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literaryvein-reblogs · 2 months ago

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Some Worldbuilding Vocabulary

Abeyance: When the audience temporarily suspends their questions about made-up words or worldbuilding details with the implicit understanding that they will be answered later in the story.

Absorption: The two-way street wherein the audience is immersed in the created world and is picking up the author’s metaphoric building blocks to recreate the concept in their head.

Acculturation: When an adult assimilates into another culture.

Additive: When something has been added to a secondary world, usually in the form of magic or fantasy species.

Affinity: A kinship pattern wherein the familial bond is based upon marriage.

Aggregate Inconsistencies: When audiences pick up internal inconsistencies not within the same story but from multiple sources within the shared universe.

Anachronism: Details that do not conform to their time period or culture.

Analogue Culture: Real-life cultures that the creator emulates in their work and then applies their fantasy conceits to.

Ancestor Worship: The belief that deceased ancestors still exist, are still a part of the family, and can intervene within the living world on their descendants’ behalf.

Animism: The belief that all objects, creatures, and places are imbued with a spiritual essence.

Apex Predator: The predator at the top of a food web that no other creature naturally feeds upon. Two apex predators cannot exist in the same niche.

Apologetics: In worldbuilding, the attempt to explain inconsistencies in terms of existing canon.

Appropriated Culture: Using a culture as a whole that the creator is not a member of. Different from an analogue culture in that the analogue is changed by the creator and used respectfully.

Artifacts: In worldbuilding, the observable ways a culture behaves due to their cultural worldview. This can include politics, economics, religion, education, arts, humanities, and linguistics, along with many other cultural norms.

Ascendant: In worldbuilding, a world that the magic is increasing in power and influence.

Assimilation: When an individual rejects their original culture and adopts the cultural norms and beliefs of the dominant culture.

Author Authority: When an author demonstrates expert-level knowledge in a field to their audience.

Author Worldview: What Mark J. P. Wolf calls “not only the ideas and ideologies of the world’s inhabitants, but also those which the author is expressing through the world’s structure of events.”

Autocracy: A government in which supreme power concentrates in the hands of one individual or polity.

Avatar: The embodiment of a deity in another form, usually humanoid.

B-C

Bible: In the field of television writing, a series guidebook that usually includes the pitch, character descriptions, a synopsis, as well as worldbuilding details.

Biome: The vegetation and animals that exists within a region. Terrestrial biomes include: forest (tropical, temperate, or boreal), grassland, desert, and tundra.

Black Box: In information processing, when a system is viewed in terms of its inputs and outputs without any understanding as to its internal workings.

Bottom-Up: In design, where the granular, base elements of the system are created first, then grouping them together into larger constructs over and over until a pattern forms. Also known as “pantsing” in writing and worldbuilding because the creator is building by the seat of their pants.

Callback: From standup comedy where the punchline in a joke used earlier in the set is alluded to again, eliciting another laugh from the reframing of what was already familiar.

Canon: The core doctrine for the world when conflicting information arises. Usually what the original creator made takes canonical precedence over subsequent additions.

Capitalism: The economic system wherein individuals own the means of production.

Chekhov's Gun: Often understood to mean that something must be introduced previously if it will have significance later in a narrative, but meant by the playwright that nothing should be included in the story that is not completely necessary.

Climate: The temperature and rainfall in regions over approximately 30 years. Classified as tropical (high temperature and high precipitation), dry (high temperature and low precipitation), temperate (mid temperature and mid precipitation), continental (in the center of large continents with warm summers and cold winters), and polar (low temperatures and low precipitation).

Commercial Fiction: The style of fiction that includes all genre fiction, the aim of which is entertainment. Often fast-paced and plot-driven.

Compelling: One of the four Cs of worldbuilding, which deals with how well the core concept and subsequent details maintain audience interest.

Complete: One of the four Cs of worldbuilding, which deals with the sense that the world is lived in, has a sense of history, and continues on even when the story ends.

Complexity Creep: When material gradually grows in complexity over its lifetime, raising the bar of entry for new people experiencing the material for the first time.

Conceits: Where a story deviates from reality. Usually the focus of the fiction by being what the author intends on exploring in their works.

Conlanguage: A constructed language created specifically for a story world.

Consanguinity: A kinship pattern wherein the familial bond is based upon a shared genetic lineage.

Consistent: One of the four Cs of worldbuilding, which deals with how well the material maintains its own internal logic as established by the fantasy conceits.

Constructed World: A fictional world that does not exist but was created by someone.

Continuity: A gestalt term for perception where the mind fills in obvious blanks to make a unified whole.

Convergent Evolution: When two or more species develop analogous features to deal with their environment.

Co-Residency: A kinship pattern wherein the familial bond is based upon shared space.

Cosmology: The study of mapping the universe and our place in it.

Cost: In worldbuilding, when a character must risk or sacrifice something for magic to take effect.

Creative: One of the four Cs of worldbuilding, which deals with how and to what extent the constructed world deviates from the real world.

Credibility Threshold: Where worldbuilding details must only appear plausible to a general audience rather than demonstrating expert-level knowledge.

Cultural Identity: An individual’s self-concept as distinct from others based upon nationality, ethnicity, social class, generation, and locality.

Cultural Universals: Traits, patterns, and institutions prevalent throughout humankind.

Customs: Informal rules of behavior that people take part in without thinking about it.

D-F

Deity: The most powerful of metaphysical entities, deities often exist in pantheons, have thematic powers based upon their roles, and few weaknesses or limitations.

Descendent: In terms of magic, the idea that the most powerful magics are from ages past and that magic is on the decline in terms of power and influence.

Despotism: An economic system wherein an individual or institution controls the laws and resources of an area.

Deus Ex Machina: A plot device in which an unexpected power, event, or deity intervenes to save a hopeless situation.

Differentiation: When one culture forms part of their identity by contrasting themselves with another nearby culture.

Divergent: When the creator alters something in the development of the world but it remains very similar to the real world in every detail but this fantasy conceit. For instance, a world that resembles our own but made up of anthropomorphic animals instead of humans.

Divine: The belief that something is of, from, or like a god.

Democracy: A government in which the people elect a governing body in some fashion.

Early Adoption: When an inventor or culture creates a technology long before their analogue culture did in the real world.

Easter Egg: A hidden message, image, or feature that is meant to be hunted for within the material.

Economics: The study of production, distribution, and consumption of goods and services.

Education: A form of socialization in which we teach the youth what they need to know to become functioning members of society.

Effective Worldbuilding: When (a) the immersive state is never disrupted for the audience, or when (b) the immersive state is disrupted with a positive result.

