#worldbuilding history

[cyansconlangs]

How do y'all worldbuild religions? Cause I've been working on an idea founded on the principle of a tunguska-level meteor explosion over a capital city that convinced everyone to shed their old identity and wear animal masks.

[alexanderwales]

There are certain very specific, unsustainable periods of history.

The Golden Age of Piracy lasted from the 1650s to the 1730s, and was really three different waves of piracy that all had their own specific causes and characters. My personal favorite has always been the post-Spanish Succession period, when a bunch of sailors and privateers were left unemployed and turned en masse to piracy since those were the skills they'd picked up during the war. This supply of pirates was obviously non-renewable.

The Wild West lasted between 1865 and 1895, depending on who you ask, not even a full human lifetime. It's a very narrow band of time, and of course it wasn't sustainable, there was only so much land to colonize.

There are lots of these times of change, conquest, colonization, and war, particularly in the last three hundred years. I always think they're interesting, mostly in how quickly the course of history moves on to some other relatively more steady state.

There's a thing that speculative fiction does where it stretches specific periods out to extremes, most notably with Medieval Stasis, but I think it's far funnier when applied to these tiny slices of history that have ballooned in the public consciousness. Either it takes heroic feats of worldbuilding to make it make sense, or everyone is just sort of okay with the idea of a Golden Age of Piracy that's implied to have lasted for a millennia.

[prokopetz]

On the one hand, it's true that the way Dungeons & Dragons defines terms like "sorcerer" and "warlock" and "wizard" is really only relevant to Dungeons & Dragons and its associated media – indeed, how these terms are used isn't even consistent between editions of D&D! – and trying to apply them in other contexts is rarely productive.

On the other hand, it's not true that these sorts of fine-grained taxonomies of types of magic are strictly a D&D-ism and never occur elsewhere. That folks make this argument is typically a symptom of being unfamiliar with Dungeons & Dragons' source material. D&D's main inspirations are American literary sword and sorcery fantasy spanning roughly the 1930s through the early 1980s, and fine-grained taxonomies of magic users absolutely do appear in these sources; they just aren't anything like as consistent as the folks who try to cram everything into the sorcerer/warlock/wizard model would prefer.

For example, in Lyndon Hardy's "Five Magics" series, the five types of magical practitioners are:

Alchemists: Drawing forth the hidden virtues of common materials to craft magic potions; limited by the fact that the outcomes of their formulas are partially random.

Magicians: Crafting enchanted items through complex manufacturing procedures; limited by the fact that each step in the procedure must be performed perfectly with no margin for error.

Sorcerers: Speaking verbal formulas to basically hack other people's minds, permitting illusion-craft and mind control; limited by the fact that the exercise of their art eventually kills them.

Thaumaturges: Shaping matter by manipulating miniature models; limited by the need to draw on outside sources like fires or flywheels to make up the resulting kinetic energy deficit.

Wizards: Summoning and binding demons from other dimensions; limited by the fact that the binding ritual exposes them to mental domination by the summoned demon if their will is weak.

"Warlock", meanwhile, isn't a type of practitioner, but does appear as pejorative term for a wizard who's lost a contest of wills with one of their own summoned demons.

Conversely, Lawrence Watt-Evans' "Legends of Ethshar" series includes such types of magic-users as:

Sorcerers: Channelling power through metal talismans to produce fixed effects; in the time of the novels, talisman-craft is largely a lost art, and most sorcerers use found or inherited talismans.

Theurges: Summoning gods; the setting's gods have no interest in human worship, but are bound not to interfere in the mortal world unless summoned, and are thus amenable to cutting deals.

Warlocks: Wielding X-Men style psychokinesis by virtue of their attunement to the telepathic whispers emanating from the wreckage of a crashed alien starship. (They're the edgy ones!)

Witches: Producing improvisational effects mostly related to healing, telepathy, precognition, and minor telekinesis by drawing on their own internal energy.

Wizards: Drawing down the infinite power of Chaos and shaping it with complex rituals. Basically D&D wizards, albeit with a much greater propensity for exploding.

