#japanese giant salamander

[theyshapedlikefriends]

Kyoto Aquarium - 170cm Japanese Giant Salamander

[hoard-of-plushes]

Pokemon Center Oblivious Quagsire plush hand puppet (2023)

[hyydraworks]

Back from vacation! Real hard picking a favorite thing from Japan, but one of the faves for sure was seeing Japanese Giant Salamanders at the Kyoto Aquarium. Will be slowly getting back into them ceramic things.

[bethanythebogwitch]

Wet Beast Wednesday: giant salamanders

Everyone knows salamanders, right? The little lizard frogs that show up around ponds. Well what if I told you that not all salamanders are little. In fact, some species can get quite large, but none get bigger than the aptly-named giant salamanders. I'm not just talking about any big newt, I'm talking about the unique members of the family Cryptobranchidae.

(Image: a Chinese giant salamander. It is a large, lizard-shaped animal with brown skin and black blotches. Its limbs are short and its tail is flattened to look like a long fin. It has wrinkly folds of skin along the side. End ID)

There are three(ish) species of giant salamander in two genera: the Japanese and Chinese giant salamanders of the genus Andrias and the hellbender of genus Cryptobranchus. The name Cryptobranchidae means "hidden gills", which is appropriate as giant salamanders are unique in that they are the only salamanders who reaming fully aquatic as adults without retaining external gills into adulthood. All salamanders are aquatic as juveniles and have external gills and many groups have independently evolved to remain fully aquatic as adults. However, other species, from axolotls to olms, adapted by retaining their external gills as adults, a trait called neoteny. Giant salamanders have had to find another way, especially since a body as large as their needs quite a bit of oxygen. Their solution was to take a common amphibian trait and turn it up to 11. It is common among amphibians to be able to absorb dissolved oxygen in water through their skin. This is usually a supplement to either gills or lungs, but giant salamanders use it as their main means of respiration. The skin is thin and filled with small veins that can perform gas exchange with the water. Giant salamanders evolved very wrinkly skin flaps along ther sides to increase the amount of surface area available for gas exchange, allowing them to sustain themselves. They do require access to running water with a high oxygen content, as still or low-oxygen water doesn't provide enough oxygen to survive. They do have lungs, but use them more for buoyancy control than breathing.

(Image: a man holding/bear higging a giant salamander. The salamander is longer than his torso, not including the tail. end ID)

The Japanese and Chinese giant salamanders are very closely related to each other and rather similar in physiology and behavior. There's also not just one Chinese salamander. Genetic testing has reveals that what was once called Andrias davidianus is actually a species complex. This is when what was thought to be one species turns out to actually be a group of related species. There is some debate over whether the five identified populations of Chinese giant salamander should be classified as subspecies or their own species, though the latter interpretation seems to be the most popular. All the populations are very similar and can interbreed with each other, so I'll discuss them as a group. The largest of the group (and world's largest amphibian) is the South China giant salamander (Andrias sligoi) which can reach 1.8 m (5.9 ft) and 50 kg (110 lbs), but adults average 1.15 m (3.8 ft) and 25-30 kg (55-66 lbs). The Japanese giant salamander (Andrias japonicus) reaches a slightly smaller maximum size of 1.5 m (5 ft) and 25 kg (55 lbs), with most being smaller. The Chinese and Japanese giant salamanders are closely related enough that they can hybridize.