Element X: N. K. Jemisin’s concept of when fantasy elements diverge from the real world. Similar to fantasy conceits.

Emic: An account of a cultural idea, concept, behavior, or belief documented as if from within the culture.

Empires: Multinational states with political hegemony over other ethnicities, cultures, or nations.

Encyclopedic Impulse: The consumer’s desire to know everything about the world or the author’s desire to expound upon all the worldbuilding details.

Ephemera: Transitionary materials that are not meant to exist for long term, such as advertisements, diary entries, letters, posters, and the like.

Ethnicity: A group that identifies with each other based on presumed similarities such as a shared language, ancestry, history, society, or social treatment within an area. Ethnicities are not dependent upon, but are often associated with, certain taxonomic traits or physiological similarities within those groups.

Etic: When cultural ideas, concepts, behaviors, or beliefs are documented from outside the cultural milieu as a passive observer with an eye for similarities between all cultures

Exsecting: When the creator removes something that exists in the real world from the created world.

Extrapolation: In worldbuilding, the belief that any fantasy conceit should be followed to its natural conclusion.

Face Validity: When worldbuilding detail appears believable upon immediate examination. See Credibility Threshold.

Fan Service: Material included in a story that serves no narrative purpose other than to please fans.

Fantasy Conceit: What the creator intends to explore in the world, it is where the constructed world deviates from the real world, usually in the form of geography, biology, physics, metaphysics, technology, or culture.

Fantasy Function: When analogue cultures are filtered through fantasy conceits to populate the created world with its output details.

Fetishes: Items imbued with cultural significance and power.

First Principles: Core belief and value systems within a culture that are often unconscious until confronted.

Flavor Text: Texts within stories, video games, role-playing games, and action figures that add depth by providing a sense of history but do not alter the game mechanics or story in a substantial way.

Feudalism: An economic system wherein there is a division between the lords that protect the vassals that work the land in exchange for protection.

Four Cs of Worldbuilding: See Creative, Complete, Consistent, and Compelling.

G-L

Gender: A social construct of how cultures differentiate the sexes.

Generalist: When every individual in a society has the same basic job, which is providing their daily caloric intake. A staple of hunter and gatherers and in contrast to specialists.

Generation: A social cohort group based around the period in which children grow up, become adults, and bear children of their own. Because of this shared timeframe and significant events in their lives, generations often share a similar worldview within the general culture.

Genre Expectation: The qualities audiences expect of their genres to be considered successful, i.e. is the thriller thrilling or the romance romantic. For fantasy and science fiction, the genre expectation is worldbuilding.

Goldilocks Zone: The habitable zone around a star where the temperature is right for water to exist in liquid form.

Group: Two or more individuals who share a collective sense of unity via interacting with each other because of shared similar characteristics.

Habitat: The ecosystem or ecological community creatures exist in.

Handwave: A writing term for explaining crucial events dismissively with minimal details.

Handwavium: As opposed to the handwave, when everything else in the imagined world fits logically together with the exception of the fantasy conceit, which the audience must then accept to continue on with the story.

Hard Deduction: When there is no narrator and no character bringing the worldbuilding details to the audience’s attention, who must then piece together the world rules based upon the provided details alone.

Hard Impart: When information is imparted to the audience through narrative text, usually through the narrator or the internal thoughts of characters.

Hero Props: Items that are necessary for a scene to take place, making them integral to the story.

Heroic Theory of Invention: When inventors and discoverers of scientific developments are treated as solitary geniuses rather than products of good luck or a part of a team.

High-Concept: A term from the film industry meaning an idea needs lots of background details, usually compiled from the worldbuilding, to be explained for the core concept to be compelling.

Hybrid: (a) In biology, a living thing bred together from two different species, which is not able to produce its own viable offspring. (b) A method the author can employ to get details across to the audience in which it appears they are using a hard or soft impart, but the audience deduces are not correct, which then casts provided information into doubt and adds new nuance.

Iceberg Theory: The theory proffered by Hemingway that so long as the author is aware of the underlying ideas, they can cut away anything from the story and it will still make sense. Usually interpreted to mean one only needs to reveal 10% of worldbuilding details or backstory.

Illusion of Completeness: The sense that the world is complete and that all questions can be answered within it rather than the creator explicitly spelling out all the details.

Immersion: The altered state in which the audience feels they are physically present in a non-physical world.

Ineffective Worldbuilding: When worldbuilding details become obvious to the consumer, thus breaking the sense of immersion and reminding them of the real world. This can be caused by internal inconsistencies or from reality incursions.

Info Dump: A sudden overwhelming quantity of backstory or background information supplied in a short timeframe.

Info Dump Equity: The idea that an author should not reveal worldbuilding information until the audience craves it, thus being able to deliver an info dump without anyone complaining.

In-Group: The other people an individual identifies with. While they may not share the exact worldview, they share the same first principles in understanding the world around them.

Innovation: The drive for change, usually technological, but also socially.

Inside-Out: How audiences process worldbuilding details, in that they pertain to the immediate understanding of the scene, which are then pieced together into an understanding of the world.

Inspired Worldbuilding: The top form of worldbuilding, which invites additional audience interaction via their imagination after the story has concluded.

Institutions: Stable organizations of individuals formed for a shared purpose, usually by performing specific, reoccurring patterns of behavior.

Integration: When an individual adopts the cultural norms and beliefs of the dominant culture while still retaining their original culture.

Interconnection: When the threads of worldbuilding are tied together cohesively. Part of Sanderson’s third law of magic systems.

Interquel: Stories set in an existing world but that do not connect with the original story.

Intraquel: Stories set in an existing world that fill in gaps in the existing story.

Kinship: How social relationships organize into groups, roles, and families. Usually consisting of consanguinity, affinity, or co-residency.

Limitations: Checks put upon magical powers, usually in the form of weaknesses and costs. Sanderson maintains in his second law that limitations are more dramatically important than powers.

Linguistics: The study of languages.

Literary Fiction: The style of fiction that aims for awards, considers itself art, focuses on the prose, and is usually slowly paced.

Locality: The small-scale community in which the individuals in a group grew up, usually comprising of a town, neighborhood, or block, which differentiates them from others in the surrounding area.

M-O

Macroworldbuilding: The first of the stages N. K. Jemisin breaks her worldbuilding process into, which consists of planet, continents, climate, and ecology.

Magic: Change wrought through unnatural means.

Magic Point Systems: Magic systems where the casters have a set amount of energy, usually referred to as mana, to spend on their effects.

Magical Thinking: The belief people can affect change the world around them through thoughts and behaviors.

Mana: A frequent generalized term for the finite resource magic users spend on their magical effects.

