#i work very close to the water cooler so having a bottle isn't that important

[jontheredrc]

Well, it's about that time again...and damn, I thought I was doing better. But then this morning, I found myself fainting. Then again, I was taxing my brain with a new art piece, trying to figure out the pose and composition and all. I think I got it, but by the time I did, I tried booting up a game because I knew I wasn't feeling like drawing it right then and there. And then I started dipping into really frequent microsleeps during the game, until I finally gave in and nodded off, and I woke up with those numb and tingly feelings in my face. It's incredibly frustrating to feel so held back from the very things I want to do--especially when I've been so depressed lately that I haven't wanted to do much of anything! The moment I try to kick myself out of some "work, sleep, repeat" routine, I literally shut down! My only other theory is that there's something in the air at work, which...there are a lot of very fine particles of sand and wood and concrete around...

Have a great day, everyone! Love you! 👋💕

[red-the-dragon-writes]

Today's post is not on the usual "writer blog fare" side. Instead I am going to introduce you to several fun facts about various animals on our planet and then talk about worldbuilding.

1. Lampreys are a kind of "living fossil"- a not-really-so-scientific term for a creature that has lived unchanged for a very long time, so long that we have fossils of them looking the same way they do now. They don't have proper jaws, just a circular sucking mouth with teeth set into it and a tongue designed to strip flesh off of what it touches. They're finless fish, look quite a bit like eels, and have this really alien, uncanny vibe to them.

[id: a long, slender bluish-silver lamprey sitting among rocks. It has a long snout, an eye, and then six small perforations in its side arranged at an even interval sitting behind the eye. The environment it is sitting in is very yellow and green in comparison. end id]

[id: an image of a lamprey from below. The snout ends in a round, flat mouth which is studded with teeth in four concentric circles. The teeth are smallest near the outer edge and largest in the middle, and look like very sharp round points. In the center of this ring is another, smaller circle, where the pointed, tooth-like tongue can be seen, as well as a hole for the lamprey to actually ingest food with. Its eye is visible, as are some of the perforations on its side. This one is a more mottled gray than the first one was, and less shiny. end id]

Sea lampreys, which are the kind i've sort of not really kinda researched, are a major pest in the Great Lakes, where they regularly attack fish. They can get up to two feet in length. Despite this, they are not particularly dangerous towards humans.

2. Horseshoe crabs are also "living fossils." They've been around and virtually unchanged for millions of years. They're not true crabs, and are more closely related to chelicerata species, like spiders and scorpions (and many more). There are a lot of cool features of horseshoe crabs, but one of their most extremely cool, to me, is their blood.

I'm not going to post any images of what I consider to be animal cruelty, so you'll have to take me at my word here, but this is a bottle of horseshoe crab blood. If you're sensitive to images of animal cruelty, I don't recommend looking for proof, but if you aren't, there are plenty of images of the blood coming out of the creature for you to verify this with.

E[id: a bottle of slightly frothy, opaque blue liquid. It is sitting in a row with several other bottles of the same material. end id]

I am a sucker for blue blood, I just think it's neat, so that's all I'd need as an excuse to slam some horseshoe-crab-inspired nonsense in my exceptionally gory and fucked up wips, and if you've been reading along with WiB you may have noticed that blue blood does come into play at some point! But that's not all that's neat about horseshoe crab blood. Unfortunately for the horseshoe crabs, but fortunately for us, their blood is literally the only source of an important compound used for detecting the presence of dangerous bacteria in certain pharmaceutical drugs. (Fortunately, there are replacements that will hopefully become more popular in coming years.)

Now that we've gone over all that, onto the worldbuilding!

I worldbuild by Rule of Cool. Let's just get that out of the way. Every so often people will ask me how my worlds get so expansive (not WiB, WiB i made up on the fly by cribbing from fanfic and like... BBC Merlin. Assume very little of this holds true for WiB) and the answer is largely that I take every interest I have ever had in anything and smash it all together and throw it at my wip to see what sticks. and then I just... like... reasonably attempt to figure out what the natural conclusions will be.

So: we have lampreys. We have blue-blooded ancient sea creatures with spectacularly important and valueable blood. We are writing this into a story that takes place on land, somehow.

- The first option, and the one I'm going to talk about most because I did it, is just to rule-of-cool it into a character. (Or a place, or an item, or whatever, but largely I do rule-of-cool on living creatures and think harder about the world around them.) If you've been keeping up with WiB, you may have noticed that (spoilers) Zero Point is some kind of fucked up magician with a lamprey mouth in their hand who shapeshifts and bleeds blue. This is where I got those inspirations from (along with, like, some other stuff. I promise there are no lamprey assassins, but- continuing in the trend of stealing from sea creatures- the bobbin worm is a spectacularly beautiful, spectacularly deadly creature if you're within its weight range. which is like, goldfish size, but. And cuttlefish are known to disguise themselves as other animals, and can change sexes if the male:female ratio where they are isn't ideal.)