(Image: a Japanese giant salamander resting on mossy rocks underwater. Its body is light brown with darker blotches and the head is covered in nodules. End ID)

Because of how closely related the Japanese and Chinese salamanders are, their biology and behavior are quite similar. They are mostly a dark brown color, but can also be other tones of brown, reddish, or black. The eyes are lidless, small, and poorly-developed, giving the salamanders poor eyesight. Their primary sense comes from the lateral line, a line of hair cells that extends down the body and sense movement of the water. Using the lateral line, the salamanders can sense the movement of prey and threats in the water around them. They utilize suction feeding, slowly approaching prey, then rapidly opening the mouth to generate a vacuum and suck food into the mouth. The prey is then killed or incapacitated with a powerful bite. The esophagus is lined with powerful muscles and uses mucus as lubricant to allow the salamander to swallow large prey. The head and throat have nodules on them, the arrangement and number of which can be used to differentiate Chinese and Japanese salamanders. Both groups of salamander can secrete a strong-smelling, milky white substance to ward off predators. A low metabolism and generally low activity level allows the salamanders to last of up to a few years between meals. The Chinese salamanders can make vocalizations including barks, hisses, and sounds very similar to the crying of a human baby. The hellbender (Cryptobranchus alleganiensis) is smaller than it's Asian relatives, reaching a length of 30-74 cm (12-29 in) and up to 2.2 kg (5 lbs). They are usually brown or reddish-brown, but can also have a gray, yellowish, or black coloration. Hellbender biology and ecology is fairly similar to that of their relatives.

(Image: a hellbender underwater. It looks like the other two species, but is smaller, lighter brown, and has no nodules on the head. End ID)

Chinese and Japanese giant salamanders live in cool, clear streams and rivers in the Yangtze river basin (Chinese) and the islands of Honshou, Kyushu, and Shikoku (Japan). Hellbenders live in similar treams in the eastern United states, with one population (which may be a subspecies) living in the Ozarks region. As predators, their diets include worms, fish, crayfish, freshwater crabs, other amphibians, and small mammals. They are also cannibals and will opportunistically feed on smaller members of their own species. All species are territorial animals that will attempt to drive others out of their territory, though hellbenders are less territorial than the other species. Hellbenders prefer to live in cavities dug out under rocks, which helps them shelter from predators. Due to their low metabolisms, giant salamanders live much longer than most amphibians. Captive individuals have been recorded living for 60 years (Chinese), 52 years (Japanese), and 25 years (hellbender). All species are nocturnal.

(Image: a hellbender emerging from beneath a rock with a crayfish in its mouth. End ID)

Mating occurs seasonally, triggered by warmer water in the summer. During this period, males will search for ideal nesting sites, leaving their territories if necessary. An idea nesting site is sheltered beneath a rock. There are often fewer nesting sites than males, meaning only the largest and strongest males will be able to claim nests. Males then use courtship displays to woo females. Alternatively, male hellbenders will chase passing females into the nests and refuse to let them leave until they mate. Unlike most salamanders, giant salamanders practice external reproduction, where the female lays eggs and then the male fertilizes them. The male then guards the nest until the eggs hatch. During this period, he will keep the nest and eggs clean and use his tail to keep water moving over them. Males will eat eggs that are unfertilized, unhealthy, or show signs of infection. This helps keep the other eggs as healthy as possible. The offspring are born with external gills, which they will lose as they mature. It can take several years for the larvae to reach maturity.

(Image: a group of giant salamander larvae in captivity. They look like smaller versions of the adults, but with feathery gills emerging from each side of the neck. End ID)

Both hellbenders and Japanese giant salamanders are classified as vulnerable by the IUCN, while Chinese giant salamanders are critically endangered. Their primary threats are habitat loss as streams are dammed, dry up, or become polluted. Warming water temperatures also threaten them. Chinese giant salamanders have experienced a major drop in population since the 1950s. In addition to habitat loss, Chinese giant salamanders are also eaten by humans. While hunting wild specimens is now illegal in China, they are heavily impacted by poaching. The fine for poaching giant salamanders is pathetically small compared to the sale price for one of them, further encouraging poachers. Captive breeding and release programs have shown some success, but may have contributed to the spread of disease. In response to the rarity of the salamanders, a new farming industry has sprung up in, raising giant salamanders for food. The captive population of Chinese giant salamanders in farms vastly exceeds the estimated wild population. Chinese giant salamanders have also been introduced to Japan, where they have been hybridizing with the Japanese salamanders, a major hindrance to conservation efforts. Japanese giant salamanders have been legally protected since 1951. The origin of the name hellbender is unknown. Other names for hellbenders include the water dog, Allegheny alligator, grampus, snot otter, and (my personal favorite) lasagna lizard.