Marginalization: When an individual rejects both their original culture and the dominant culture.

Mary Sue/ Marty Sue: Originally a created character for fanfic who has no flaws and is inserted into interactions with the canonical characters. Now an insult leveled at characters consumers don’t like, usually claiming they are overly capable and without flaws.

Masquerade: A term taking from the World of Darkness RPG wherein the existence of magic is hidden from the general populous.

Metaphysics: In worldbuilding, dealing with deities, spirits, cosmology, and the afterlife. In essence, creatures and locations that do not abide by understandings of biology or physics.

Microworldbuilding: The second of the stages N. K. Jemisin breaks her worldbuilding process into, which consists of species, morphology, raciation, acculturation, power, and role.

Monotheism: The belief in a single deity only.

Mystery Box: The theory proffered by JJ Abrams that mystery drives audience interest, which will keep them invested in a story so long as they are promised elucidation later.

Mythopeia: Constructed mythologies, lores, and histories within created worlds.

Nationality: How an individual relates to their state. A component of cultural identity.

Nominal Change: A superficial change in the secondary world that contributes nothing to the worldbuilding.

Norms: What is considered acceptable group behavior and what people should and should not do in their social surroundings.

Oligarchy: A government in which power rests in a small group of people like the nobility, wealthy, or religious leaders.

One-Off: An intentional inconsistency meant to highlight the aberration as separate from the established worldbuilding.

Out-Group: Those that do not share the same collective worldview, which are often mistrusted or viewed with outright hostility.

Overlaid Worlds: Constructed worlds with real-world locations but with the addition of fantasy elements.

P-R

Pantheon: A categorization of collected deities based upon the culture that worships them

Pantsers: Creators who build or write without a clear outcome in mind. See Bottom-Up.

Pidgin Language: A grammatically simplified language used for trade that comprises vocabularies drawn from numerous languages.

Planet of Hats: The trope of treating a species or world as monolithic and with one defining trait.

Planners: Worldbuilders or writers who have a clear plan once they start creating. See Top-Down.

Politics: The decision-making process within groups and individuals involving power structures.

Polytheism: The belief of multiple gods, usually inhabiting a pantheon.

Porcelain Argument: In worldbuilding, the belief that technology stagnates at the level at which magic or a fantasy conceit is introduced.

Portal Fantasy: A subgenre in which the characters from the real world travel to a secondary world.

Prequel: Stories set in an existing world that precede the original story. They do not need to connect to the original story but often do.

Primary Sexual Characteristics: The sex organs used in reproduction.

Primary World: The real world in which we all reside and draw our experience from.

Prime Mover: A conceit that cannot be removed without the story world falling apart.

Profane: Something that is religiously blasphemous or obscene.

Prologue: An opening sequence in a narrative that establishes background details to create context, clarification, and miscellaneous information for the audience

Promise of the Premise: The term coined by Blake Snyder for the point in the story when the setup is complete and it examines its core conceits. An author breaks the promise of the premise when the story is not about the promised core concepts.

Pull Factors: Factors that draw immigrants to an area.

Purple Prose: Descriptions that becomes overly ornate and extravagant, to the point they break the sense of immersion by drawing attention to themselves.

Push Factors: Factors that drive immigrants out of an area.

Race: (a) In biology, a grouping of populations below the level of subspecies, and is rather imprecise in distinguishing the differences between them. (b) In the fantasy genre, usually understood to mean “species.”

Racial Attributes: The assumption that any one fantasy race shares not only certain abilities like flight or the capacity to speak with animals, but certain demeanors, temperaments, and biases.

Reality Incursions: When the outside world interjects itself into the created fantasy experience to remind the consumer that this is indeed a made-up world. They usually occur when the consumer has expert knowledge in a field that is not depicted correctly in the narrative.

Reciprocity: When people respond to actions with similar actions. This can be positive, as in the exchanging of gifts, or negative, as with punitive eye-for-an-eye punishments for crimes.

Relativism: The belief there is no real objective universal truth and that we base all understanding upon perception and consideration.

Religion: The cultural system of behaviors, morals, ethics, and worldview in which humans deal with supernatural, metaphysical, and spiritual conceptions.

Retcon: Short for “retroactive continuity,” the term comes from comic books when previous canon or facts are ignored or contradicted so as to assimilate new stories or understandings in current storylines.

Reverberations and Repercussions: The understanding that any change within a world creates many expected and unexpected changes to the whole.

Rituals: Formal customs often involving gestures, words, and objects performed in a traditional sequence.

Rule of Cool: The understanding that the audience’s willing suspension of disbelief for a given element is directly proportional to its level of “coolness.”

Rule of Law: The idea that laws extend to the lawmakers as well as the general populous.

Rule of Three: In worldbuilding, the concept coined by Randy Ellefson in which an author should alter at least three components of a trope to make it their own.

Saturation: Mark J. P. Wolf’s term for when there are simply too many details for the audience to fully absorb, which he maintains makes the world stronger since it invites the audience to reexperience the material again and again to glean something new each time.

Scarcity: When people put higher value on rare things and assign lesser value to things in abundance.

Secondary Sexual Characteristics: The distinguishing traits that distinguish the sexes, such as human males’ facial hair or females’ breasts.

Secondary World: A created world that does not exist.

Selection: In biology, the preferential survival and reproduction or elimination of individuals with certain traits. Can be either artificial, natural, positive, or negative.

Separation: When an individual rejects the dominant culture in favor of preserving their original culture, which often leads to minority enclaves within the dominant culture

Sequel: Stories set in an existing world that follow the original story. They do not need to connect to the original story but often do.

Set Piece: An iconic scene that exemplifies the story even though it might not actually be necessary to the story itself.

Shamanism: The belief that specific individuals have access to and influence over the spiritual realm, usually derived by ritual and entering altered states.

Show Don't Tell: The understanding that the audience prefers to experience the worldbuilding details and storytelling events in action rather than having them explained.

Smeerp: Unnecessarily renaming something to make it seem exotic. Derived from James Blish’s sarcastic use of the term when describing rabbits.

Smeerp Hole: When one seemingly minor change contributes to a whole slew of other changes on the author’s part that add little to the audience experience as a whole.

Social Class: The hierarchal social stratification of groups, usually manifesting as upper, middle, and lower classes.

Socialism: The economic system in which the workers or government own and manage the means of production.

Socialization: The process in which a group passes on the worldviews, norms, and customs to their children.

Soft Deduction: When a character with knowledge of the worldbuilding takes action based upon specific information to get the worldbuilding rules across to the audience.