You'll note that both taxonomies include something called a "sorcerer", something called a "warlock", and something called a "wizard", but what those terms mean in their respective contexts agrees neither with the Dungeons & Dragons definitions, nor with each other.

(Admittedly, these examples are from the 1980s, and are thus not free of D&D's influence; I picked them because they both happened to use all three of the terms in question in ways that are at odds with how D&D uses them. You can find similar taxonomies of magic use in earlier works, but I would have had to use many more examples to offer multiple competing definitions of each of "sorcerer", "warlock" and "wizard", and this post is already long enough!)

So basically what I'm saying is giving people a hard time about using these terms "wrong" – particularly if your objection is that they're not using them in a way that's congruent with however D&D's flavour of the week uses them – makes you a dick, but simply having this sort of taxonomy has a rich history within the genre. Wizard phylogeny is a time-honoured tradition!

[canisalbus]

What if I told you that RoobrickMarine went and wrote an entire novella starring my 16th century dog couple? It's very canon-adjacent, well researched and thoughtfully put together, has inspired me a ton during these past months and it's now publicly available at AO3. I highly recommend it.

✦ Separation ✦

[fox-teeth]

Hundreds of years in the future and thousands of light-years away, Mazu from Three-Hills practices her culture’s ancient art of sculpting spirit guides for the dead. But when technology from beyond the stars encroaches on her people’s lives—and deaths—what will happen to her art?

Read the rest of my new graphic novella "The Maker of Grave-Goods" this October exclusively through ShortBox Comics Fair--the innovative all-digital comics convention! @shortboxcomicsfair

[ghostbsuter]

"What exactly are halfas?" Constantine asks, cigarette lit and leaning against the table.

They were in the justice league, having attended a meeting previously and now just lazed around.

Batman loses focus on his laptop screen and openly looks at the two, interested.

Green Lantern, Hal, jerks up at the question, looking between everyone still in the room and trying (and failing) to seem uninterested.

Zatara is glaring daggers at Constantine's back, eyes narrowed.

While flash had no context, having just arrived back with his food to sit with the rest, he appropriately tenses as well, from just one glance around the room.

Superman and Wonder woman aren't different from batman, not as discreet as some are trying to be and just staring at the two.

Slightly amused, Danny decided to entertain the question.

"Unlike ghosts and the undead, halfas are created and not born." He explains, looking at the man when he writes it down.

Who knew the infinity realm were this closed off that John Constantine had to get information from the source itself just to keep updated?

"Care to elaborate?"

Clicking his tongue, he does so.

"Halfas get created during extreme circumstances, it has to be right place, right time and correct amount of ectoplasm." Danny catches the lollipop that Batman throws at him, sending the bat a quick smile.

"Not everyone can become a halfa, our race is a rarity amongst the dead."Constantine raises a brow, pursing his lips. "There are only 3 of you right? Is that a normal amount in the realms?"

Another click. "No, thousands of years ago, when our kind reached its peak of over hundreds of people, Pariah Dark happened."

He briefly shares a glance with Martian Manhunter, he wonders if anyone here sent out a message of phantom story time? Why were they all lounging around?

"It was genocide. He killed off an entire species just because he felt threatened." He shrugs.

Constantine jolts, eyes clear as if he'd just connected the dots.

"So his downfall wasn't only because of rights of conquest but— the reason no one joined nor fought between you and the old King was because it was a revenge kill."

Danny ponders the words over, nodding. Yeah that sounds right.

"Many aren't surprised that Pariah Dark went berserk. It was kind of predictable, considering his soul was brought to the Infinity Realms after he'd died in the Phantom Zone as you know it."

Hal straightens up, Batman tenses and Diana leans forward.

"This previous King of yours– he was a past prisoner of Aethyr's Mind?"

The halfa nods, uncertain now that he'd stumbled upon unknown territory.

"Yes, the Phantom Zone and the Infinity Realms are sister spaces. Were you not aware?"

They were not, he quickly finds out.

Fumbling with his words, mind working overdrive as he sorts through information, he speaks again. "They are the two sides of the same coin, Phantom Zone being non-habitable while the Ghost Zone is filled with unalive."

