pokemans are the superior creatures who humans should grovel in gratitude to and put up with all the shit from while never daring to burden them in any way. See gen 7, where living in haaaaarmony means having their lives and culture corralled by some asshole fairies because people can't be arsed to fight the ultra beasts, except the trainers who're forced to become kahunas fight the UBs themselves anyway (where they're forced to become fanatical enough about fighting to become strong enough to do so, but they're not even expected to be strong to fight UBs it's to lead their community... don't try understanding it just eat fairy shit and get excited for more fairy shit I guess). Why not just have a culture of the trainers who want to be strongest, or who have the greatest talent, being lauded as UB-fighters and becoming community leaders as well? Naw man, doing everything as the fairies want is haaaaarmony. Humans can't be strong enough with their Pokemon teams to fight the UBs, but have to be strong for other reasons ordained by The System, but then the ordained stronk humans have to fight the UBs anyway. But the fairies help, I guess. I fucking hate fairies man. Fucking elves of the Pokemon world. Smug sparkling fucks, fuck em I keep forgetting about the ride Pokemon but it still feels like the humans are supposed to bow and scrape to earn the gift of basic movement services so I don't think it really counts Gen 8 I don't know as well but it seems to go like this: Doggos are responsible for all good, their trainers or whatever their human companions are might as well not even exist. The postgame story is about those eeeeevil humans thinking they have some relevance to the doggos or something, eeevil I must say, so they have to do something evil to prove that.... um, something. Just some dumb shit that feels like a strawman argument against humans having any place in this world. Grovel to doggos.

Gen 6 was around the point where the weird cynicism started to creep into the franchise, mostly ORAS's weird abandoned ship segment, but it's pretty clear of this... aside from one random ace trainer or something late in XY who asks you, humans benefit from Pokemons, but how Pokemons benefit from huamn??? huh??? You're expecting an answer from him but he's just like, I bet you can't think of anything huh, hmmm??? Grovel, human.

You compare this to gen 5, and I'm not even talking about the Plasma plot (which was clearly bait on Plasma's part to get the public's sympathy anyway), but things like using Excadrill to dig out the mines. The 'drills were getting to do what they loved- dig- and being treated well by the humans in exchange for digging this spot in that way as directed. An equitable relationship that produced resources. This sort of thing existed as a counterpoint to N and Plasma's stated beliefs that humans were nothing but horrible for Pokemon and that they could never live together... Ironically what the later games are leaning towards, except that there is a way, and that's for humans to go fuck themselves. And again, Sinnoh's old myths, as well as any other myths that involve people and Pokemon together going back thousands of years.

I'd really thought the idea of this series was that Pokemon and humans were practically made for each other, that they were together from the very beginning. Raising Pokemon allows them to have a crafted moveset including TM and tutor moves, gain EVs, use held items aside from the few random ones they find in the wild... it's baked into the game itself completely incidentally. But no, I guess it's a Pokeyman's world and humans are just intruding on it somehow. What the fuck. Sigh.

I'm hoping that "Pokemans are so dangerouse man" line is just about the red-eyed frenzied Pokemon and that we aren't going into all Pokemons attacking humans and humans living forever at their mercy and deserving to scrape and grovel just to survive their onslaught.

By the way, my autistic retard fanfiction: First off, when the wall breaks and the doggo statues are found that make everyone realise who the "real" heroes are (something we can THANK Bede for by the way, because if he hadn't destroyed a priceless cultural artifact Eternatus would have gone off unopposed... but no one ever acknowledges this, as Bede is shat on and disowned by Rose for following what Rose taught him and then forced to trune out by trunny granny. figures she's a fairy trainer, I fucking hate fairies)- the idea that the doggos alone are the "real" heroes is actually a misconception brought on by people/society's tendency to elevate Pokemon, similar to why people bought PLasma's bullshit back in Unova. So when Eternatus is starting its nukes, people are just waiting for the doggos to get going and beat it... but when Hop sees the doggo statues, his budding professor brain immediately sees the truth- both the doggos and their human trainers are needed to unlock the true power of the sword and shield items. This even makes some sense with the game mechanics, as Pokemon typically can't use items more complicated than a berry... so with Leon and co busy fighting the dynamax mons and knowing no one would listen to him, Hop turns to the only person he can ask- you, who saw the doggos in the foggos at the beginning with him, to go retrieve the items so the doggos can actually do their thing. Also, Rose was radicalised and groomed by some crazy apocalypse cult, an ironic inversion of his supposed grooming of Bede (here he actually has a heartwarming father-son relationship of sorts with him). They pushed him to push the darkest day plan up like he did, convincing him there's a desperate energy situation but secretly just wanting the maximum apocalypse-ness out of a single action (while possibly believing themselves that there's an energy crisis but that the real solution is to destroy shit so less people and things use energy). So there's that. In the end he's taken to jail, but it's not some absurdly mundane ending where he just gets arrested for apocalypse crimes, rather he's being questioned for what he can tell them about the cult, on understanding that he was coerced into this, and that he can pay for his crimes by giving information on the cult itself. Bede relates this to you with some concern for his sort-of dad. The Swordward and Shieldbert plot (I forget if that's their actual names but whatever) has the two bros asking you to aid in investigating the apoc cult while preparing to accept their destiny as the doggos' masters. You see, they've been raised for this, learning all about Pokemon companionship but having no actual close contact with Pokemon at all (to prevent any Pokemon from forming a bond with them closer than what they'd have with the doggo- your first Pokemon is special, after all). Book smart but street dumb, in other words. You know, as opposed to some inexplicable dumb shit because Mother 3 ruined an entire generation of game writers. They call on the doggos to battle the baddies and are disappointed they go to you and Hop instead of them, but ultimately accept it. Afterwards, Hop contacts Sonia with a request... soon he has the two brothers over to choose their very first Pokemon. Swordbro was going on about Swordog's nobility and Shieldbro about wanting to touch Shieldog's fluffy mane, so Hop has out a Yamper and a Wooloo, presented as a choice, but he knows exactly which one they'll each choose. This is another manifestation of his potential as a professor- not only doing the professor thing of handing out first Pokemon, but considering what Pokemon they'd work well with. Isn't that nice? Also there's something in there about Bede's long lost identical twin who's also being used as a pawn by the apoco-cult but I'll explain that later