Soft Impart: Information presented to the audience not through narrative text but through a trustworthy side character or source. Can often come about from an overheard conversation or explanation from another character.

Specialization: The divisions of labor and creation of occupations when the population does not individually have to account for their daily caloric intake. As opposed to generalist.

Species: A group of living creatures capable of exchanging genetic material and producing viable offspring.

Speculative Fiction: An umbrella term for fiction that inject elements into the story that do not exist in the real world. Fantasy, science fiction, horror, historical fiction, alternative history, and dystopian and utopian fiction are just a few genres that qualify as speculative fiction.

Spotlighted/Lampshaded: A potentially troublesome concept or idea that is intentionally brought to the audience’s attention before it becomes problematic to highlight that it is intended as a fantasy conceit rather than an accidental anachronism.

Stasis: The drive to maintain the current order, be it social, political, or technological.

States: Organized governments overseeing a specific territory that can interact with other states.

Streamlining: Part of Sanderson’s third law of magic in which worldbuilding details should be accounted for by already existing fantasy conceits instead of creating whole new conceits.

Suspension of Disbelief: When an audience makes a choice to suspend their critical faculties to allow for a patently unreal concept to be considered logical for the sake of entertainment.

T-W

Taming: When an animal has been taught to tolerate human presence. As opposed to domestication.

Technobabble: When a character spouts a number of details to establish their expert credentials in the field. Technobabble is not meant to be understood by either the audience or the other characters, only to establish the character’s authority on the subject.

Terra De Facto: The implicit understanding that anything that is not accounted for by a fantasy conceit must therefore abide by the rules of the primary world.

Terrain: The vertical and horizontal proportions of land masses, which includes how high it is above sea level and at what slope.

Theocracy: A government where the religious leaders and practices control the laws in addition to the religious norms and rituals.

Toehold Details: Descriptors that specifically trigger the assumption of an analogue culture and time period, and therefore help the audience to mentally populate the scene.

Top-Down: In design, when the underlying idea or system is formed on a grand scale, then with all subsequent subsystems being added and refined until everything is mapped out. Also referred to as “planner” or “engineer” when it comes to writing or worldbuilding.

Totems: Imbued emblems representing a group of people tied to a specific spirit.

Transmedial: When a story or world exists in multiple mediums.

Tropes: Reoccurring motifs, images, plots, and characterization that exist within a genre.

Unchanged: When the creator does not use a particular fantasy conceit and leaves their created world the same as the real world in regards to this fantasy conceit. See Terra De Facto.

Unobtanium: In engineering, the term used for materials or technologies that do not yet exist but will one day solve current problems. Frequently used in science fiction worldbuilding.

Upmarket Fiction: The style of fiction that aims for creating discussion. It often blends literary and commercial fiction, deals with universal themes, has accessible language, and is character-driven.

Weakness: Limiting factors that diminish the power or the person using it. Part of Sanderson’s second law of magic.

Worldbuilding Capital: Time and mental energy sunk into a world, which is why authors frequently reuse the existing world instead of forming a new one for subsequent stories.

Worldbuilding Kudzu: When too many worldbuilding choke out the pertinent information by sheer volume, thus disrupting immersion.

Worldview: How a society or individual orients their knowledge and point of view towards the world. This includes philosophy, fundamentals, existential postulates, values and ethics, ideology, and attitude. It encompasses the concept of why the world works the way it does and the “correct” way to act within it.

Worship: The act of religious devotion towards a deity or ideal.

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tokoyamisstuff · 4 months ago

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Fragments Pt. 1/3

Homelander / GN! Reader

Ch. 1: Fallen Angel

Summary: After a new drug rendered Homelander both powerless and amnesic, he gets saved by someone blissfully unaware of who he is.

Shoutout to @blindmagdalena who did the impossible: Making me simp for this guy. Your writing is simply impeccable! 💌

Warnings: Injury, blood, lots of exposition, not proofread

Notes: Hurt/comfort, OOC, pre-canon, Scientist! Reader, idc about logic gaps (I will cry if you point them out to me)

Four days already, and he still hasn't woken up.

Winter in the Canadian Arctic was rough, with the polar night bringing permanent darkness, as well as severe snowstorms that could last up to a week.

Luckily enough your old radio communication system was still functioning, so you were at least able to request a few necessities in advance: Food and water for another person, a doctor of course...

...and clothes for the guy you had to cut out of this ridiculous costume to patch him up properly.

Leaning back in your chair, you take some deep breaths, unable to concentrate on your work. Your glance unwillingly wanders back to the man lying on your bed, still unconscious.

Who knows how long the weather will cut you off from help arriving? You just hope he will make it until then.

Maybe it's for the better, though - since whoever had done this to him could still be out there wanting to finish the job, too.

It bordered on a miracle that he landed so close to your research station, when you were outside to notice at that. And the storm followed only shortly after you managed to pull him inside.

That man really had more luck than anything, even while having been messed up like this.

You watch him until you're sure he's still breathing and not in any discomfort, once again catching yourself admiring his handsome features.

If you didn't know any better, you'd say he was a literal fallen angel that crashed from the goddamn sky, right into your little front yard.

Damn it, the loneliness that came with this job made even your thoughts pathetic...

Well, to your defense, you've been raised pretty isolated your whole life, with parents being a doctor and a scientist that were devoted to spend their work at the most remote areas of the world.

It surely was a unique childhood with lots of traveling, and you were mostly spared the soulless corporate-controlled bullshit that was modern society. To add to that, your parents were never fond of using electronics for more than practical reasons. Not that there was internet connection where you lived either way.

All in all, while you obviously know about supes in general and might even have heard about Homelander the brief time you spent in civilization, the last time you've actually seen his face on a magazine or some sort was decades ago - and you didn't care enough to remember.

So it was no wonder that you were completely oblivious to who exactly was lying in your bed this whole time.

Sighing, you close your laptop with a dramatic gesture before making your way to the kitchen unit. You pour yourself a coffee to fill your rumbling stomach, having rationed the food in favor of your new involuntary roommate.

Having followed the footsteps of your parents - yet without proper funding - you led this mission all by yourself. At first it was bearable, since an elder native couple came to visit and assist you from time to time.

But your work demanded you to stay secluded from human intervention, deep in the mountains with the next tiny village being half a day march away. And now that winter made traveling scarce due to the dangers, the idea of some company certainly wasn't so bad.

You almost felt bad for being excited about him being here - whatever had happened to make him end up here was exactly the oppsite of great, after all.

Even though the emergency power aggregate was whirring loudly, the sound of strained groans reaches your ear - not the first time those past few days. So you immediately rush over to the man's side, pouring him a glass of water and dissolving some painkillers in it.