(Image: a holding pen in a Chinese giant salamander farm. Over a dozen salamanders are sitting in a shallow water enclosure stocked with bricks and small fish. End ID)

I will leave this post off with a weird fact. In 1726, a Swiss physician named Johann Jakob Schuechzer declared a fossil giant salamander to be the remains of an ancient human who died in the mythical flood of Noah's ark and named it Homo diluvi, meaning "man who witnessed the deluge". In 1812, paleontologist Georges Cuvier examined the fossil and realized (probably very quickly) that it definitely wasn't a human. Once the fossil was identified as a salamander it was given the name Andrias scheuchzeri. As Andrias means "image of man", both the genus and species names acknowledge Schuechzer's weird idea.

Behold: a man (Image: the original Andrias scheuchzeri fossil that Schuechzer thought as a human. It is a front half of the skeleton of what is clearly a lizard-shaped animal and not a human. End ID)

[terry-the-insane]

Animal of the Day for December 10: Japanese Giant Salamander (Species Andrias japonicus)

The Japanese Giant Salamander is a species of fully aquatic Giant Salamander (no duh) that inhabits the western portion of Honshu (the big island that makes up most of Japan), with smaller populations present in Kyushu and Shikoku (the two smaller islands south of Honshu). With a length of up to 5 feet, they are the third largest Salamander, behind the Chinese Giant Salamander and the South-China Giant Salamander, both of which are critically endangered, and the Japanese species being listed as vulnerable.

[usvakani]

Axolotl

[kapreart]

Inktober Day 28 - Jumbo - Japanese Giant Salamander

LARGEST SALAMANDER ON PLANET EARTH> CAN GROW TO SIX FEET LONG> SORRY ABOUT THE YELLING BUT CAPS LOCK STUCK> BUT JUST BETWEEN YOU AND ME I FREAKING LOVE SALAMANDERS> Image ID: This almost looks like it's just an anthropomorphic version of the Hellbender; big, flat, a little wrinkly. But cupped in the large salamander's hands like a bug is Sun, the artist's sona.

[deus3xmachinablog]

HAPPY GIANT SALAMANDER DAY TUMBLR!

Text from Kyoto's official Facebook Page: "Kyoto Aquarium has designated September 9th as "Japanese Giant Salamander Day" in order to share the fascinating ecology and charm of these animals. This year, related events will be organized by the aquarium in the following days:

September 7th (Sat) - A talk event by a researcher of giant salamanders will be held together with a paper craft workshop.

September 8th (Sun) - A giant salamander float will be pulled around Umekoji Park.

September 9th (Mon) - Annual public measurement of the giant salamanders kept at the aquarium.

In addition, around 100 stuffed plush toys in the shape of giant salamanders will appear in random places around the streets of Kyoto from September 7th. Some may even appear in the passenger seat of taxis."

These photos were attached to the post:

[rubynautilus]

Search For The Last of Japan's Giant Salamanders

I knew that giant salamanders in general were in trouble but sheesh. Imagine having the second largest amphibian in the world be so ignored that it might just go extinct in our lifetime. I was saddened when I learned that the giant chinese paddlefish had just been declared extinct, among other other things because I didn’t knew it existed until then. As James says in the video, we often fantasize about bringing back ancient species and finding lost worlds where prehistory never left. But some of these creatures are still alive today and we’re letting them die because most don’t care or even know about them. Let’s at least spread the word so that we can help and not forget these and all the othere species that are struggling in these trying times.

[ailurinae]

i'm like 90% sure the salamander is not destroying his crops. Most are insectivorous/carnivorous, maybe some are somewhat omnivorous? Pretty sure none are herbivorous. I doubt it is eating a noticeable portion of his crop. If it flooded rice paddies I suppose possible it is just trampling some? (Giants rarely come out of the water) But AFAIK they are not big travelers/roamers, and I think they like faster moving water than rice paddies generally.