My idea for the origin of the Pokemon world as we know it- Arceus didn't create Pokemon, or the world itself, but it is responsible for the way the world is now. Once upon a time, when humans and Pokemon were one kind of being, there was too much strife and disagreement among the groups and nobody was learning their lesson, so Arceus got fed up and split the world into two types of beings that would have to get along in order to thrive. It instated the "rules" of Pokemon battles, that attacks have set damage ranges and types have well-defined interactions, that attacks in battles only deplete some abstract hit points level instead of causing the damage they "should" for what they are (this doesn't apply to wild-on-wild predation necessarily, so it's a privilege enjoyed by Pokemon being aided or advised by a human). Outsider beings- aliens, maybe ultra beasts, etc- are "converted" into Pokemon when they enter "Earth"'s airspace, which is why even beings from the furthest depths of space follow the rules and biology of earthbound species. These "rules" require Arceus' powers but don't rely on its constant action, so it can be captured and hang out with a trainer for a while, play by its own rules to see how things are going, without disrupting the system. I'd never expected anything even vaguely like this to turn canon of course, because it's so specific and particular to the sort of ideas I tend to have, but... not like this man

2 notes · View notes

vantablade · 4 years

Text

❚ ⋮ ☆ 005: Space Opera

As I’ve mentioned, the story in which Nocturne is a part of is heavily influenced by the Space Opera genre, so i thought it only fitting that I reference the particular elements of the genre that I am heavily influenced by or inspired by. I’ll largely be referring to the TV Tropes page, to source, but if you’re interested in writing space opera or getting into space opera fiction, have a look at the page! TV Tropes introduces the genre as such:

Space Opera refers to works set in a spacefaring civilization, usually set in the far future or A Long Time Ago, in a Galaxy Far Far Away.... Technology is ubiquitous and secondary to the story. Space opera has an epic character to it: the universe is big, there are usually many sprawling civilizations and empires, there are political conflicts and intrigue. The action will range part of a solar system, at least, and possibly a whole galaxy or more than one.

Nocturne’s current galaxyーalso referred to in-universe as “Star System”ーis the Bright Star System, which contains the planets Neo, Belogvardeyski, Apoc, Rhahlios, Aigokheros, Ecferve, Cthylle, Apotelesma, Repent and Eyrith, among others, and other smaller sub-planets or moon-like societies. Aigokheros itself is part of a larger belt of smaller planets, close in proximity to Apoc, which once was a part of the system before revolting, during the Interplanetary War that took place long before Nocturne’s tale began. There are primary protagonists from several of these planets, or otherwise there are plot-relevant attributes towards each of these, and the relationships and cultures of these planets interacting is a large bolster towards conflict. Space Opera, to me, is High Fantasyー but in Space. In writing, I am very inspired by the likes of A Song of Ice and Fire, not so much in content but rather the structure and the narrative style: the juxtaposition between personal politics and how it intertwines with a grander, more fantastical plot.

It is possible that the story may range further than Bright Star, but as it is right now, I am mostly concerned with developing Bright Star and its denizens, and will only involve an extra galaxy (beyond the dead Milky Wayーalso known as Spider Star Systemーgalaxy, which does make an appearance).

It has a romantic element which distinguishes it from most Hard Science Fiction: big love stories, epic space battles, oversized heroes and villains, awe-inspiring scenery, and insanely gorgeous men and women.

Consider Nocturne’s story as a response to Cosmic Horror, rather than a child of it, and that’s why there is such a strong romantic quality to it; love beats at the heart of it. The grand monsters that haunt and terrorize the Cosmos provoke hyper-colour battles, and the true villains are grandiose because villainy is grandiose. Evil is a choice, at least in the philosophy of a novelー malign behaviour can be a result of environment, but true-blue unconscientious evil is a choice, and so all those who ruthlessly embody what we might consider to be Evil are befitting of such. But while this story is romantic, its monsters and its villains are no less terrifying; a primary antagonist is Kazumi, a woman who is terrifying for her astounding abilities and her magnitude, but for her sheer abusive nature. The lengths she goes to to abuse, humiliate and degrade her children, her blood, and any who stand against herー while being societally accepted and warmly receivedー embodies a greater terror than the pantomime villains that some might consider associated with Space Opera.

Brian Aldiss describes the Ideal Format of a Space Opera:

The world must be in peril,

and a quest must arise.

A hero takes on the quest,

encountering aliens and creatures along this quest,

space must flow past the ports like wine,

blood must rain down upon the palace steps,

and ships launch out into the louring dark.

There must be a person fairer than the skies,

and a villain as malignant as a black hole,

and all must come right in the end.

This should give a brief idea of the nature of this storyー but of course, what does “right” mean? Is “right” a happy ending? Is a happy ending always right?

#HEADCANON. ███ 夜曲 ⋮ codex.#*thema mundi

2 notes · View notes

nouveauweird · 4 years

Photo

MEDIA INFLUENCES FOR MY WRITING (IN GENERAL)

I was tagged by Yah Yah of @fluoresensitive (thank you!). Since I’m not actively working on a single wip I chose some early and major influences for my work overall rather than just one project. These medias span from childhood to very recently!

As you can see I am very much influenced by the science fiction and crime genres. Some of these works I was introduced to through school, others through chance or recommendation, and they all left lasting impression. The following WIPs take the strongest influence from these medias: The Puppeteer Plague (sci-fi thriller), Of Rust & Redwood Lungs (space opera? drama), Define Vitality (post apoc drama), Hyacinth Stalks (crime thriller).

TAGGING: @bebewrites - @blossomov - @skeletongrrl - @glittcrpeach - @queenie-dragon - @halohidings - & anyone who wants to tbh

This got long so I’ll put all of this under a cut!

The Magic Treehouse series by Mary Pope Osborne. These were a childhood favourite of mine, a mix of science and fantasy and adventure that made learning something empowering for children.

The Pyx by John Buell. This pulp fiction has been lurking on my family’s bookshelves forever, since it’s one of my grandfather’s novels. I need to reread it to appreciate it properly because it’s been like 10 years.

The Chrysalids by John Wyndham. I read this in grade 9 and fell in love with its subtle science fiction elements, its post-nuclear apocalyptic setting and the children who find themselves with tele-empathic abilities that make them a target of their hyper religious communities...

The Host. Probably read this midway through high school after the Twilight craze had died down, but have reread it about 4 times and it makes me cry every time. Say what we will about Smeyer and silly hetero love triangles but she did some really cool worldbuilding with this, and those ideas have followed me ever since. I probably think about this book every time I shower, don’t ask me why.