"It's gonna be alright" you assure him, unable to tell if he can even hear in this state. Blood is seeping through the makeshift bandages, making you realize you should probably reapply them soon. Maybe after the meds had some time to release their effect...

...however, just when the cup touched his lips, two icy blue eyes snapped open, making you wince.

"Don't touch me, fuck!" a raspy voice snapped at you, quite understandable in his situation. He pushed you away from him, causing you to stumble and fall as the glass scattered on the floor right next to you.

"Whe-where am I? And who the fuck are you?!"

"Who the fuck am I?" You felt almost offended at the accusation in his look, having to remind yourself that the person in front of you is in fact in an exceptional situation. "You're in my house. I found you injured in the middle of nowhere. So I should be asking you!"

His face fell in shock at the realization, internal struggle present in his features as he finally whispered - no, whimmered "I...can't remember..."

Racketing his brain around to make sense of the situation, he stumbled across his own words and repeated "I-I-I-I can't remember!"

"Can't remember what exactly?" You spoke more softly now as you got up, tentatively approaching him. He on the other hand jumped up from the bed, panic increasing with every passing second.

"Anything! I-I don't know who I am- shit, what happened?!" He was shaking, muscular chest having as he started to hyperventillate. You hesistantly put your hand on his back, feeling him tense at the sudden contact. "Please don't move too much. You're injured."

Only now he noticed the medical wraps around his chest, abdomen, left arm and both legs. Hell, his whole body was aching but the adrenaline wouldn't let this stop him from standing up, pacing around the small room.

Being overwhelmed with the situation as well, you decided it was best to tell him everything. "D-don't freak out, but we're in the middle of the arctic." Having a feeling that he wouldn't believe you - fair enough, though - you opened the door, revealing a snowy landscape. The doorway was already halfway buried under a snowy blanket, and the heavy winds were biting his exposed skin. "We'll have to wait until the storm settles. And even then, with your injuries you probably won't make it to the nearest village."

There was a long pause of silence between your explanation and his response, blinking at you in both disbelief and despair. "...if you don't know me, then how the hell did I get here?"

"My best guess is that you're a supe" you shrugged, hoping his memory loss didn't also affect his general knowledge. You pointed towards the torn bodysuit in the bin, stating matter-of-factly "You literally fell out of the sky. Even with the snow absorbing part of the impact, you should be dead - especially with those injuries."

Not really good at comforting someone, huh, you internally scolded yourself. Yet you gave it your best to calm him down and sign your goodwill.

"Sit down or your wounds will reopen." After a brief moment of looking at you all forlorn and maybe even a little distrustful, he accepted your help. You led him back to the edge of the bed, sitting next to each other as support for him to stay upright.

"Doesn't feel like anything about this body is 'super' right now..." he joked bitterly, rubbing his sides. You chuckle sympathetic, carefully patting his back in reassurance. "Maybe you don't have access to your powers because of the amnesia? I'm not quite sure how any of this works."

"Yeah, maybe..." His eyes were now locked on you, forcing a weak smile as he finally took a proper look at you. "You still didn't tell me to who I owe my life."

"Me?" as inappropriate as it was for the situation, he did manage to make you flustered just by that - and it didn't really help that he was still only in his underwear, testing your decency not to stare. "Oh, my name's Y/N Y/L/N. I'm an ecologist. Been here for eight months to document the effects of climate change on the biome, and-"

"Climate change?" he rose an eyebrow at you, "There's a goddamn snowstorm outside, woman."

Oh. He was one of those guys. Note taken.

"Anyways" you changed the topic to not provoke a pointless discussion, still unable to keep yourself from rolling your eyes. "Do you at least remember your name?"

The man clutched the ragged costume you had handed him, forcing his exhausted self to remember something, anything at all...

...but every time he tried, there was a sharp pain in his forehead that tore him away from the memories locked away somewhere in his brain.

And smehow, no matter how insane it might sound, he felt like this was his own mind's subtle warning to better keep it this way.

"I think...my name's John" he ultimately stated, rubbing his temples as his face contorted in pain. You continued rubbing circles on his back in an attempt to comfort him, whispering "Hey, don't overdo it. Focus on healing first, and then we'll see if anything else comes back. Alright?"

John nodded mutely, and you gifted him an uplifting smile, cheering "Well then, nice to officially meet you, John! Feel at home as long as you need."

He shook your hand almost symbolically, feeling almost hopeful knowing that despite the grim situation, he was supported by such a kind stranger.

"Nice to meet you too, Y/N. I'm all in your hands."

_____

A/N: This was written on my phone at 1am, so please bear with me. The next chapters are gonna be better.

[Part Two]

#the boys #homelander #homelander / reader #homelander x reader #john gillman #writing #fanfiction #self insert

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sanctus-ingenium · 1 year ago

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What role/niche do dragons fulfill in their environment? Or, if that is [secret]/redacted/Unknown [by universe parameters], are there other, smaller beasts - creatures not within our world, but common in theirs?

I've been meaning to draw a lot of these for a while now and this was a nice prompt thank you :)

Dragons support a large and surprisingly diverse community of animals. The primary producers are the unique photosynthetic cyanobacteria which are found lining the transparent flotation sacs of cloud fleas. 'Cloud fleas' can refer to any type of airborne zooplankton - that is, animals which do not actively fly but rather drift. Pictured is a daphnia type but there are a few others. The bacteria produce lighter than air gases as a byproduct of photosynthesis as well as nutrients for their hosts. The daphnia type pictured retain their large claws and use them to cling onto other individuals, sometimes producing really large structures which can form fantastic shapes at times. This is how they reproduce also (unlike in the water, they can't just externally fertilise eggs because gravity exists)

When they aggregate in large numbers (swarms reaching billions and billions of individuals), they become easy prey for dragons. The dragons capture the fleas using a dense array of rictal bristles. Living in and among the bristles are the monkey birds, a unique species of flightless bird which act as kleptoparasites, stealing the clumps of fleas bound up in dragon mucous before they can be transported to the dragon's mouth. The bristles are so dense that in order to get in there where the fleas are most concentrated, you wouldn't be able to fly. They spend their lives clinging among the bristles with their feet and wing claws, and they make their nests out of woven strands of mucous. New individuals join the birds' colonies when dragons are mating and their bristles come into contact with one another. Bird populations are controlled by hive serpents, who pick them off for a nice snack.

Barnacles and other filter-feeders are common on the windward-facing side of the dragon (what you'd call the front of the dragon). These do not harm the dragons and offer not much useful food for serpents while being very annoying to eat so they're usually left to their own devices.

