Decided to make a little introductory post to a very particular crossover AU (for ABZU, The Pathless, Journey (2012), and Sky: Children of the Light, to be specific) that @abhorrenttheorizer and I have made art for over on Discord. As there's a lot of ground to cover, I'm putting it under a read-more for courtesy.
Introduction
Welcome to Earth! Specifically, thousands if not millions of years in the future, after at least one cataclysm has claimed the lives of every human on the planet. But not to worry!
A little before the end of humanity arrived, two bird-like gods arrived on Earth, settling in the eastern and western hemispheres to establish their own followings.
Off to the East, we have the goddess affectionately nicknamed "Megabird," who landed on a mountain and began constructing her own unique ecosystem centering on light and flight, creating the Rythulians as her worshippers. (AT's more in charge of this portion; he's got a lot of interesting ideas about the "slugbirbs" as we like to call them.)
To the West, we have the goddess known to her own people as Mother Eagle. First, she got to work producing five eggs, which would hatch into their own unique gods and goddesses: Cernos, Sauro, Nimue, Basilla, and Kumo.
Basilla, the shark goddess*, was the one who crafted the people who would become their worshippers, taking remnants of humans and mixing them with seals and sharks to create the Basillan species (my specialty, based on my personal headcanons for the TGS games).
*(based on the Great White from ABZU being referenced in The Pathless and the mysterious stele that got edited out in an update)
The original Basillan kinda looked like this (these being the "humanoid" forms of the Tall Ones, Basilla included).
However, they wouldn't stay united for very long. Differences in religious views and lifestyle got heated, and eventually the mortals banished Basilla and her followers from their island home, with the Basillan cult setting up shop in an underwater territory a ways away from the Eagle's Island. Over time, the more land-focused followers of the Mother Eagle and the remaining four Tall Ones became the Vokara subspecies, and the more aquatic followers of Basilla alone became the Nanshen.
Here's a really old drawing of the differences!
(Did I forget to mention this AU has been in the works since 2021? Man my art's changed since then.)
Anyways, average Nanshen guy on the left, average Vokara guy on the right.
The Nanshen are more suited towards an aquatic lifestyle, with wider gill slits, darker skin due to heightened sun exposure, shorter and more compact body type, a flatter nose more suited for passing water to the gills, and longer barbels on the ears to allow for greater olfactory sensation underwater. (They're based off of the murals in the ABZU game, as well as probably unintentional environmental storytelling with how unnavigable the map would be without a lot of diving underwater; it only made sense to me that the lost civilization was probably amphibious.)
The Vokara have lived mostly in the mountains for generations, so they're more suited for terrestrial life, with a broader chest, smaller gills to focus on breathing air, lighter skin due to weather conditions providing less light, a more opened up nasal passage for ease of breathing, and smaller barbels due to less of a need for underwater sensory measures. (They're more based on the Hunter's appearance in The Pathless, given that she is way too gray to be a human. I know it's probably just to make her aracial like what they did in Homestuck, but I'm running with it damn it!)
(Anyways, here's a nicer comparison drawing from a little while later. Behold the specbio lesbian wedding!)
Fun Bits I Forgot to Organize
Tusks
Adult Basillans grow tusks like boars (based on the Godslayer's ascended model having these wicked tusks among his rows of fangs). They only really develop towards the latter portion of adolescence, around one's late teens to early 20s, and are regarded for the males as the sign that one has become a proper adult.
Of course, the downside is that these things are continuously growing and have to be trimmed every now and then in order to avoid poking oneself in the eye or scratching people with it.
The Vokara are especially finicky about covering their mouths for... not quite modesty reasons so much as baring one's scary teeth at another person is considered rude and aggressive. The Nanshen, living far more amphibiously and thus not really comfortable with more cloth than is comfortable underwater, don't care about that as much, though if you grimace at somebody they might kick you in the shins.
Barbels
A general rule I keep when designing out-of-water clothing for these guys is to cover the ears. In universe, it's because their barbels are very sensitive to differences in temperature and UV radiation out of the water, so it's deeply uncomfortable to have them uncovered for these guys. Out of universe, it's because The Hunter did something like this in her game, in addition to the ABZU people also covering most of their heads but not their chests for some reason (so probably not quite a modesty thing), and I decided to make up a silly specbio reason for it.
For some examples, here's a spread of different Nanshen city states and their different fashions:
History
The games are still canon here! But there's a little more to it.