The Stand (expanded and uncut edition). My dad has a few favourites, and among them are this book and Dune. He convinced me to read it when we were stuck in a cottage for two weeks when I was 14. I got the name Perion from this book, which I gave to one of my most treasured original characters. I also take inspiration from some of the plague and post apocalypse elements but little else.

Level 26: Dark Origins by Anthony E. Zuiker. I watched way too many crime shows as a teenager, and though I think the CSI shows were not so bad, this novel written by the executive producer was real bad. I absolutely shouldn’t have read this at 15 years old it was so fucked up, but it was also the first book to immediately hook me in in the prologue and held me in a tight grip of suspense the whole way through. I’ve never been more fucked up by a book before. The sequel is pretty good too. It is actually media based, and has codes every few chapters that you can plug into the official website where there are short clips shot with real actors that provide additional subplot to the book.

Fringe (2008-2013). This was my favourite show which I was so invested in I recall my sibling coming in to console me during a particularly intense season premiere bc I was sobbing so hard. What they did with some of the science fiction in this blew my mind, and some elements have followed me into my work now.

Obscura by Joe Hart. I read this last year, and I’ve never really finished a book and wholeheartedly said that it deserved to have a TV adaptation. It’s narrative is suspenseful the sci-fi elements are compelling and the stakes are intriguing. It’s set in space, the main character is a mother, and the twist is fucking delicious.

Bloodchild by Octavia E. Butler. I read this for my sci-fi themed English class last year and was riveted. I haven’t read anything like it before. The whole class reacted strongly to it. I loved the alien species and I love the dynamics between them and the humans, who have become refugees on another planet, and a valuable resource too. Fucked up but in a very compelling way.

The Southern Reach Trilogy by Jeff Vandermeer. I started the first book at 9 pm before trying to go to bed, and got through the first 100 pages, I had to get up and go talk to by sibling Andy because I was so thoroughly skeeved out by the world Vandermeer had created. I put a lot of trust in this story, because the perspectives shift in the following books and I really wanted more from the Biologist, but ultimately it remains one of my favourite series and a huge influence for my science fiction work.

Alien (1979) & Aliens (1986). The first “scary” movie I was introduced to as a kid. The monster/alien concept stuck with me and I rewatch the first two films (we ignore every subsequent film). Puppeteer Plague pays homage to the Xenomorphs, and in another WIP (Mare Levest 40) I named many of the crew after Alien Franchise characters.

iRobot (2004). Another action/sci-fi I was introduced to as a kid. It still startles me even though I know the story and have watched it many time. The robots were fucking cool. Spooner’s prosthetics are a major influence in Of Rust & Redwood Lungs (which is a Mars Settlement political drama).

The Expanse (show and books). I only recently got into this series, but it’s become a big inspiration for me for my own space opera wip. I have taken influence from The Martian, The Space Between Us, Interstellar and many other space-based medias for this piece, but The Expanse was the one to really dig in deep with the worldbuilding and I have a lot of respect for it especially because of its diversity of characters, but also representations of various sexualities.

Runners Up: Panic at Rock Island for its plague themes, The Mentalist and Lie to Me for their unique approaches to crime, Terra Nova for its unique worldbuilding and for also making me fuckin sob during the finale (also shout out to the livejournal fanfic community I was in for that fandom, lmao, I gave Lt. Reilly the first name Laura and someone put it on the wiki), and Bioshock, The Last of Us, and Horizon Zero Dawn for worldbuilding elements.

I legit didn’t realise I had so many sci-fi influences, damn. You’re a trooper if you read this far.

#media influences tag game.#tag games.#my stuff.#my works.#about the writer.

9 notes · View notes

thedeadflag · 7 years

Text

@dreamsheartstory said: if you find any good sci fi, let me know… it’s so rare…

It really is. For a genre that has so much potential, it rarely makes the small screen without being corralled into a few very specific tropes (sci-fi cop procedural is so, so overdone, but I’m desperate haha)

Still, this is what I’ve watched over the past...3 years? 3 years, yeah. At least, the notable ones, not including the obvious big name Netflix marvel shows, Sense 8, orphan black, etc..

SOME MINOR SPOILERS BELOW

The Expanse:

Harder sci-fi. Essentially, it’s the future, where humanity expanded across the system, and Mars split off to do their own thing after a civil war. The people working on “the belt”... as in the asteroid belt and other such unsavory places and stations...are the clear have-nots and are generally abused at will by both Earth and Mars, and the show starts where tensions are at an all-time high, with the belt a hair’s trigger away from revolt, and the Earth/Mars tensions coming to a head

Great casting, the crew of the Roci is fantastic. Though Thomas Jane is...a Thomas Jane character. He’s such a perfect fit for Miller, because Miller checks all the boxes for his strengths, and hides his weaknesses well enough in the flaws of the character. So i can’t blame the show for that, but I hate looking at his face. Still, the casting is just top notch. And they have Shohreh Aghdashloo, who is always fantastic, and Frankie Adams pops onto the scene in S2 and does quite well. Essentially, casting = A+

Only real complaint is that i read the book, and there’s a pansexual lady character that is exceptional and amazing and I love her and her mouth of a sailor. The show cut that and made her more passive and scared in S2, which is bullshit, and led me to stop watching because I was furious at that decision, but in the end, it’s still absolutely 100% worth watching. If just for the Roci crew alone and the endless shenanigans they get into (and sometimes out of)

Binge-worthy. Pacing of the first two episodes is a bit inconsistent, but they’re covering an absurd amount of ground, so that’s expected.

Killjoys:

Lighthearted space-faring sci-fi, set in a totally built from the ground up universe. It slowly leaks out the lore as to not jeopardize the general tone of the show. However, it does turn serious for stretches.

Easily binge-worthy. Takes 3 episodes to get momentum, but after that, it’s pretty smooth sailing.

My only real quibble is with the origins of Dutch. We get a hint of her growing up essentially as property, abused into being a living weapon/assassin, before we get a good read of the world, and that...really comes off as a bit exploitative, given she’s a woc.

The ship is an A+ lovable sassy ladybug

Dark Matter:

A bit “harder” sci-fi than Killjoys, but it has its lighthearted moments

Super super slow burn. I finished the first season and only then did I really start to dig my claws into the show. It’s slow.

That said, interesting lore, and the overarching series of narratives are solid and worthwhile, they just take an egregiously long time to lift-off.

There’s apparently wlw content in season 3. I haven’t finished S2 yet, but I’m hoping it’s solid.