The vampire chiton exoparasites can be found basically all over a dragon. They find a piece of cuticle that is thin enough to pierce and drill their siphons down into it to suck the watery connective tissue beneath. They are about a foot long and the main food source for hive serpents.

The serpents themselves are mammals. Nearly every dragon hosts a hive. Despite spending most of their lives on their hosts, they are quite strong fliers; they need to be, in order for the young queens to set out to make their own hives. The 'hive' consists of a reproductive pair and 20-50 of their offspring, with the queen being 1.5x larger than the others and by far the most aggressive. They have one tooth, a single elongated tusk which is used like a crowbar to lever the chitons off the dragon's cuticle. When working on the underside of a dragon, it takes a certain amount of skill to catch the chiton before it falls away. The serpent's neck and legs are very strong to produce enough force to dislodge a chiton, which are often so deeply attached that a human with a pickaxe would struggle to knock one off. The chiton is swallowed whole, and the shell digested.

Serpents viciously defend their dragons, controlling parasite populations and fighting off and attacking humans or large metal creatures they perceive as a threat. The name 'serpent' is given to them in the Mezian theocracy because they are associated with sin; hive serpents can be among the most dangerous combatants a holy beast might face. When the dragon has been killed, its serpents will flee and, more often than not, restart their hive on the ground if they aren't killed first. Outside of the theocracy, humans do raise serpents and use them for various tasks - a baby queen is taken from the wild (by killing every other hive member) and raised to imprint on humans. If their diets are not heavily supplemented with calcium carbonate, they fail to thrive.

#setting: mez #speculative biology #normal birds live up there too but they're not super interesting. they're like swifts or swallows

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bestanimal · 2 months ago

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Round 1 - Phylum Echinodermata

(Sources - 1, 2, 3, 4)

Echinodermata is a phylum of animals which are bilaterally symmetrical as larvae but radially symmetrical as adults. It includes starfish, brittle stars, sea urchins, sand dollars, sea cucumbers, and sea lilies.

Echinodermata is the largest marine-only phylum, and echinoderms can be found at every ocean depth from the intertidal zone to the abyssal zone. They make up a large portion of life in the deep sea. They are diverse, with some being sessile (lacking self-locomotion) while others are motile (able to move independently). Many are restricted to crawling slowly across the sea floor, while some can swim through the water column. They have a skeleton beneath their outer layer of skin, which is composed of calcite-based plates called ossicles. This would be heavy if it was solid, so it is instead porous. The ossicles may be fused together or articulated, and may have external projections such as warts or spikes. Echinoderms are often brightly-colored, and some of their pigment cells may even be light-sensitive, causing many echinoderms to change appearance completely as night falls. Their diet varies, with some species being predators, some being filter-feeders, some being herbivores, some only eating algae, and some being detritivores. Some injest food through a mouth and expell waste through an anus, while others can only expell waste back through their mouth. The ventral side of many echinoderms is covered in tube feet, each of which typically end in a suction cup pad. They primarily use their tube feet for movement, though some sea urchins will also “walk” with their spines.

Almost all species have males and females, though some are hermaphroditic and at least one reproduces by parthenogenesis. Eggs and sperm are released into open water, where they are fertilized externally. Some species may aggregate during reproductive season to increase the likelihood of fertilization. A small handful of species have internal fertilization. Some echinoderms, especially in colder areas, brood and carry their eggs until they hatch. Echinoderm larvae are usually planktonic, swim via cilia, and have bilateral symmetry. During metamorphosis, the left side of their body grows at the expense of the right side, which is eventually absorbed, ending with the body arranged in five parts around a central axis. Some species reproduce asexually. They do this by splitting in two, like a cell, and generating a new body half from the old one. Some larvae may also reproduce by budding.

The first echinoderms appeared in the Early Cambrian.

Propaganda under the cut:

Echinoderms are able to regenerate tissue, limbs, organs, and sometimes full bodies from a remaining portion of limb. Starfish and brittle stars may detach an arm as a defense mechanism, swimming away while a predator is distracted by the wiggling limb. Some sea cucumbers, on the other hand, take this to the extreme by expelling their cuvierian tubules (respiratory tubes) to entangle potential predators. Sometimes this is also accompanied by a discharge of toxic holothurin. It can take 1.5 - 5 weeks for the tubules to regenerate, depending on species.

The hard endoskeletons of dead echinoderms are geologicallly important, contributing to limestone formations.

Echinoderms sequester about 0.1 gigatonnes of carbon dioxide per year as calcium carbonate, making them important contributors in the global carbon cycle.

Sea stars are heavily muscled, and are able to go from soft to rigid in order to pull open the shells of their mollusc prey.

Sea urchins are among the main herbivores in reefs and there is usually a fine balance between the urchins and the kelp and other algae on which they graze. In the past, mass mortalities of sea urchins have led to algae blooms.

Some sea cucumbers have webbed swimming structures that allow them to swim freely through the water column. Pelagothuria natatrix (seen below) is the only truly pelagic echinoderm known so far.

(source)

Echinoderms seem to have an innate internal clock. Even at the depths of the ocean where no light penetrates, they are still able to synchronize their reproductive activity.

We don’t know much about Sea Pigs (Scotoplanes globosa) (seen in gif) other than that they’re poisonous sea cucumbers that feed on detritus at the sea floor. But we do know that they are often seen clutching young king crabs (Neolithodes diomedea) and carrying them around. One possible theory is that these crabs latch onto S. globosa to gain access to nutrients and movement, and sheltering beneath the poisonous sea pig allows them to hide from predators. As sea pigs are sometimes plagued with parasites that bore holes into their bodies, the crabs may also help the sea pigs by keeping them clean of parasites. For now, all possibilities are just hypotheses, but we can stil Awww at the globby pink sea cucumbers cuddling their little pet crabs.

Along with Hemichordata, they are the closest relatives of Chordata (aka our phylum!)

Some sea urchins pick up rocks, shells, and other debris and carry them around to shade themselves from the sun. Some people who keep them as pets have come up with creative ways to allow them to do this without dismantling the architecture:

(source)

Silly hats aside, these seemingly simple animals are using tools.

#round 1 #animal polls

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mostlysignssomeportents · 6 months ago

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Uplinkchump Linkdump

On June 20, I'm keynoting the LOCUS AWARDS in OAKLAND.