The Nanshen had always been travellers, more keen to explore and establish their own territories far and wide. But after those dwelling in the Crown began messing with the Abzu, the life energy of the ocean itself, the ecosystem around the capitol collapsed and the population fled the area. Their former empire collapsed, and in its place, a number of different city states off the shore of their various old territories were established in its place.
Some time before, or maybe simultaneous to that, the Vokara had their own little collapse in the form of the Godslayer's rebellion. Many had read the writing on the wall and fled the Isle before he successfully slayed the gods and took control of the whole Island, leading to a number of villages and kingdoms being formed on the nearby continent, which would eventually spawn the Last Hunter, who would defeat the Godslayer.
There's more to it, but I think I'm approaching Tumblr's picture limit, and I've got more, sillier pictures from the AU. I'll add those later!
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Oooh how about 18 (if you want to, it looked like a funny question), 32, and 37 for Balthazar?
I fear I'm going to disappoint you on 18- I don't have my ex's encyclopedic memory of B99 even if thanks to them I think I've seen the whole show about five times over. ^^;; But I can do my best for the others!
[prompt]
32. Your character is having a prom night/debs. What kind of outfit do they wear?
Hm, a modern question. Balthazar is so weird to define in modern style because we live in an era where masculine clothing is rather enclosed. I think being trans in a modern setting vs. a fantasy setting also comes with a different kind of weight. But there's a fantasy element to prom, and certainly a certain kind of spite that queer teens bring to it (at least in my own experience). His outfit is cobbled together from a combination of thrifted oddities and ordinary formalwear. The pride of this ensemble is a bright red blouse with ruffly poet sleeves that must have been nearly fifty years out of style. He goes as friends with Linzi and both of them are called vampire lesbians at school for a week afterwards. It's a nightmare.
At this point in his teen years he would have been a true terror if he'd been left in the Catholic school he went to when he was younger.
37. Your character has been kidnapped. Who has kidnapped them and how do they escape?
Hm, a lot of possible answers here. To seize on one that nearly did happen: one of Balthazar's great fears when he was younger and homeless for a time was getting picked up by any of the various cults that valued having a discount celestial on hand for various gruesome reasons- there's a reason the average lifespan of aasimar is so low. He was never very capable of defending himself despite his sorcerous abilities, so he slept with one eye open and was constantly paranoid about anyone he spent the night with. He can vividly remember an evening that he was approached by a pleasant, well-dressed woman who seemed especially set on talking to him; when she bent forward he caught the briefest glimpse of a death's head moth tattoo under her shirt. Even after he made his excuses and left the bar she had cornered him in, he kept thinking he caught saw someone from the corner of his eye following him throughout the evening. He ultimately spent the night on the floor of a temple of Abadar with a concerned young cleric near him. It's frighteningly easy to imagine what could have happened if he hadn't picked up anything strange about that woman. He could have easily gone along with her to her home- or wherever she decided to lead him- and woken up imprisoned who knows where (if he'd woken up at all).
If he was stuck in a situation like that, it would be difficult to escape, and it would have to be done fast. He would seize on the first opportunity he had with one of his captors alone to attempt to charm them into either giving him the opportunity to get away or getting close enough that if he put them under with a spell he could get either the keys (ideally) or a weapon away from them. There wouldn't be much more for it then except making a break for it and hoping he got lucky. Who knows- somehow his abysmally terrible luck somehow always balances out in the critical moment. Despite everything, maybe the gods look out for him after all.
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i've gotten asks a few times on like 'how to do ''fantasy races'' without. like. just making race science true in the world'. and i think there's three approaches. the first is harkening back to tolkein and making it clear through framing device or format/tonal cues that you are writing in a mythic register--that you are writing about a world where the basic premises of positivism and empiricism simply aren't true. a world where 'biology' is like, not necessarily a salient premise--where there are things that just cannot be understood. (that's not to say that tolkein's orcs werent v. racialised in v. nasty ways--but it wasn't race science in the way a lot of more modern fantasy is.)
the second way i think is to go and actually understand the history of 'race' as a concept. 'race' has not always existed--it was an ideological invention birthed from / alongisde the enlightmenent and imposed onto populations through military force. in real life, it's less helpful to conceive of 'race' as an attribute someone has and and more as a relationship they have to society. so if you want to actually include scientific racism in your story as an element of your worldbuilding and not something decalred epistemologically true you should be thinking about why these people have been racialized and under what hegemonic paradigm--who, in-universe, invented & enforces the racial classification system that distinguishes between 'human' and 'orc' as taxonomic characters?