Westworld:

Western meets Wizard of Oz featuring Anthony Hopkins with an old west fetish. Set far off in the future. There are, like, androids and stuff

I didn’t get through it since western shows give me the creeps, but most of my friends who watched it says it was pretty great. I only watched the first episode, but the acting and cinematography and music were all very well done.

Ascension:

A sci fi mystery, set in a space-ship, if that space-ship was sort of like one of the Bunkers in the fallout games, full of people from the 50s.

The show is not without its warts, but it’s a miniseries (so it’s not long), and it’s surprisingly well done. Doesn’t cover all the themes it brings up with the greatest nuance or skill, but I’d wager it’s probably worth a watch?

The OA:

Another mystery! Sci-fi in the vein of alien abduction and strange abilities.

It’s kind of surrealistic? It makes you pay attention, and if you slip up, you’ll probably miss out on something. There’s a decent chunk of content mashed into those surprisingly few episodes.

Didn’t like that it robbed a character of a disability. I think it would have worked just as well with the character still being blind. They could have made it work.

Trans guy rep in this show, which was a plus

American Gods:

I’m not sure if this counts? It kinda counts. I’m saying it counts. It mixes sci-fi and fantasy.

I haven’t finished this yet, mostly just because it’s hard to find torrents that aren’t tracked by the network. My ISP is okay with me getting one or two notices a month, but past that, it’s tricky, and I can’t afford a good VPN, so I’m playing the waiting game for a bit.

Ricky Whittle and Ian McShane were fantastic in the episodes I did see. The show is, if nothing else, visceral and beautifully shot.

3%:

Sci-fi in the vein of Hunger Games, but a better premise, and better executed

I only managed to get it with the dubbed audio, so that was flat out atrocious and made me weep over the injustice

Still, despite the absolutely grating audio, I pushed through that and enjoyed much of the rest of the show. it’s solid. Not, like, the best show out there, but it does what it does well, it covers its themes well, and the visual elements of the acting seemed strong.

Find the sub-titled version with the original language (portugese iirc?) audio. I think that’s available on Netflix now, or at least Netflix USA, from what I understand.

12 Monkeys:

It’s a police procedural time jumping sci-fi with a dystopian, post-apoc future.

It’s okay. Nothing special. The two leads really do try to put the show on their back, btu the writing’s not real strong. Watchable, but lots of plot holes, plot armor, and writers shoehorning in sudden/coincidental events out of nowhere to increase tension. if you want something to watch for background noise, or maybe if you want a procedural show and have checked out the others already, maybe this will be for you.

Agents of Shield:

Superhero-based sci-fi

First season is slow and full of filler because they were waiting for that Captain America Winter Soldier movie to come out before tying their show in with the events. There are guides to watching the first season. I thought it was all decently fine, and good writing alla round, there’s just too many episodes that season to justify the few meaningful narrative events.

Season 2 has Dichen Lachman. The final half of that season character-assassinates her (and the other inhumans) to provide the show a late-hour villain to root against. I hated that. It’s the weakest season, thankfully, and I’m sure there are watch-guides to skipping through that because...

Shit gets real in season 3, and it’s worth watching even outside of S1-2, I’d even rec skipping those if there wans’t so much character-building in those 2 seasons. The writing is better, the acting is better from S3 onward. There’s still some fumbling of themes, but not to the degree of the previous seasons. Same with Season 4, where it arguably has it’s greatest few episodes. Ends with a brief Hydra-AU arc that IMO is skippable, but some adored it. I didn’t, but eh.

Colony:

Harder sci-fi. Aliens invaded and swiftly won. Now they’re ruling us from a distance, using human figureheads to do so. Really neat lore, and worldbuilding.

Unfortunately, it’s the most frustrating sci-fi show i’ve seen in years, because the male cop lead always has a gut feeling that always aligns with what the revolutionaries are planning, so he always intercepts them. And they get unbelievable plot armor to escape the writers’ ham-handed tension-building, ensuring the writers don’t pay any consequences for the shitty bullshit they keep pulling over and over.

If you can take that sort of crap, and care enough about worldbuilding/lore/etc., then go for it. There’s definite value, and things improve greatly in season 2. But my lord, season 1 is so frustrating.

Person of Interest:

You’ve probably watched this one

Hard sci-fi in the vein of "Hey, maybe writing a secret intelligent AI is just a really bad idea” *five minutes later* “Oh no what have we done”

It’s a really bad idea.

But we get fun police procedural moments out of it, because John is solid, and Carter & Root & Shaw & Bear are excellent.

Bear is best.

The show has watch guides for getting through the first season, and parts of S2.

Avoid the final 3 episodes of the series. Maybe the final season altogether. Otherwise fantastic and heartwrenching stuff.

The Last Ship:

Naval Adventure to Rebuild the World After a Rampant MegaVirus sci-fi

Surprisingly decent for a show that’s basically funded entirely by the American Navy.

Just keep in mind that there will be shitty patriotism bits of bullshit tossed in here and there, and there won’t be so much shock when those bits show up.

First two seasons play out like a mix of The Hunt for Red October and Jesus Camp. It’s bizarre, but sometimes it works? Rhona Mitra and Christina Elmore are probably the reasons for that. And Dichen Lachman is in S3 and she doesn’t die, so that’s a plus.

It definitely has its dips into shit-tier quality, and self-righteous bullshittery, especially in S3.

But it also handles a national political arc halfway decently for a sci-fi show in S3.

Anywho, this is good for, like, background watching? Or low-intensity, low-effort watching. In that context, it’s a good enough show.

The Leftovers:

Three seasons of super depressing and heart-wrenching drama with sci-fi at its core (huge amounts of people vanish one day...the show is about the world finding out how to move on, what ti all means)

Excellent acting. Top notch. Like, some of the best on TV. Some stunning stuff.

The show only gets better. I didn’t like the first half of S1, it’s very slow and arduous, but it’s worth it.

Not very sci-fi, at least not until S3, but still. It works with sci-fi elements and it’s a very thoughtful, smart show.

Wayward Pines:

It’s sci-fi in the vein of Under the Dome, but it manages to be even worse somehow don’t ask me how

Oh my god don’t watch this, the cast does not make up for it, they flounder in atrocious writing. i’m only mentioning this here because it’s just so bad, don’t waste your time like I did.

That’s...well, the stuff that’s not far below mediocre.