It's Linkdump Saturday! This is the day on which I clear the giant backlog of links from the previous week that I haven't managed to post in my newsletter's "Hey look at this" sections. This is my 19th linkdump; here's the previous 18 dumps:

https://pluralistic.net/tag/linkdump/

Let's start with some fun and games. Liam is a high-schooler who created "Bad Plumbing," a Jenga-style boardgame using a variety of 3D printed shapes; the game was a smash hit at his local game-jam, so now he's kickstarting it:

https://www.kickstarter.com/projects/liamclift/bad-plumbing

The shapes are delightful and Seussian, and there's a very ingenious game dynamic that's not just "make the pile bigger." You can pre-order for $30, and for $100, you'll get a version with a custom-designed shape of your specification. I backed!

It's lovely to see something that's both excellent and delightful, but to be honest, the majority of this week's links are excellent and enraging. Most of these links from The American Prospect, which has, under David Dayen's executive leadership, gone from "a magazine I really like" to "the first thing I read every day."

This week saw a the Prospect publish a stunning series of articles on prices, a sacred object for neoliberal economists, who see them as the carriers of the information that allows society to order itself for maximum efficiency and broadest benefit. Unfortunately for these economists, the love-affair with prices is one-sided: they may love prices, but prices hate neoliberalism.

The dogma that says that any government interference in pricing will destroy the economy by "distorting" prices does not survive contact with reality. The instant the government steps away from regulating monopoly, and its handmaiden, fraud, prices go batshit crazy.

This week's Pluralistic newsletters were dominated by this brilliant series in the Prospect. On Wednesday, I wrote about the Prospect's investigations into algorithmic and surveillance pricing:

https://pluralistic.net/2024/06/05/your-price-named/#privacy-first-again

And yesterday, it was the epidemic of junk fees:

https://pluralistic.net/2024/06/07/drip-drip-drip/#drip-off

There's more than I could fit into the newsletter, though, like Friday's excellent piece on the scourge of surge pricing by Sarah Jaffe:

https://prospect.org/economy/2024-06-07-urge-to-surge/

Jaffe's piece was especially interesting given economist Ramsi Woodcock's compelling case that surge pricing is a per se violation of antitrust law:

https://pluralistic.net/2021/07/26/aggregate-demand/#pure-transfer

The Prospect series was so timely. After decades of pricing orthodoxy, economists like Isabella Weber are making huge waves (and attracting a tsunami of abuse). Weber's interview with Vass Bednar on the Globe and Mail's Lately podcast this week is a must-listen:

https://www.theglobeandmail.com/podcasts/lately/article-the-millennial-economist-who-took-on-the-world/

(Though if you get your econ ideas from the New York Times, you'd miss this whole revolution, as the Grey Lady's views on prices remain mired in the Reagan era:)

https://twitter.com/HalSinger/status/1798849195664916648

Few prices are more important than the price of the roof over your head – after all, "shelter" is only second to "food" in the hierarchy of needs. Dayen's Friday story for the Prospect in NIMBYism gets to the crux of the cost-of-living crisis: people who own houses want houses to be expensive, and will go to enormous lengths to make sure that shelter costs as much as possible:

https://prospect.org/infrastructure/housing/2024-06-07-homeowners-want-housing-prices-to-go-up/

Dayen attributes this to "the wealth effect" – that is, most people would like to be richer, and the minority of Americans who have a positive net worth owe that status to rising house prices, and the plurality of Americans who have a negative net worth thanks to a mortgage are counting on rising house prices to flip them into the black.

When America threw off the Gilded Age, we charted two courses to prosperity for working people: labor unions and home ownership. The ruling class cannily convinced us to rely solely on the latter. The housing emergency raging across the country is the inevitable result of that decision:

https://pluralistic.net/2021/06/06/the-rents-too-damned-high/

The Prospect's consistent brilliance isn't merely an editorial matter, of course. The magazine features a recurring cast of some of the best muckraking writers in the field, and the absolute peak of that impressive pile is Maureen Tkacik. Tkacik's work on Boeing is stunning:

https://pluralistic.net/2024/05/01/boeing-boeing/#mrsa

Her labor coverage is second to none:

https://pluralistic.net/2023/09/14/prop-22-never-again/#norms-code-laws-markets

And no one writes better than her about private equity:

https://pluralistic.net/2023/06/02/plunderers/#farben

I am in pure awe of Tkacik's prolific and expert work. So when I read her piece on Long Covid in the Prospect this week, I was stunned to learn that she has been severely disabled by this heavily downplayed – but rampant – chronic illness:

https://prospect.org/health/2024-06-06-nih-perpetuating-long-covid-denial/

The fact that Tkacik is doing this career-defining, high-frequency work while being randomly smashed by a series of acute Long Covid incidents makes her achievements nothing sort of heroic. But Tkacik's Long Covid coverage isn't a lament for her personal situation – it's a characteristically brilliant investigative story about the systematic cover-up of Long Covid by the NIH, which has a long history of dismissing inconvenient illnesses as psychosomatic, from black lung to chronic fatigue.

Tkacik's Long Covid coverage adds yet another subject where I'm learning more from the Prospect than from other sources – part of a host of issues where the magazine leads the pack. An issue far more squarely in its wheelhouse is antitrust, especially the intersection of antitrust and labor rights.

This week, I eagerly devoured Luke Goldstein's story about the latest in a series of lies that Amazon executives were caught making to the US government:

https://prospect.org/labor/2024-06-06-senators-allege-amazon-lied-delivery-drivers/

You may recall when Jeff Bezos lied to Congress, claiming that the company didn't spy on its sellers and clone their best products:

https://www.bbc.com/news/business-58961836

Or when Amazon posted a lying rebuttal to a Congressman who objected to its drivers being forced to pee in bottles in order to meet its punishing schedules:

https://www.aboutamazon.com/news/policy-news-views/our-recent-response-to-representative-pocan

The latest lie: Jeff Bezos and CEO Andy Jassy lied to the Senate about the company's relationship to its drivers, whom it insists are "independent contractors" because they are hired through cutouts called "Delivery Service Providers":

https://pluralistic.net/2022/04/17/revenge-of-the-chickenized-reverse-centaurs/

These drivers work for Amazon. It dictates their working conditions. It installs cameras that watch their eyeballs while they drive. It enforces an illegal "no poach" system that fixes their wages. And it lies about all this. To the Senate.

You know what they say, it's not the crime, it's the cover-up. Tech barons go through life in a warm bath of their own bullshit, surrounded by lackeys who are contractually prohibited from calling them on it. They forget that there are people out there in the world who won't offer them this deference – including lawmakers and regulators.