Source

[bjekkergauken]

Yangtze spirits

[stimseals]

Source

Please credit when using!

[herpsandbirds]

Japanese Giant Salamander (Andrias japonicus), family Cryptobranchidae, endemic to Japan

One of the largest amphibians in the world, growing to a length of 1.5 m (~5 ft).

Vulnerable.

Photograph by Laura Bok

[regretroulette]

Its

Nintendo keeps making this type of creature

[fatkish]

The Hashira and their Children

——————————————————————————

(Gyomei is introducing his chubby newborn baby to the other Hashira)

Gyomei: This is Yusuke. Y/n just gave birth to him a few weeks ago.

Mitsuri: aww! He’s so cute!

Shinobu: he looks just like you

Gyomei: would you guys like to hold him?

(After everyone but Sanemi has held the baby)

Gyomei: Shinazugawa, would you like to hold Yusuke?

Sanemi: *holding Yusuke* you look like a lump of mochi

Baby Yusuke: *face contorts and he starts to cry*

Mitsuri: Sanemi, how could you? You made him cry

Tengen: nice going Sanemi

Sanemi: *grumbling as he hands Yusuke to Gyomei* I didn’t mean to make him cry

——————————————————————————

(Kyojuro and Y/n are trying to take a family picture but their 3 year old won’t stop crying)

Y/n: what are we going to do, they won’t stop crying?

Kyojuro: Just give them a box of raisins

Y/n: Seriously?

Kyojuro: *pulls out box of raisins and hands it to his child* there see

Three year old: *immediately stops crying and is waving the raisins around*

Y/n: I swear they get that from you

——————————————————————————

(Sanemi was left at home to look after his 4 year old and 1 year old alone. He was watching them but took a small nap. He wakes up to find his oldest has drawn all over his 1 year old in marker)

Sanemi: what did you do to your brother?

Four year old: *holding the marker* wasn’t me

1 year old: *laughing*

Sanemi: *mumbles to himself* help me clean your brother up now

——————————————————————————

(Conversation between Kyojuro, Sanemi and Tengen)

Tengen: I’m pretty sure my neighbor thinks I’m a terrible father

Sanemi: just ignore them

Kyojuro: you’re not a terrible father, what makes you say that?

Tengen: they saw me chasing my naked three year old twins around the front lawn. Again

Kyojuro: why were you chasing them

Sanemi: wait, what do you mean again

Tengen: they finished taking their bathes but refused to put clothes on

Tengen: then they unlocked the front door and began running around. As soon as I caught one, I’d start chasing the other, but the one in my hands would slip out as soon as I caught the other one. My neighbors saw the whole thing

——————————————————————————

Y/n: *walks into the bathroom where their five year old son is* oh my god! What did you do

Son: *smiles and looks at their mom*

Sanemi: *comes running in* what’s wrong? What happened?

Y/n: take a look at your son, notice anything missing

Sanemi: *stares for a minute* what happened to your eyebrows?

Son: I gets rid of them. Now daddy and I match

Y/n: *turns away snickering*

Sanemi: OI!

——————————————————————————

Kyojuro: *is asleep*

3 year old: Daddy wake up

Kyojuro: *continues to sleep*

3 year old: *grabs TV remote and proceeds to smack Kyojuro with it* Daddy up!

Kyojuro: ow! I’m up

——————————————————————————

(Giyuu, y/n and their 5 year old are in their backyard)

Y/n: and just what do you think you’re doing?

5 year old: *holding a giant Japanese salamander like it’s a stuffed animal* I found him, can we keep him?

Y/n: *looks at the salamander that’s as big as their child* where did you even find that

5 year old: in the river… so… can we keep him?

Y/n: *flabbergasted* where do you expect to put him?