So you can take the elements you like, and just kind of slam them together haphazardly, which is what I did with Zero Point. The trick to this kind of worldbuilding is just to avoid looking too closely at it. The magical assassin has a fucked up mouth in their hand? Yeah, okay, that seems kind of fucked up and creepy. What do they do at all times? They hide it under a glove. So the protags Just Straight Up Never Ask. And voila; it never gets explained, and it never has to.

Same with the blue blood. It shows up, it functions as a plot device because only Zero Point has blue blood; it is never explained or even delved into with much detail. And if it were, it would fall apart instantly, because the justification is literally just "i thought it was neat. No, no one else is like that. I don't even know why they are. i just felt like it"

- The second option is to consider the effects of the things that you're working with, and then work off of that.

Let's take Zero Point again. Strip them of their context (weird assassin with magical powers) and just like, consider the fact that this is a creature with blood that regularly retails for over $10,000 USD, is intelligent as fuck, shapeshifts, has a mouth in their hand that may or may not be their actual mouth, and can exist on land so long as they have suitable access to water. What does that mean for our setting? Surely they're not the only person like that; so you have a whole species of people who are sort of but not really amphibious, shapeshift, and maybe have magical powers, who knows. They can't shapeshift their fucked up lamprey mouths, maybe. That seems like a reasonable limit. So their blood is highly valuable- what does that mean for their relations with other people, or their culture? What kind of foods do they eat? How do they create a sense of culture as shapeshifters; is there even a way that they represent themselves in art? How do they interact with the world? Do they have a "true form" or not? Every one of these questions will spawn new questions. If you answer all of them you'll lose your mind, but if you answer at least ten you'll spawn a much more background-heavy world that can help to shape your story much more effectively than trying to just craft a narrative will. Sometimes it works very well for a story. Sometimes it gets you lost in the weeds.

- The third option is to reference something else, and build off that. Again, let's use Zero Point as the example.

In the original story that the WiB ensemble is from, Closerverse, which may have some mentions on this blog but honestly I have no idea, there is a city that I've done quite a bit of worldbuilding on. This city is called Hudson, and one of the major important features of it is that it is partially underground. (This is a reference to the DFZ of Rachel Aaron's Heartstrikers series). Hudson is intentionally run to be the worst, most unpleasant city in the world, and one of its features are its wildly intelligent, dangerous forms of aquatic life. The lowest level of this city is partially submerged, and all of these creatures plague the people who live down there.

Closerverse was also set during a period of early industrialization, and Hudson heavily referenced US history, especially 1900s-1920s labor history. Tenements, pollution, zero protections for workers, et cetera. Hudson is a nasty, miserable place, and everyone who lives there can feel the jaws closing in on them.

Anyway, in Closerverse you got these fucked up massive eel-like creatures (lampreys, but with extra features) that due to some rather significant meddling wound up growing legs and then got really massive and started eating people. They have blue blood, glow in the dark, and make fairly decent eating as long as they aren't eating you. And they're intelligent. Given the whole "mutual eating each other" thing, the eels and the people of Hudson have some pretty major animosity going on.

Most of Zero Point's stuff is really just me referencing the Hudson Eels, because I fucking love those. They're some of my favorite worldbuilding elements ever. But given that no one else in WiB has ever seen a Hudson Eel, let alone seen their blood get dry on things, or whatever, everything about Zero Point is wildly out of context. And that almost makes it better, because the whole deal with them is that they're mysterious and weird, and having them be a mysterious and weird reference to something no one but I know about most likely is like, fun and neat.

There are, of course, other modes of worldbuilding as well, but I typically aim to stick to the first two as much as possible. The cooler you make something, the more possible questions it raises; the more questions something raises, the deeper your world gets.

Although, a word of advice: sometimes animals just do things. Sometimes bodies just have features. Who would invent fingernails? But having them is mighty convenient, isn't it? For that matter, who would come up with a deeply logical and reasoned explanation for eyebrows- but not having those would be very strange, to us. You can get away with doing a lot by just having that be how it is, and not having the characters comment on it.

Also, the more "shaped" a thing should be, the more you'll want to take the second approach. For house design, something intentionally built, you'll want to know why it was built, and what purpose is this and that room, and why is it painted such and such colors. But if you're talking about adding a second moon, like... fuck dude, who needs to know why there's a second moon? Maybe if you have sailors you have to know what it'll do to your oceans, but that's the kind of thing you can kind of just say exists and move on. You'll figure it out; it gets pretty intuitive.

Anyway, happy worldbuilding!