the third and final way is to simply think of the traits you understand as belonging to ''fantasy races'' (say, pointy ears and exceptional nimbleness and hundred-year lifespans for elves) as instead just being... more variations in the way people can be. like, in the real world, we do not consider 'tall people' or 'blonde people' or 'myopic people' a different species. in a world where sometimes people have wings or pointed ears or green skin, why should that be different? you've just introduced new types of variation within the population of people--you've just expanded the meaning of human. and of course, right, you can still roughly group these features, or note that some of them are more frequent in some ethnic groups--in much the same way as saying 'on average, people in sweden are taller, paler, and more likely to be blonde and blue-eyed', you can say 'people in these forests tend to be shorter and live longer and have pointed ears'--without having a hard taxonomy that classifies all these attributes as metaphysically different Types Of Person
obviously these are all very different approaches--and there are probably other ways to handle this too! i just get this question a lot whenever i do Orc Discourse and finally felt like getting these thoughts out. there are so so so many places we can take fantasy--let's move the horizon beyond 'magical race science' and imagine genuinely new worlds
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Idk if this is too broad of a scope for this blog, but if you could answer this, it'd be great.
I've been in a writing rut since I started getting serious about writing, and I've identified the issue in the past month or so: I slant heavily on the gardener end of the writing spectrum and all the advice on writing I've ever seen was for architect-style writing. Not once in the eight years I've been serious about writing did I find any guides on gardener-style writing (and if it says it's gardener-style, it'sreally just architect-style with gardner aspects), and my experience has just been more or less jamming a square peg into a circle hole, getting nothing written and feeling bad about it.
Now I'm unlearning all the architect-style habits that are destructive to me as a writer, but I can't find any resources for gardeners aside from Stephen King's On Writing. If you or any of your followers know how to help a gardener's writing, that would be great. I have so many fic ideas I want to write, but can't since I'm learning to write all over again.
For those who don't know what gardener and architect refer to when it comes to writers, a gardener is a writer who starts with the seed of an idea and lets it grow in whatever direction the light shines. They prune it and weed it as they go but otherwise let the idea lead the way. An architect, on the other hand, plans their stories out first and then writes them. They have a structure and the details all mapped out first and then the writing is just executing on that vision.
As a gardener myself, my biggest piece of advice is to avoid writing advice. Like you've said, the majority of it is aimed at people who do things like plan and plot and worldbuild ahead of time. Because of the structure that that writing style enjoys, providing "one size fits most" writing advice works well for it.
I tend to find a lot of that advice to be counter to what I need to do. Planning a story out ahead just makes me feel like it's already written. Building out the world before I start writing it feels like a hollow exercise - more like writing an encyclopedia than developing a land and culture for my characters to inhabit.
What I find useful is taking an episodic approach to writing. The entire story will be like a season of a television show and each chapter is like one episode. I always have my eventual "season finale" end goal in mind, but any particular chapter can meander closer to or further from that goal. It's alright to take a circuitous route, as long as I get to my destination in the end.
It's also alright if my destination changes as I'm writing. Sometimes those meandering paths take me in a more interesting direction than I was originally going down, and that shifts the story. As long as you're vaguely following a three-act structure (or 5 act or 7 act), the flow of it will feel familiar to your readers and they probably won't really notice it happening.
This advice I'm giving might not ring true to you either. You didn't have a specific problem to address, so I've been wandering a bit in my reply. Really what it comes down to is paying attention to yourself and your needs. Figure out what it is that keeps you writing and what it is that makes you stop. Do more of the former and less of the latter - and don't worry if what you're doing is "weird" to someone else.
I write directly into the AO3 window (which AO3 specifically tells you NOT to do, btw) because drafting first in google docs or something takes the fun out of it for me. I post my chapters without previewing them first. I write in 800 to 1500 word sprints, and I focus on dialogue, and I almost always try to end on a joke or a pun or a cliffhanger. These are all things that make writing an activity that I want to do.
I can't really say anything much more specific given your ask, but I hope something in here was helpful. Let's see if any gardeners out there have some resources or advice that might work for you.
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Worldbuilding thought.
Elves live a lot longer than other people... But not as much longer as everyone thinks.
Elves over 1000 years old are common. They are the sources of all known history, first-hand account of centuries past.
But some point in extablishing Elven translation they missed that Elves work in base-6 and 1000 is actually just 216.
No-one else lives long enough to realise this discrepancy because that's still like three human life-spans, and Elves care too little about everyone else to notice it. They believe that human lives are merely a blink of the eye for them because if they blink they've already forgotten about you.
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