5 year old: in the pond with the fish

Y/n: I’m sorry but that thing will eat the fish

Y/n: *looks at Giyuu* you want to say anything?

Giyuu: …. We could build a second pond for him

Y/n: *throws hands in the air* seriously

Giyuu: what’s his name?

5 year old: Mr. Flabbs

——————————————————————————

Y/n: honey, do you know where our daughter is?

Gyomei: I believe she is in the kitchen….

Y/n: *after walking into the kitchen* oh my god no! Spit that out!

3 year old: *runs out of the kitchen*

Y/n: Gyomei catch her!

Gyomei: *catches daughter and holds her up*

Y/n: spit that out right now!

3 year old: *spits out cockroach into Gyomei’s hand*

Gyomei: please tell me this isn’t what I think it is

Y/n: I wish I could

——————————————————————————

(Y/n, Sanemi and their 3 year old are at an appliance store)

Y/n: *looking at washing machines with Sanemi* what do you think of this…. Where’s our child?

Sanemi: they were right here

Y/n: *look’s around and is mortified* oh please no

Sanemi: what?

Three year old: *is sitting on one of the display toilets with their pants down singing while grunting*

Y/n: stay here while I get the wet wipes

Sanemi: *covers his face in shame*

Store attendant: *trying so hard not to laugh*

——————————————————————————

(Obanai, Mitsuri and y/n are giving their 2 and 3 year olds a bath in the tub)

Obanai: *leaves the bathroom to grab something real quick*

Y/n: how are the kids?

Obanai: just got them into the bath

Mitsuri: *getting the kid’s pajamas ready* they are just so cute

3 year old: *shouting* boat! A boat!

Y/n: did you put toys in the tub?

Obanai: no, we don’t even have any boat toys

Mitsuri: then what is…

Obanai, y/n and Mitsuri: *runs into the bathroom*

(They walk into the bathroom to see their 2 and 3 year olds in the tub with a turd floating around)

3 year old: look a boat!

Mitsuri: *covers her face*

Y/n: *scrambles to quickly remove the kids from the tub*

Obanai: *disgusted as he empties the tub and removes the turd* I’ll run another bath

Y/n: *looks to Mitsuri* still think they’re cute?

——————————————————————————

[topazadine]

How to Kick Ass at Worldbuilding

Worldbuilding. You either love it and spend all your time dreaming up rules rather than writing, or you hate it and try your best to avoid it despite writing fantasy or scifi.

Or you are in the middle, which is where you should be. You have a healthy appreciation for what makes worldbuilding so special, but you also don't obsess over it.

Worldbuilding does not need to be complicated to be effective, as I've harped on a few different times now. So how do you strike the right balance? Let's take a look.

As always, this is just my opinion based on my own efforts creating The Eirenic Verses. You can disagree and that is fine. However, I hope you'll consider thinking about what I offer here as you craft your own world.

A lot of what people focus on when worldbuilding is not what the audience cares about.

Very few people like to read a book littered with random terms they have to keep track of. We want to build a unique world, but we also don't want to throw such an extreme amount of lore at our readers that they tune out.

When worldbuilding, we want to consider the cognitive load on our audience. This is how much information the reader needs to remember throughout your story so that they can follow along.

Cognitive load includes things like:

Character names and appearances

Relationships between characters

Place names, such as cities and countries

Unique mythological creature or fauna

Backstory, including mythology and folklore

Language names

The general plot (who is the protag, who is the enemy, etc)

Magic usage (who has the power, how they acquire it, any conditions it comes with, etc)

Power dynamics between characters, countries, and so on

Political systems, if included

Even in the most barebones fantasy story, this is a lot to remember. As such, we need to consider what is most important for our readers to generally understand the plot and emphasize this, letting the rest serve as background information that is not quite as essential. The more emphasis we put on something, the more we direct a reader's attention.

At the same time, we want to create a world that feels lived-in and interesting so that readers want to know more. How do we do this?

Consider what you think about foreign countries in our world.