That's why Facebook lied to the FCC when they bought Instagram, withholding key information in order to secure regulatory permission for the merger:

https://finance.yahoo.com/news/ftc-claims-facebook-withheld-information-152834983.html

After decades of inattention, the world's governments have discovered a newfound energy for busting trusts and smashing corporate power. Five years ago, it looked like maybe this was a fixup by Big Cable or Big Content to take Big Tech off the board so they could claim more dominion over our lives:

https://memex.craphound.com/2019/06/04/why-is-there-so-much-antitrust-energy-for-big-tech-but-not-for-big-telco/

Today, every sector is coming in for antitrust scrutiny, and the tempo is only increasing. Just this week, the FTC and DOJ opened investigations into Microsoft, Openai, and Nvidia:

https://www.theverge.com/2024/6/6/24172868/ftc-doj-antitrust-openai-microsoft-nvidia-investigations

Yeah, there's still a lot of policy focus on tech, but that's because tech has extended its tendrils into every area of policy. That's the end-point of a decades-long process of tech going from sitting alongside important policy questions to being inseparable from them. I've had a front-row seat for that transformation, through my work with EFF, whose brief just keeps expanding as tech infuses every aspect of our lives and rights.

The latest example; EFF's "Surveillance Defense for Campus Protests" by Rory Mir, Thorin Klosowski and Christian Romero:

https://www.eff.org/deeplinks/2024/06/surveillance-defense-campus-protests

The military has gone all-in on electronic surveillance, and campuses have gone all-in on militarized policing, so campuses are now sites of electronic warfare, and protesters are vastly overmatched. This is an excellent and timely guide.

Well, this is where this week's linkdump comes to an end. It only falls to me to send you off with one last week: Libro.fm's buy-one/get-one sale on DRM-free audiobooks, with a share of each sale going to an indie bookstore of your choosing! This is a heckin deal, and a great way to start weaning yourself off of the Audible monopoly (also, my latest novel The Bezzle, is in the sale):

https://libro.fm/bogo

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/08/medley/#the-prospect

Image: Cjp24 https://commons.wikimedia.org/wiki/File:Automobiles_in_a_french_junkyard.jpg

CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/deed.en

#pluralistic

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ranticore · 6 months ago

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Hi has anyone ever told you Ice Storm Over Kosa has impeccable vibes and feels incredibly innovative and fresh!

In terms of the towns and communities, what types of infrastructure connects them? What kinds of technologies are common vs cutting edge in the setting’s different time periods?

hehe thank you.. i really like how the setting tag is just one of the character's names so it looks like you're saying He has impeccable vibes

So there is a huge huge almost insurmountable limiting factor when it comes to the growth of towns and communities, which is that large aggregations of living creatures will attract the crawly beasts and they pollute the earth, make crops wither and die away, kill livestock, kill people, etc, and humans can't even touch them with protective gloves on since the crawlers' fluids eat through leather

humanity (and monsters) were forced to spread out over a larger surface area. villages and settlements are small and have to be actively defended almost nightly. there has been a slight stagnation of the march of progress, as just fighting off this threat takes up so much of everyone's resources, and forbids institutes of learning and the like from forming. so most of the technological advancements we see, they are in the field of long-range communication, weaponry (falconry too), and material technology that might repel crawling beasts

in prehistory, the land now called "the Ama plains" hosted a gigantic city with a hundred thousand people living in it, called Amphora. it was very advanced for its time period, with working plumbing, hot and cold water even, mass production of cloth and food, etc (not to mention the magic). Amphora no longer exists and most of its innovations were lost.

in the early time period after the arrival of the crawling beasts, humanity and monsterkind are scattered. the only established settlements are those guarded by wyrms, but it took many centuries to reach that point. human towns are ruled by small feudal lords who may form loose alliances with one another but typically rule their land as if it's a lone island in the middle of a vast sea. this is the time of Revelation's march. the most established settlement is the city of Onozar in the far west of Ama, which is ruled by a king who has a hold over many of the neighbouring towns and lords, by virtue of Onozar's size and relative safety. technology levels are low; no firearms, trebuchets and crossbows are cutting edge.

in the time of Twist and Flicker, there is an age of unprecedented cooperation with monsters (Revelation's march might have had something to do with this change). This means that towns and villages are now usually protected by something other than a wyrm - this ranges from willing cooperation to cruel self-styled 'monster tamers' who force monsters to do their bidding. This is the dawning age of harpy falconry as described in the lil story i wrote about Ice Storm of Kosa himself, though back then the old method was to make a contract with an adult harpy and cooperate that way. The infrastructure is still not very advanced; they're still struggling with plumbing and sewage systems, because crawlies come out of the ground and their poison can seep into aquifers. Anyway communication between towns is usually done by pigeon (or pigeon harpy). The ground is not a safe place to be, so houses are typically built on short stilts, or at the very least, residential rooms are upstairs. Water supply is often provided by elevated aqueducts; wells are a last resort, but often the only choice for impoverished villages. There is a culture of fear surrounding large gatherings and groups - sometimes it's unavoidable, and human/monster nature, but that anxiety is always there.

With this increased cooperation between humans and monsters, people are able to gather in larger groups. this enables more learning, more apprenticeships, more farmlands, and a more rapid development of technology. It also means a more centralised ruling system begins to form; it takes a lot of resources to supply a pack of wolfmen or a harpy flock to defend a town, so small towns must make petitions to their more prosperous neighbours, and this develops into a Government of the entire region. firearms develop in this time as a means to kill crawling beasts; they are not that successful, and it takes a while before people realise you can use firearms to kill other things, too.

A century later, developments are progressing well enough. Firearms are still rare but starting to spread. Harpy falconers have developed a new, effective technique for their art, it's called "kidnapping"; steal an egg, and raise the chick to imprint on its human parents. that way it won't want to leave. There is a sense of teetering on an edge; humanity leaning more into forcing monsters to help, instead of cooperating. But this is not the progression; the success of the Kosa flock helps convince many falconers that the kidnapping method isn't the best after all. technology is still uh bad, but this is an era where writing materials are finally becoming more mainstream, literacy rates are slowly rising. the printing press is the hot new thing. they have water towers now to provide the plumbing at a safe elevation. communication between villages is still very dove-based, since flight is the safest method of travel.

fire is the only thing that both kills and neutralises the poison of a crawling beast. by this time, progress has been made to develop "automatic fire machines". so all the R&D people put into guns in the real world was put into flamethrowers instead. it's easy enough to rig up a system that pumps out burning oil, but these devices are usually stationary, heavy, and fixed at the gates of the various more prosperous town walls.

#i realised that using time periods like '1700s' or '1800s' doesn't really make sense here.. i'll need to name the ages properly #ice storm over kosa #idk how well i answered the question. i have a lot more to think about especially the cultural hangups that would have developed #and also how war itself would have changed #I FORGOT TO HIT PUBLISH. THIS IS THE POST WITH THE STORY LINK

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