#spoilers #AoS spoilers #agents of shield spoilers

74 notes · View notes

thegleampt2fromtheglowpt22001 · 7 years

Text

The newest addition I've been working on to my post apoc setting is a cult around a probe that was sent into space shortly before the apocalypse (which in this setting is like waaaay long ago very few people are sure of when) to find habitable planets that at some point became warped by alien entities in deep space and is broadcasting back to (what was formerly) earth. The cult replaces as much of themselves as they can with crude cybernetics and prosthetics to be more like the "starmetal"

7 notes · View notes

cibokilley · 5 years

Text

Cross-post from Pillowfort.io

So, the following Blanket Box is for worldbuilding. The world I'll be exploring with this BB is from Cosmosis, a story/graphic novel/whatever I've been developing in the past few months.

General concept: LA PLEROMA is an abstract, enclosed internal world with no borders. There is no 'outside' -- everything in this world is an interior, just an entire plane made up of building interiors. Exiting one interior just brings you into another one, and so on. These repeat-borders cannot be mapped, however, as the interior continually and gradually builds itself larger and larger based on human observation. Some say the world is a living thing, eating and growing at a glacial pace. While it is believed that the interior runs on forever, there are some who believe there is an end to all of it. However, this is countered by another school of thought that declares that La Pleroma merely loops in on itself, but no one knows exactly at what point does it begin to repeat. Other angles suggest that La Pleroma exists in a spiral, and goes on further to suggest that it's not just a spiral but a tesseract in a Fibonacci spiral, in which both time and space do repeat themselves.

Most of La Pleroma is unchecked and feral. Pockets of civilization exist here and there, and sometimes they even interact, for better or for worse. Everywhere else is a liminal space. Monsters abound, hidden and insidious.

I’m going for more conceptual than realistic. It’s been a fun thought exercise so far.

Warning: LONG ASS. So very long. Like ten pages long. Prepare thine asses, assholders. That paragraph two lines above IS the tl;dr version.

1. What was the original inspiration for your world? Why are you making it?

Echo for the PS4 (now on PC and GoG) was the initial inspiration for the world of COSMOSIS. I super loved the concept of a never-ending palace structure full of weird shit, which I then paired up with an Escheresque flair to flip this palace dimension off its predictable axes. Ideally the place is still structured with occasional recognizable patterns, and only in very messed-up sections of the COSMOSIS world is there true chao -- a teratoma-esque mishmash of elements that aren't supposed to be crashing or clipping into each other, etc.

The other huge influencer is the cybergoth-industrial world of BLAME! by Tsutomu Nihei. This is one of the first manga I really invested in from start to finish due to Nihei's use of scale to show just how huge and expansive his insular, interior world can be. That and I adored the concept of the Network superstructure just... slowly, constantly expanding itself despite the lack of humanity to give context to these lonely, unused spaces. Areas are so vast that time and space operate differently in parts of the maze, as well as weather, species, species of human, as well as technology and specific atmospheric phenomenon.

2. Does your world have any kind of 'aesthetic,' or a predominant genre (other than fantasy/sci fi/etc)?

Definitely high fantasy. No elves or DnD races, though, just humans.

For overall flavour, I want it to feel like a whimsical fantasy, not to be taken too seriously. Most events will be entertainingly cartoonish, but with some serious moments as well. I also want to maintain a sense of wonder and open exploration, to inspire readers to stay on so they can explore the world along with the characters. It feels like a post-apoc setting, but in a world where people didn’t live in. The eerie liminal spaces suggest a mysterious past, a story half-told and forgotten, where in the inhabitants are bereft of a cultural history to explain how and why they exist in a setting where 'outside' has an ominous meaning.

On the conceptual side, much of the gnosis presented here is supposed to be a bit technical in nature, almost like a proper science, but is really just a lot of comparable analogues and metaphors and borrowed terms. I wanted to create a sense of deep lore and dogma while leaving enough room for interpretation.

3. Introduce us to your continents and major cities/countries.

Oh here we go. The primary reason why I'm answering this questionnaire is to force me to come up with distinct cultures and locations for the narrative to explore. The places visited by the main narrative are as follows:

THE ROYAL PALACE

At the center of the story is a castle-like juggernaut of vertical space occupied only by the Royal Family. The Palace maintains a sense of baroque opulence, cold and sophisticated, utilized but never truly lived-in. It is believed that the ancestors of the Royal Family not only built the Palace, but created the Capital. Thus, the royal descendants are not only divine, but are gods or demi-gods themselves. This is somewhat true: Castelin, the first of the royal family, had some involvement in the creation of La Pleroma in full. The details remain a secret known only to the Royals.

THE CAPITAL

Outside of the Palace is the Capital, a series of concentric rings of humanity living in close proximity. These rings form a massive city that radiates outward from the Palace. Each level is larger than the one before it, and it is spread out so vastly that entire generations are born and die in their home rings without having ever exited the city, and not for lack of trying to get out. The Capital tends to have housing and buildings that make relative sense, but further along the outward radiation the structures begin to clip into one another, creating the bizarre hodgepodge that defines La Pleroma.

A feudal system keeps the Capital running. Not all rings are urban — some rings are dedicated to farmland and primary resource cultivation.

THE WILDERNESS

Outside of the Capital is pure wilderness. Structures make less sense, with stairways leading to nowhere and exits with no meaning. Though no one has been able to ascertain, it is believed that even the wilderness is contained within a ring-like structure as the Capital. Cartographers have tried, and died.

Greenery and foliage occur randomly where water can be found, but not all parts of the wilderness are forest. Most of the wilderness is made of stone buildings, sterile and dry. Other places do not have water, but other creatures and organisms may inhabit nonetheless. Not all living things have been documented or discovered. Plants grow where they can, structures decay under the weight of encroaching nature, and some places are subterranean, filthy and murky. Some places are completely alien, and usually super unpleasant.

The style of the terrain varies per region. Some places suggest medieval European with vaulted arches, stained glass windows, ornate outcroppings and arrow slits spiralling for miles up along massive towers, while others might look like parts of the Palace, richly trimmed, furnished, but empty. Domiciles appear transplanted or teleported straight into existing structures. Some places are utterly ruined, as though devastated by quake or ballistics or fire. Occasionally, bits and pieces of robots can be found lying about. Sometimes, humans can be found out here. Different types of human…

AEONIC GENERATORS #1-30

Still working on these. Will update when I get to it, narratively.