He briefly struggles with his words, genuinely taken off guard with the lack of knowledge.

"Aethyr isn't just a being, but someone who is connected to the realm itself. Its similar to my position as King of the ghost zone." He summons his crown of ice to simple gesture.

"Besides! Phantom Zone, Zero Zone? Anti-infinite? That's literally the opposite of the Ghost Zone, the Infinite Realms!" he exclaims, throwing his hands up.

"Could you tell us more of your realm?" Superman asks, voice gentle and non threatening. "Some of us have been in the Phantom Zone, so hearing that there is a place being the complete opposite?"

The halfa nods in understanding. "Sure, why not?"

Three simple words yet everyone feels the trust put on them with such information.

"The entire realm is an ever shifting space, we categorise eith the sectors of each afterlife. From the Greeks to the Yetis and different eras."

—

(The tale of his realm lasts longer than expected, it is only when Hal started to get ready to leave does Danny address a certain area in his zone.

"The... Emerald Space is also a sector of the Infinity realm. The sector itself is formed in a sphere like form, we aren't sure what's inside since the fallen lanterns keep to themselves rather."

Hal froze, eyes catching the ghosts, and looked away again. He'd tell OA of this, but now he was going home.

Danny watched him leave and declared it down for now, free for more question the next time and left just as fast.

At least Constantine and Zatara can update their books now.)

[whereserpentswalk]

People don't realize how liminal it is to be a time traveler. How you don't ever really feel like you're in the time you are. Even when you're in your own time, everything is off, your coat was something you bought in interwar France, the book you're reading on the train is from a bookstore you had to visit in Victorian London, even your necklace was given to you by a Neolithic shaman, from a culture the rest of the world can never know. You find yourself acting strange even when in the present, much less in the past you have to work in.

You remember meeting a eunuch in 10th century China, and having him be one of the only people smart and observant enough to realize you were from a diffrent time. You could talk honestly with him, though still you couldn't reveal too much about your time. And it was still so strange hearing him talk casually about work and mention plotting assassinations. You're not allowed to but you still visit him sometimes.

You remember that the few times you were allowed to tell someone everything it was tragic. You knew a young woman who lived in Pompeii, who you had gotten close to, a few days before she would inevitably die. On your last day there you looked into her eyes, knowing soon they'd be stone and ash, that the beauty of her hair would be washed away by burning magma. And you hugged her, and told her that you wanted her to be safe, and told her she was wonderful and that you wanted her to be comfortable and happy. And you let her tongue know the joy of 21st century chocolate, and her eyes see the beauty of animation, knowing she deserved to have those joys, knowing it wouldn't matter soon. And you hugged her the last time, and told her she deserved happiness. And when you left without taking her it was like you were killing her yourself.

You want to take home everyone you're attached to. There's a college student you befriended in eighteen fifties Boston. And you can't help but see him try to solve problems you know humanity is centuries away from solving. And you just want to tell him. And it's not just that, the way he talked about the books and plays he likes, his sense of humor. There's so many people you want him to meet.

You feel the same way about a young woman you met on a viking age longship. She tells stories to her fellow warriors and traders, stories that will never fully get written down, stories that she tells so uniquely and so well. She has so many great ideas. You want so dearly to take her to somewhere she can share her stories, or where she can take classes with other writers, where she can be somewhere safe instead of being out at sea. She'll talk about wanting to be able to do something, or meet people, and you know you're so close to being able to take her, but you never can, unless she accidently finds out way too much then you can't.

You remember the longship that you met that young storyteller on. You were there before, two years ago for you, ten years later for the people on it. The young woman who told you stories wasn't there ten years later, you had been told why then but you only realize now, her uncle, who ran the ship, had been one of the first people to convert to Christianity in his nation. He killed her, either for not converting or for sleeping with women, you're not sure, but he killed her, and bragged about it when you met him ten years later.