Most of us will have a general concept of a country but only will think about the specifics if it is currently relevant.

Let's take Japan for an example. (I'm a bit of a weeabo, okay?) Here is what I personally think about when I imagine Japan, in order of what I consider important.

Japanese cuisine (sushi, ramen, ochazuke, sake, lots of rice dishes, seafood)

What the people are like according to my own stereotypes/cultural perceptions (polite, quiet, respectful, hardworking, punctual)

Climate and geography (temperate, island country, volcanos, mountains, beaches)

Unique flora and fauna (cherry blossoms, flowers, Nara deer, giant salamanders, pretty birds)

General landmarks, but not necessarily specifics (castles, temples, busy cities, red bridges, torii gates)

Clothing styles (kimonos, school uniforms, business suits, kawaii fashion)

Cultural icons (samurai swords, samurai armor, Shinto shrines)

General overview of the history (samurai, daimyo, feudal system, bushido, Meiji restoration)

Language, but not necessarily specifics of the language (Japanese, kanji, hiragana)

Religion (Buddhism and Shintoism)

Folklore (ghosts, kami, tsukumogami, evil spirits)

Any festivals I might know of (cherry blossom festivals, moon viewings, Obon)

Your own list may have these in a slightly different order, but it's probably what you most think about.

Notice that you will likely not think about these things:

Political system

Specifics of the language

Interpersonal hierarchies

International relations

Specific landmarks

Specific historical events

Famous figures

So why do we think like this? Because in real life, we also have a cognitive load that we must balance with things that are more relevant to our everyday lives.

If I tried to memorize specific details of every country in the world, I would go insane. I have better things to do, so I create a general image of a country based on pictures I've seen, people I've met, food I've eaten, and so on. You do the same thing.

To be realistic, you do not need to be specific. You need to approach worldbuilding the same way people generate their world knowledge: basic concepts and visual imagery.

What to emphasize in worldbuilding

So let's break this down on what you want to think about when creating a world.

Food is one of the most accessible elements of a culture.

Food is how many people learn about different cultures for a simple reason: if you have the ingredients, you can cook food from anywhere. You don't need to be introduced to it by a native of that culture.

Plus, humans tend to like food. We kind of need it to exist.

Think about these things when considering national cuisines and eating habits of your fantasy world:

Do they have spicy food? Bland food? Heavy hearty dishes?

Is most food served hot or cold?

What kind of spices and vegetables do they use? Root vegetables, beans, cinnamon? Salt?

What type of meat do people eat (if any)? Seafood, poultry, beef, pork?

How is bread prepared? What is it made of? (Look, nearly every culture has some sort of bread, we love carbs)

What about pasta? Does that exist here?

Are desserts important? What are they made of?

What kinds of drinks do they have? Coffee, tea, milk, lemon water?

Is alcohol a thing? What kind of alcohol? How often do people drink? Are there bars?

How often do people eat, and when? Do they have the typical three square meals, or do people eat kinda whenever they feel like it?

Do people prepare food at home or are there restaurants?

Are communal dinners common?

Cultural stereotypes provide tension and can help craft your characters.

Are people in your culture known for their boldness? Their cunning? Their resilience? Their standoffishness? Their fiery tongues, or their passive-aggressive jabs?

You can play with a lot of this, either confirming or denying the assumptions through your characters.

Landscape gives us an idea of where we are and what to expect.

Landscapes are some of my favorite aspects of worldbuilding rather than intricate magic systems and political concepts. Readers get a good sense of environment when you focus in on landscape and how it impacts the characters. You can also build a culture off your landscape, such as how certain geographic features may influence peoples' attitudes and lifestyles.

For example, a coastal landscape will have beautiful views of the ocean, sparkling beaches, and maybe tall cliffs. Being a fisherman may be seen as an honorable but dangerous profession. People might cliff dive for fun.

Mountainous areas may produce cultural enclaves, especially in a fantasy setting where everyone is more isolated. One mountain town may have a completely different vibe than the town over.