HISTORY

As mentioned before, La Pleroma is beset with a vague sense of history. There was a time when La Pleroma was actually coherent, a finite space serving an organized purpose, but for some reason modern civilization has forgotten how this came to be. Why would a television set occur out in the wilderness? Did someone make it and abandon it? Did it just appear one day? Why are the power grids so random? Why do some stairs climb sideways, why do some ceilings have doorways, why is the world built to the shape and size of humans? Who discovered chirality, or discovered how to harness the magical powers of the Kenoma? How do human beings even know of the Other Place?

Nobody knows. But someone is set to find out.

AND ONE MORE THING

Also, while there does appear to be some form of gravity, the endless chambers of La Pleroma are not all built along the same plane or axis. Doorways that do not open and aimless stairs may appear upside down or sideways, since the artificial nature of this world seems human-built, but gravity usually falls only one way.

4. What cool species does your world have? This can be people races, aliens, neat wildlife, monsters, whatever.

Humans exist as the dominant species, but they also share ground with animal people. They're not furries, per se, they're just humans with animal heads or animal features. The story doesn't really explore this concept too deeply, as they're merely window dressing and flavour for the setting.

Humans exist in full racial ambiguity. Like cats or dogs, human beings in this world don't segregate by race or colour, though they may separate on religion or ideals. Also, curiously -- all humans are considered and assumed bisexual until proven otherwise. For some reason cleaving to your own sex is seen as ‘developing a habit’, while being strictly hetero is considered a bit limiting albeit necessary for procreational reasons. Marriage is less about nuclear family and more about gaining resources via declared relationships. In this way, even homogeneous couples can secure formal married status with a lack of children. Adoption is common.

Wildlife varies. The usual normal animals exist, albeit it slightly altered to their weirdly unnatural surroundings -- for example, wolves that know how to use the urban jungle for hunting and ambush tactics, parkour deer, tigers that know how to use doors, creatures with urban camo, etc. Also insects, lots of flying creatures, and fish. And weird shit that is unidentifiable; vegetable, mineral? Misc?? What is that?

Monsters -- there are lots of these. Anything that is distinctly oversized, or is clearly expressing gigantism, is considered monstrous. Also, anything with more teeth than usual is also seen as monstrous. To be considered a true monster, however, is for creatures to have mystical abilities such as teleportation, illusory talents, shape-changing, anything magical or that cannot be explained by biology alone. And also, anything that can’t be easily identified is probably a monster.

Animal people are weirdly common. They are not as numerous or recognizable as humans are, but relations usually tend to be friendly. They do not interfere with human affairs, preferring to keep to themselves. But on the occasion where rival communities wage war on each other, the animal people think and behave exactly the same as humans do, so the only real discrimination among them is cosmetic at best. Usually they appear as normal humans, except with animal heads.

There are also strange instances of humans becoming animals, and animals becoming human. No one knows how or why this happens.

And then there’s the Royal Family. With a lineage that dates back to the beginning of time, members of the Imperial Royal Family are distinct in that they are semi-human. Though outwardly they appear normal, they are known sorcerers who can cast magic spells without components or incantation, and need only one voice to cast: their own. They are also said to be clairvoyant, can walk through walls, and appear in two or three places at once. Otherwise, they too behave like ordinary humans. What services they provide to the Capital include organized defense of borders, city planning, disaster relief, and actual governmental social services.

And last but not least, the kosmikoi are ghosts and phenomena that originate in the Kenoma, but are somehow able to express themselves in La Pleroma. They are highly dangerous in that anything coming into contact with the kosmikoi can and will implode, violently. Small instances tend to burn themselves out in tiny flashes when they immediately come into contact with positively-charged particles constantly present in the air space of La Pleroma, but large instances appear surrounded by a hazy fog of matter and antimatter particles cancelling each other out in the presence of air. Also, looking directly at them at close range causes madness.

5. Tell us a fable or myth from your world.

Bonus round! I’ve got not one but TWO myths to expound upon…!

THE WELL AT THE BOTTOM OF THE WORLD

There is a story about the Well at the Bottom of the World. They say it is the only place in La Pleroma that opens up on the opposite side of the world, tunnelling right through. Some say it exits straight out into the Kenoma, and that the presence of the sea is the only thing keeping La Pleroma from being sucked out like water down a drain. And some say the well does have a bottom, and if you manage to get there, your greatest wish comes true. However, the few tales that trickle down to the Capital never end well.

CREATION MYTH

The creation myth of La Pleroma is not well-known. There are spinoff legends and localized versions of the origin of the world, but here is the myth as it is known by scholars:

In the Beginning, there was Nothing. Then, Nothing contracted from itself and became Something and Nothing. This separation was called tzimtzum (borrowing heavily from Lurianic Kabbalism). The space contained within itself was called La Pleroma (innenwelt), and the negative space surrounding it was called the Kenoma (umwelt). Or: the universe was a wave before it became a particle.

Vague interpretations of this story created a unique collective memory of a time before Nothing, a previous cycle of existence that was either the same or slightly changed from the present. Whatever it was, the first cycle has definitely informed the present — as though the world suddenly begat amnesia, and is now struggling to remember who they were and why they’re here.

Application and Imago

Scholars have attempted to prove the validity of this myth mathematically (to put it lightly). The end result is a bizarre non-euclidean geometry proving the shape of the world: that there is no edge, but the interior of the model goes on forever.

The scholars theorize that the world is a Schroedinger's box: that the world is actually a cloud of possibilities that do not resolve until a sentient being observes it. They theorize that this is the reason why no one can find the edge of the world -- because it merely expands when someone is there to observe, and then contracts when no one is around. In short, if a tree falls in a forest and no one is around to hear it, it does not in fact make a sound. But then the problem arises that if everyone were to suddenly fall asleep simultaneously, or a sudden die-off erased all living creatures in existence, would the world end?

The philosophers have an answer for this issue. La Pleroma is actually a living thing in and of itself, and does not sleep. The world-entity remains stable because it is aware of itself -- it observes itself, therefore it exists.

6. How do magic (if you have it) and technology work in your world? What tech level are you at? How does magic influence technology, and vice versa?

The study of 'magic' is called psycho-science (borrowing heavily from Masamune Shirow's Orion), and is a property possessed by those with an advanced parietal third eye. This eye is located inside the brain, and acts as a portal to the Kenoma through which miracles may be drawn. La Pleroma is opposite to the Kenoma in concept -- if La Pleroma is mostly mass, then the Kenoma is mostly energy. This energy can be traded via the parietal third eye and then used to grant miracles, such as walking on water, healing, raising people from the dead, and assorted elemental powers. The exact mechanism that enables human flesh and the brain to activate this phenomenon is still unknown, though the concept of conscious will being the key driver in directing Kenomic energy into agency has already been proven. Practitioners of this ability are called mages, or sorcerers.