You talk to the storyteller on the longship, ask her about the myths you're there to ask her about, the myths that she loves to tell. You look into her eyes knowing it's probably less then a year until her uncle takes her life. You ask her if you think that those who die of murder go to Valhalla. She tells you she hopes not, she doesn't see Valhalla as a gift but as a duty, she hopes for herself to go to Hel, where she wouldn't have to fight anymore. You slip and admit you're talking about her, telling her that you hope that's where she goes when she's killed. You hope to yourself you'll be forced to take her to the twenty first century, you're tempted even to make it worse, you want to have ruined her enough to be able to save her.

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[literaryvein-reblogs]

Milestones in Human Evolutionary History

TIME — EVENT

15 billion years ago (bya) — The Big Bang (origin of universe)

4.7 bya — Earth forms

3.7 bya — First life emerges

1.2 bya — Sexual reproduction evolves

500–450 million years ago (mya) — First vertebrates

365 mya — Fish evolve lungs and walk on land

248–208 mya — First small mammals and dinosaurs evolve

208–65 mya — Large dinosaurs flourish

114 mya — Placental mammals evolve

85 mya — First primates evolve

65 mya — Dinosaurs go extinct; mammals then increase in size and diversity

35 mya — First apes evolve

6–8 mya — Common ancestor of humans and African apes evolves

4.4 mya — First primate with bipedal locomotion (Ardipithecus ramidus)

3.0 mya — The australopithecines evolve in savannas of Africa

2.5 mya — Earliest stone tools develop—Oldowan (found in Ethiopia and Kenya, Africa); used to butcher carcasses for meat and to extract marrow from bones; linked with Homo habilis

1.8 mya — Hominids (Homo erectus) spread beyond Africa to Asia—first major migration

1.6 mya — Fire evidence; likely hearths; linked with African Homo erectus

1.5 mya — Invention of Acheulean hand axe; linked with Homo ergaster (tall stature, long limbs)

1.2 mya — Brain expansion in Homo line begins

1.0 mya — Hominids spread to Europe

800 thousand years ago (kya) — Crude stone tool kit used—found in Spain, linked with Homo antecessor

600–400 kya — Long, crafted wooden spears made and used; linked with Homo heidelbergensis found in Germany

500–100 kya — Period of most rapid brain expansion in Homo line

200–30 kya — Neanderthals flourish in Europe and western Asia

150–120 kya — Common ancestor for all modern humans (Africa) evolves

100–50 kya — Exodus from Africa—second major migration [“Out of Africa”]

50–35 kya — Explosion of diverse stone tools, bone tools, blade tools, well-designed fireplaces, elaborate art; found mainly among Homo sapiens, rarely among Neanderthals

40–35 kya — Homo sapiens (Cro-Magnons) arrive in Europe

30 kya — Neanderthals go extinct

27 kya–present — Homo sapiens colonize entire planet; all other hominid species are now extinct

Note: These dates are based in part on information from a variety of sources, including Johanson and Edgar (1996), Klein (2000), Lewin (1993), Tattersall (2000), Wrangham, Jones, Laden, Pilbeam, and Conklin-Brittain (1999), Galway-Witham, Cole, and Stringer (2019), and the references contained therein.

Source ⚜ More: Writing Notes & References

[apathetic-kiss]

Kerch History Museum (Section 2B, Ketterdam Artifact Archives)

Photograph of Inej "Wraith" Ghafa and an unknown individual crossing the rooftops of Ketterdam. Ghafa was infamous due her ties with the Dregs and her association with Kaz "Dirtyhands" Brekker, but would later go on to become one of the most renowned pirate captains known for taking down hundreds of slaver ships and rescuing thousands of kidnapped individuals being trafficked to Kerch under exploitative indenture contracts. (For more information, see Exhibit 21: Indenture Laws & Kerch's History of Slavery, Exhibit 23: The Dregs & Other Notable Ketterdam Gangs, and Exhibit 26: Sankta Inej & Other Modern Saints) Obtained from an anonymous donor 4.25" x 3.14" Photographer Unknown Artifact #24383

[writingwithcolor]

My alternate universe fantasy colonial Hong Kong is more authoritarian and just as racist but less homophobic than in real life, should I change that?