Flat, wide-open plains mean people can spread out, but since moving from one place to another is easier, there may be a more cohesive culture.

An area with caves will have a sense of mystery and fear; there may be a lot of superstitions about the caves.

A swampy area can also be very mysterious as there are so many places to hide out and a lot of dangerous animals.

Climate influences how people behave.

Hot climates make people need to conserve energy, so they may take afternoon naps in the worst of the heat. They might value relaxation and calm over industry and productivity because bro, have you ever tried to even walk outside in the Florida heat? Shut up and get me air conditioning.

Cold climates make people need to stay active to stay warm, but they can also produce a sense of isolation. Think about how outdoorsy the Finnish are but how they looove their personal space.

Temperate climates are probably a bit more even-tempered, but as weather changes get more extreme, people will vary their behaviors based on the seasons: spending more time outdoors during summer but holing up during winter. The culture may emphasize hospitality because people need to rely on one another to survive, and they have time to meet their neighbors during the summer.

I am very partial to temperate climates, being from the American Midwest. We're known for being nice and hardy people. You should come visit.

Flora and fauna help the world feel real.

When I worldbuild, I often base my cultures on a real place and what kinds of animals or plants are there. For example, Breme is based on Mongolia so I have herbivores, big raptors, and a lot of grasses.

A warm climate will have lots of reptiles. Sea life will be important in a coastal area. Swamps might have big predators. Mountains will have hardy creatures that can climb. A savannah area will have huge herbivores and fast, hungry predators.

General cityscapes or villages are great for providing a sense of place.

Do people build low spread-out cities or tall rickety homes? What kinds of building materials do they use? Are there lots of markets, bars, apocetharies, temples or churches? What do homes look like here? What are any unique architectural features?

This gives a sense that we are in a different but specific world that has a rich culture.

Clothing tells us what people prioritize.

Cold places will have lots of layers. Hot places will have soft draping outfits or very skimpy outfits. Natural materials that are easily available will make up the majority of the clothing in a fantasy setting. You wouldn't have people wearing cotton in a place that doesn't grow cotton. If there are lots of sheep, people will wear wool. If there's lots of cattle, people will wear leather.

You can also think about adornment. Is jewelry common? What type? Why is it important? Is it a status symbol, a way to keep wealth, or perhaps ways to honor ancestors?

Cultural icons demonstrate what the society values.

A warlike culture will prioritize weaponry. A pacifist culture will think about art and music. A nomadic culture may have a rich oral tradition. An agrarian society will emphasize farming rituals.

Think of a few things that symbolize your society, whether that's musical instruments, weaponry, textiles, statues, or jewelry. Consider how those traditions could have come about and why.

Folklore and mythology offer an offbeat but important sense of history.

Folklore is often tied up with many other factors of a society, such as their religion, landscape, history, and overall values.

For example, the Japanese believe items survive for over a century gain a kami, or spiritual essence. This shows that the Japanese cherish their long history and their material culture, and it also infuses their Shinto belief into folklore.

You can also think about cryptids or ghost stories. Isolated and difficult terrain often makes people think of monsters lurking in the woods. Areas with lots of caves will have myths about what is down there. Coastal areas develop myths about ghost ships.

Idioms, turns of phrase, and gestural quirks tell us more about the culture without overwhelming readers.

This one can be more challenging (I haven't done much with it) but if you can manage it, you'll have a very rewarding story.

I'm not talking about making a whole new language here, but rather about idioms and turns of phrase. Think about all the fun idioms that English has, like "beating around the bush" or "break a leg." Without cultural context, you can't understand them, so you'll have to incorporate an explanation without actually stating it.

For example, you can have a character say "the horses are running fast" as they look out the window to see a sheet of rain. We can guess from this that the idiom is rain = horses, so lots of rain = fast horses. We'll understand from this that this culture probably loves horses; maybe they're a formerly nomadic race.