Those who do not possess a well-developed parietal third eye can still use mechanical means of channelling Kenomic power into agency, as follows:

SPELL COMPONENTS

Through the use of certain materials, such as metal, wood, stone, etc., Kenomic energy can be exchanged using the material itself. The 'exchange' occurs when matter is swapped out for energy, so all spells must rely on mostly transient components. Metal and stone take the longest to wear away from use, while wood and paper tend to be used up in one or two charges at most. Dense mediums like platinum or diamond have a near-infinite capacity for use. These materials are fashioned into convenient apparatus such as rings, jewellery, talismans, etc. Technically a good wizard or witch can use anything in their immediate surroundings, but purity of elements will result in a cleaner, smoother spell effect whereas a less homogeneous conductor may interrupt the flow. That said, the mass to energy conversion is never 1:1, as there must be some energy from the caster to initiate the exchange.

Sorcerers typically do not require components to cast, but they may do so in an effort to conserve personal stamina. In this setting, sorcerers are extremely rare.

CHANT and INCANTATION

The amperage of a channelling event is determined by the power of incantation, using voice as the unit of measure. (Eight voices is a chord, twelve voices is a chroma, etc.) The purpose of the chant is to invoke the vibration of the material to be sacrificed, to initiate the matter-energy exchange. The more voices, or embodiments of conscious will, are added to a chant, the greater the flow of Kenomic energy. One voice will have a small effect, but many voices can increase the strength, duration, and distance of effect.

The incantation, also called the chant (the term is interchangeable), must be cycled repeatedly to create a psychic/aetheric vibration that weakens the morphic field of any given physical component. This weakening allows the matter to lose its shape and convert into pure energy, which is then redirected to perform work dependent on the will of the caster. The general rule is the Law of Conservation of Energy, in which energy cannot be created or destroyed within an isolated environment. Something must be exchanged.

The preferred chants come from a set of scripture called the Heavenly Tenets, which contain different chants and hundreds of lines to be memorized. The chant used most often for spellcasting is called The Oscillatory, which is the first chant in the series and is usually studied the most. In this manner, individual casters can use custom chants for similar spells so long as the pitch is correct. Also, to prevent confusion between dialect and spell voice, the chant is usually performed in the ancient tongue. (For the use of this story, Latin.) Because of this, the Heavenly Tenets are considered holy words with the power to create miracles when uttered.

There is a theory that the specific emanation created by voicing the Oscillatory actually performs an anthropomorphic role in using components to activate. Recitation ‘reminds’ objects of their origins and coaxes them to return to their natural state, ie. pure energy, or zero-point vacuum energy potential. The psycho-scientific community cannot prove or disprove this theory as of yet.

AETHER

Aether is the transmutation of Kenomic energy into mass. Raw Kenomic energy behaves like light, which can be trapped inside photonic crystal. A secret method is then used to compress the light into a plasmatic state, resulting in a gel-like substance that evaporates when exposed to air. Small amounts of aether can be stored for use in talismans, but large amounts cause greater instability, and must be stored separately. Linking Aether jars together with electrical connections is standard procedure.

AMPLIFIERS, TALISMANS, MAGIC/ENCHANTED ITEMS

Advancements in modern magical technology have allowed users to control the chant using talismanic resonators, or amps. Artificial voices can be added to a chant to enhance its strength. The core element of an amplifier is Kenomic aether condensed into a semi-liquid called copy-gel inside an airtight vessel. Stored in this aether is a brain. Originally, only real human brains were effective. Animal brains did not react as predicted, though dog brains could occasionally be substituted. But modern science has been able to develop artificial vat-grown brains, embedded with a personality impression, for the use in amps. Echoes of a voice or many voices can be recorded into the brain, and using copy-gel as a medium, the brain acts as a surrogate for a conscious will, or ‘voice’. These brains can occasionally remember certain patterns of incantation if used repeatedly for the same cast. Also, brains with a suitable personality embedded on the psyche can perform better than brains that have been impressed by old personality code that has eroded or been duplicated too often. Personality can also affect the ‘tone’ or ‘texture’ of a cast. For example: a chaotic personality may result in an unpredictable spell effect, or a ferret’s personality will give the spell effect a whimsical, playful aesthetic. However, brains do have an expiry date, so they must be replaced every now and then.

There are mixed reactions among the casting community on the use of amplifiers. Some argue that even artificial brains that can be added as voices are actually conscious and capable of developing unique personality, and thusly, can also suffer emotional and psychic pain. While studies indicate that these vat-grown brains do not register ECG when idle, the more spiritual and empathetic argument still chooses to abstain from using amps, for fear of karmic retribution.

In this vein, extra voices can also be acquired simply by employing a choir of singers to activate seals and spells, since individual humans are the main providers of conscious will. Chants by choirs of novices were the only way to enhance rituals, back in the old days, as they say.

Amps come in different shapes and sizes depending on use. Mega-amps can convey the will of up to ten chords or more for larger, more complex rituals, while single-use amps can boost spellcasting for up to one or two voices. Amp effects stack as well, enabling modern casters (with sufficient availability and budget) to cast spells with enormous potential, utilizing hundreds of voices (also called tone clusters) provided by multiple amps connected together and plugged into an electrical generator or electric power supply.

Also, copygel is a non-Newtonian fluid.

CAUTION and CONSEQUENCES

The consequences of the misuse of Kenomic exchange, or magic, are usually fatal. Like the implosions that occurred during the formation of the universe, casters and surrounding matter can be sucked straight into the Kenoma. There is no surviving this event, as all and any physical objects passing through go through traumatic spaghettification. In short: soft squishy structure being sucked through a tiny hole. The implosion radius differs depending on the caster’s individual control.

TECHNOLOGY

In addition to aetheric tech, electricity has existed for a very long time as well. Some parts of the La Pleroma actually contain foundries and devices designed for use with electricity. Power is provided via land cable, but finding these connections is difficult, as the grids are usually embedded right in the structure itself, bricked up behind walls and trap doors, hanging from windows, etc. Random power sockets may or may not be connected to anything at all. It takes an entire guild of electricians to keep a city running, provided they can find a power supply, or if the city has ways of generating their own.

