#I need to write more about my thoughts on the horse geopolitical climate…

[spirit-pyrite]

Twelve pages in to the Horse world building and I’m totally normal I prommy

[f-nodragonart]

Worldbuilding, briefly

I’ve been thinking a lot lately about how I approach worldbuilding in my own work, and how worldbuilding appears in the media that I admire, and just want to share some thoughts

so, y’know how lot of writers admit that it feels like their characters end up writing themselves? hijacking the creators’ brains and acting out their own lives? I feel the same can be said for settings, if they’re given the chance to breathe freely

suffice to say, a setting should feel dynamic-- a living, changing thing that affects (and is affected by) characters/plot/etc., and has solid internal logic. I think the two central concepts which make for good worldbuilding, in this respect, are:

a sense of history 

holistic integration with all other story elements

History

when a setting only exists in the present moment, it comes off flat and static-- merely a cardboard set-piece that could fall over at a gust of too-strong wind (or critical thought). settings need history to feel vibrant and alive, just as any individual character needs history to inform their actions and beliefs

essentially, good worldbuilding answers the question of, “How did we get here?”

in practice, having a sense of history helps a great deal in predicting and designing how a setting looks at the present. think of it like following branching pathways back to the source-- the main divergence(s) from real-life. as humans living on planet Earth in our particular sociocultural environments, whatever we create will automatically borrow from what we’re familiar with, so it helps to track down where we may be subconsciously starting at. once we find that initial divergence, it’s a simple matter of following logical stepping-stones from that source, up to the present point 

thus, you can break the broad question of, “How did we get here?” down into smaller, more manageable chunks by carefully tracking along a path of history

some examples of what I’m talking about here: 

need an explanation for the current geopolitical climate? trace back the basic history of all the countries in question, follow it back to basic sources (fighting over resources/territory, power/ideological struggles, etc.), to figure out why the geopolitical landscape looks as it does today. want to figure out how a particular culture came to their current beliefs/practices? look back to the history of their land-- what resources do they use, what ecological cycles impact them, how much cultural overlap do they have with their neighbors, and how does this impact what they most cherish in themselves and others? want to figure out how/why a creature exists in your world? map their evolutionary taxonomy and ecological relationships back to a point that connects to the other creatures on your planet-- where exactly did they “start” out and what pushed them to evolve the way the did?

most of these sub-questions will likely never be directly answered in your story, and you don’t even need to have detailed answers for most of them. but trust me when I say that YOU knowing the answers (even answers that you may consider broad and simple) will affect how you craft the present setting and its sense of history

of course, the level of divergence from real-life will impact how much reworking a given setting needs in order to feel self-sustaining and whole. a world where political history diverges from real-life only a few years previous is going to have different needs than a story whose very life-forms are built on different molecular structures than Earth life, for example. it can be intimidating in some cases, but if you’re willing to put in the work and research for it, you can make some pretty incredible discoveries

Holistic Integration

I’ll fully admit, Folding Ideas’ video on Ludonarrative Dissonance is what rly got me thinking abt this topic (and more deeply abt my own thoughts on stylistic/tonal consistency). his central idea about how we can approach story elements as separate or integrated rly clarified some of my vague opinions/feelings on certain media

essentially, worldbuilding shouldn’t be treated as separate from other story elements like plot and themes, if you want it to work holistically in your world. otherwise, your worldbuilding may start telling a different story from the plot/themes/etc. you’re consciously trying to craft. in fact, I’ll even argue that it’s impossible to treat worldbuilding separately, on a fundamental level

let me focus specifically on themes for a moment when I say, humans don’t create objectively. we don’t craft worlds or stories without automatically inserting our own beliefs and ideas into the settings. to say that a setting is free of theme in particular is highly arrogant, imo, and a sign that the creator likely thinks their own views are simply the “norm”. a magic system will reflect a creator’s views on souls and energy and existence; creature designs will reveal the aesthetic and types of animals a creator gravitates towards; various political systems will reflect a creator’s background and assumptions about the power/morality of said systems

in this way, I think it’s downright impossible to craft a world without themes in the first place. so it just makes sense to recognize and lean into that, while crafting the more deliberate themes of a story

but even if we do assume, for sake of argument, that worlds COULD be crafted objectively, I just don’t understand why they would? why/how a world functions the way it does will affect the ways characters move through that world, and how they experience their arcs and subsequent themes. like, it’s genuinely baffling for me to imagine crafting a story without every element organically weaving into and affecting one another, it just doesn’t feel like it would even work

because when an element of the story doesn’t exist in service of the other elements around it, that element becomes a useless distraction rather than an asset. folks complain all the time about useless characters-- people that take up precious screentime without moving any other element (plot, character arcs, tone, etc.) forward. yet the same can absolutely be said for settings-- settings which just exist as spaces to set characters while they experience a plot, separate from that given setting. when these settings don’t touch any other element of the story in any meaningful way (or vis-versa), they become distracting and useless, and ultimately destabilize/undermine the other elements

like, when we’re told a setting is rough and dangerous, but the characters that live there don’t act like it (no street smarts, no sense of caution towards their environment, no sense of where they are and how to get where they need to quickly--), it undermines the reliability of the characters’ personalities/arcs. when we’re told a setting is full of casual magic which affects everything, yet we’re shown a 1:1 picture of real life with no sign of how people using magic, how tech may integrate with magic, how magic affects aesthetic or history, it distracts from and undermines the fantasy/escapism. when we’re explicitly told that a story’s themes center around defying expectations/roles, yet the setting we’re supposed to root for only reinforces pre-defined roles and rules, it completely undermines any of the deliberate themes the creator intends. when we’re following a plot through various environments meant to showcase the variety of culture and aesthetic a world has cultivated, but we’re merely shown variations on a very similar theme, it’s distracting and boring

worldbuilding should not feel like a dissonant piece from other story elements. worldbuilding should harmonize with and enhance all other story elements, and those elements in turn should enhance the worldbuilding. while it absolutely is useful to tackle or talk about certain elements separately (I mean, I am taking a whole post to discuss worldbuilding, specifically), ultimately a good story is a whole whose parts can’t be fully removed from one another

Internal Logic

you may be wondering why I have yet to make any real mention of “logic” up to this point, since that’s how most folks analyze worldbuilding. hell, even I usually judge worlds based on how well they stick to their “internal logic”. but I think focusing on a vague sense of “logic” puts the cart before the horse, so to speak

if you don’t know the history of a particular setting, how can you track any cultural/political/etc. logic to its source? to say that logic “pre-establishes” certain rules is to admit that there is a sense of history there in the first place, thus specific events preceding the present text which explain why the present exists as it does. like, the big bang is a historical event that’s set up the logic of our entire universe, the same way a war sets up the political logic of a nation going forward. thus, history precedes logic

but before history can set precedents in worldbuilding, it’s really the other story elements which decide what history is important enough to establish in the first place. a story whose themes center around biological imperatives and ecology will need worldbuilding with a strong biological history; a story whose plot centers on political intrigue will need a world with a strong political history; a story with characters ranging across all different cultures will need to establish history for those cultures, etc. you aren’t obligated to establish the history of every single aspect of a setting, merely the parts that are actually relevant to the rest of the narrative in some way

this is how the internal logic of a story is established: by knowing exactly what history needs to be established to enhance the other story elements. logic should organically follow, once you have a strong grasp of history and holistic integration

-Mod Spiral