Gestures, like whether people give thumbs-up, point with their index, or bow with their hands to their chest all give us a feeling of the culture without being overwhelming.

What not to emphasize

Now that we've gone through some things to focus on, let's talk about what you don't need to make up for your world.

A whole-cloth language

Please, you don't need to create brand new words for things that exist in our world. You can reference a language, but do not make people memorize nouns they don't need.

Don't even make up the language at all. Say there's a language and then write the rest of it in English.

Made-up languages are irritating for readers because they want to focus on the characters and plot, not mysterious words they need to translate.

It's possible to make languages interesting without going into specifics. For example, the Bas-Lag trilogy by China Mieville has a species that communicates in clicks but the species can also learn human languages if necessary. There's a language called Salt that's basically the common tongue blended from everything else.

Do we need to know how Salt works? No. Doesn't matter. We're told someone is talking in Salt, or they're learning it, or they switch to it when meeting someone from a different culture. That's plenty.

Specifics of a magic system

You're not going to instantly summon up all the rules of magical realms when you visit a new country; you might not even know them. And your readers won't be too interested in them either.

For example, in The Eirenic Verses, I have High Poetry. Readers will come to know that this was a magical system where certain people given the power can recite a poem and whatever they speak comes true. Every poem can only be used once.

It was given by the goddess Poesy to a specific woman, Saint Luridalr. It was so successful that the goddess started giving it to more women and a whole religious system arose.

I don't need to explain exactly how it works because no one cares. Someone makes things happen by coming up with a poem: that's about it. We don't need to question whether certain rhyme schemes or meter or punctuation impacts anything. That's too technical.

If you've got pages and pages of notes on all the intricacies of the magical system, you have too much. Pare it down.

Political systems

Unless you're writing a fantasy where politics are absolutely critical to the plot, you can just reference the political system in passing and maybe elucidate a few key elements, like who the leader is, how power is transferred, etc. You don't need to go into all the specifics because most people are not going to care.

Hierarchies

Please don't lay out the entirety of an army's ranking system or how someone is promoted. Make up something consistent and stick with it, but don't go into exhaustive detail. People aren't going to sit and question whether a captain is above a lieutenant or how long it takes to become a general.

We'll know that a general is a big deal if the characters make it a big deal. We'll know who the head of the army is but we don't need to know how they got to that position.

Exact city layouts

You do not need to tell us where everything is in relation to one another. Tell us characters are moving from one landmark to another. You could say "this is across a bridge, this is up in the mountains, these buildings are right next to one another, these two buildings are in opposite ends of the city." That's plenty.

If somewhere is very far away, just show them travelling there and how long it takes. You don't need to measure it in miles or leagues or whatever. We will guess that if it takes them a week to walk there, it's pretty distant.

Economic systems

We just need the basics here: mercantile, capitalist, bartering, etc. We don't need to know if the coinage is pegged to a certain precious metal or if people invest their money or how people are paid. That's boring.

In my world, I have two currencies: quillim for Breme and barnals for Sina. What's the exchange rate? I don't know and don't care. How much is one quillim worth? One quillim is not a lot but 2,500 quillim is. How much is the average person paid? Doesn't matter. Do people keep lots of coins on them? No one is asking that. It's not important.

Transit systems

Tells us if the roads are cramped, spread out, nonexistent, poorly maintained. Tell us if there are road blocks or toll booths. Tell us if there are roving bandits. The more physical and sensory you can get, the more real it feels.

Few people care about the specifics of even their own transportation system. I know highways are fast, I know tollroads are expensive, I know parkways are pretty, I know some cities have weird turnabouts and dead ends. That's exactly what I need and what I care about.

That's what I've got for you today. If you liked this, maybe you'll consider checking out The Eirenic Verses series, which follows most of these principles.

I've been told that my fantasy writing is very approachable, even for those who don't usually like fantasy, specifically because I don't get too insane with my worldbuilding. So maybe you'll enjoy it too!