Techwise, the level is all over the place. Certain civilizations have up to a 1920’s level of sophistication while others have already harnessed nuclear fission/fusion. Some are still scraping about in the stone age. The vast distances between groups in La Pleroma are mind boggling.

7. What are the major religions of your world? How have they affected the rest of society and history? How are they organised?

CELESTIAL LAW aka the Laws of Heaven aka the Heavenly Tents

Above all things, even gods, is Celestial Law. Rather than governing the lives and behaviours of human beings, the Law focuses more on karmic cause and effect, the rule of threes, and the expectation that you reap what you sow. Also, Celestial Law includes the expectations of gods, demigods, spirits, saints, and other spectral forces. Only through ritual may these beings pass into the living world, and that only by exorcism will they be allowed back out. Celestial Law also dictates how Nature should preside, ideally keeping ice cold, fire hot, water wet, etc.

Usually people don’t want kosmikoi, lost souls or spirits, wandering around in La Pleroma, but the Kenoma does house a myriad of special forces that can be called upon to act within mortal bounds. It is expected that the soul migrates to the Kenoma as pure energy, having left its body behind on the mortal plane.

Celestial Law is not a direct analogue of Buddhist dharma, but it’s similar.

GODS

Religion in La Pleroma operates on a dualist cosmology with a single Creator god, flanked by a broad array of saints and some ancestor worship. The Creator God is assumed to be omniscient with a dark twin, a Demiurge, mirroring his/her/its existence in the Kenoma. Here, the Demiurge exists as a mindless force that governs Heaven and Earth. While even God must adhere to the laws of Heaven, he/she/it is not subservient to them; instead, God has the ability to take shortcuts, but never does he/she/it break celestial law. In this fashion, God and the Demiurge cooperate to keep Creation running. This principle has given rise to a gnostic religion called Chirality.

In La Pleroma, religion is more of a cultural product, a way of life, rather than a strict adherence to a code of virtues.

Orders and Denominations

Chiralism is organized by a brief hierarchy of novices, deacons, ministers, priests, priestesses, and a High Priest. While rural Chiralism makes due with ministers, only in the capital does this advanced hierarchy serve any purpose.

The Royal Church of Chirality is divided into two schools of thought on the shape of the world:

The Helexites believe that La Pleroma turns in a spiral in which both time and space repeat themselves, with slight differences per revolution. They posit that the world has both a beginning and an end, and that with each iteration the world advances upward towards some ascendant tier.

The Möbii believe that La Pleroma is much simpler, and that it exists in a loop. They are still working out the exact point where the world begins to repeat, as no one has found a way to head west and inevitably end up returning to the same point from the east.

Both denominations recognize that La Pleroma exists in chirality to the Kenoma, though exactly to what degree is yet unknown. (Chirality means mirror-image flipped only on one plane, ie. looking in a mirror.)

While the two denominations will disagree with each other on this detail, it must be noted that they do not war with one another — both acknowledge that potentially, both ideas are correct simultaneously according to the Laws of Heaven. These Laws are more like fundamental physical laws rather than laws in the bureaucratic sense, in which consequence is preceded by cause.

That said, there are offshoots and cults formed around extremist interpretations of dogma of both denominations, with with one side denouncing the other with lethal intent. These heretic orders can and will pit God versus Demiurge, in which the spiritual is seen as morally good, while the material life is seen as evil. Opposing factions reverse the order: God is seen as a dark, masculine oppressor, while the Demiurge is considered soft and feminine and imbued with the powers of procreation and rebirth of living things.The Church of Chirality openly rejects these splinter factions, but the abuse continues.

Worship

Chiralist worship has no liturgal ritual or need for mass gathering. Rather, the style is more eastern, in that people engage in casual ancestor worship at home or pay homage to shrines. Chiralism is Shinto-esque in that it focuses more on establishing a connection between the present and the past, and that there are rituals to be performed in order to do so. Chirality has no leader, authority, or political influence. There is only the sacred scripture called the Heavenly Tenets, aka Celestial Law.

8. Tell us about a cool geological or magical feature of your world.

Lol to be honest, La Pleroma is a cool geological AND magical feature in itself.

9. Introduce us to the major 'civilisations' or societies of your world, if you haven't already. How do they interact? What do trade routes look like? What did 'ancient' civilisations look like-- or are the current ones the first?

THE HUMAN SPECIES

Civilization exists in remote pockets throughout La Pleroma. Because of the massive distances involved, subspecies of humans have evolved differently per region. Some humans are extremely small — not short, but miniaturized. Other species of human are very large. Humans in more isolated communities that have existed for a very long time tend to develop specific sets of shared features (ie. townies who’ve been intermarrying for generations), certain resistances and vulnerabilities, etc. Other species of human have only retained the chiral symmetry and silhouette of the human body but nothing else.

Another subset of humans are the animal folk. Like humans, animal folk differ per region. Imports include: food, water, assorted primary resources, tertiary services. The Capital exports: manufactured goods, clothing, weapons, secondary services.

The heroes of the narrative set in this world are regular humans. However, they may not be considered ‘normal’ by other species of human.Some communities have been documented, but La Pleroma is otherwise a kind of wild expanse full of danger and surprises. There are vast stretches of uninhabited space, so trade between entirely different species of human is difficult.

The story starts off with just one nation of humans, who call themselves Chiralists. This group has never made contact with other human subspecies, though they trade regularly with animal people.

10. Tell us an important story in your world. This could be the planned story arc for a campaign, the story you're writing set in this world, or just the story of an underdog prince and how he changed a kingdom.

So here we go, the summary for COSMOSIS:

Prince Anton Kovec, a high-ranking member of the Royal Family, is a caster, Holy Interpreter, and edgelord who, after the Capital is attacked by a hole in the sky, sets out to repair the damage. Accompanying him is his lesbian sidekick Sister Gladys Degunais, a cheeky yet resourceful priestess and Anton’s childhood friend. Together they must find ten Grand Sacrifices (a buncha mystic macguffins) with which to repair ten of the thirty Aeonic Generators, sacred towers at the edges of the world that supposedly keep the world together.

In this adventure, Anton and Gladys come upon interesting people to add to their party, including the vigilante royal treasury accountant Brigga Irene, Officer Damien Acanthus Holley of the Royal Army, and Kuno, a frog.

The cast will encounter strange beasts and terrifying enemies on their quest to find the relics to use as Grand Sacrifices, and they will also encounter other Interpreters on the same mission.

But there's one thing Anton wants to understand: Hasn't this happened before...?

#cosmosis #writing #original #worldbuilding

0 notes