@floatyhands asked:

I’m a Hongkonger working on a magical alternate universe dystopia set in what is basically British colonial Hong Kong in the late 1920s. My main character is a young upper middle-class Eurasian bisexual man.  I plan to keep the colony’s historical racial hierarchy in this universe, but I also want the fantasy quirks to mean that unlike in real life history, homosexuality was either recently decriminalized, or that the laws are barely enforced, because my boy deserves a break. Still, the institutions are quite homophobic, and this relative tolerance might not last. Meanwhile, due to other divergences (e.g. eldritch horrors, also the government’s even worse mishandling of the 1922 Seamen's Strike and the 1925 Canton-Hong Kong Strike), the colonial administration is a lot more authoritarian than it was in real history. This growing authoritarianism is not exclusive to the colony, and is part of a larger global trend in this universe.  I realize these worldbuilding decisions above may whitewash colonialism, or come off as choosing to ignore one colonial oppression in favor of exaggerating another. Is there any advice as to how I can address this issue? (Maybe I could have my character get away by bribing the cops, though institutional corruption is more associated with the 1960s?) Thank you!

Historical Precedent for Imperialistic Gay Rights

There is a recently-published book about this topic that might actually interest you: Racism And The Making of Gay Rights by Laurie Marhoefer (note: I have yet to read it, it’s on my list). It essentially describes how the modern gay rights movement was built from colonialism and imperialism. 

The book covers Magnus Hirschfeld, a German sexologist in the early 1900s, and (one of) his lover(s), Li Shiu Tong, who he met in British Shanghai. Magnus is generally considered to have laid the groundwork for a lot of gay rights, and his research via the Institut für Sexualwissenschaft was a target of Nazi book-burnings, but he was working with imperial governments in an era where the British Empire was still everywhere. 

Considering they both ended up speaking to multiple world leaders about natural human sexual variation both in terms of intersex issues and sexual attraction, your time period really isn’t that far off for people beginning to be slightly more open-minded—while also being deeply imperialist in other ways.

The thing about this particular time period is homosexuality as we know it was recently coming into play, starting with the trial of Oscar Wilde and the rise of Nazism. But between those two is a pretty wildly fluctuating gap of attitudes.

Oscar Wilde’s trial is generally considered the period where gay people, specifically men who loved men, started becoming a group to be disliked for disrupting social order. It was very public, very scandalous, and his fall from grace is one of the things that drove so many gay and/or queer men underground. It also helped produce some of the extremely queercoded classical literature of the Victorian and Edwardian eras (ex: Dracula), because so many writers were exploring what it meant to be seen as such negative forces. A lot of people hated Oscar Wilde for bringing the concept to such a public discussion point, when being discreet had been so important.

But come the 1920s, people were beginning to wonder if being gay was that bad, and Mangus Hirschfeld managed to do a world tour of speaking come the 1930s, before all of that was derailed by wwii. He (and/or Li Shiu Tong) were writing papers that were getting published and sent to various health departments about how being gay wasn’t an illness, and more just an “alternative” way of loving others. 

This was also the era of Boston Marriages where wealthy single women lived together as partners (I’m sure there’s an mlm-equivalent but I cannot remember or find it). People were a lot less likely to care if you kept things discreet, so there might be less day to day homophobia than one would expect. Romantic friendships were everywhere, and were considered the ideal—the amount of affection you could express to your same-sex best friend was far above what is socially tolerable now.

Kaz Rowe has a lot of videos with cited bibliographies about various queer disasters [affectionate] of the late 1800s/early 1900s, not to mention a lot of other cultural oddities of the Victorian era (and how many of those attitudes have carried into modern day) so you can start to get the proper terms to look it up for yourself.

I know there’s a certain… mistrust of specifically queer media analysts on YouTube in the current. Well. Plagiarism/fact-creation scandal (if you don’t know about the fact-creation, check out Todd in the Shadows). I recommend Kaz because they have citations on screen and in the description that aren’t whole-cloth ripped off from wikipedia’s citation list (they’ve also been published via Getty Publications, a museum press). 

For audio-preferring people (hi), a video is more accessible than text, and sometimes the exposure to stuff that’s able to pull exact terms can finally get you the resources you need. If text is more accessible, just jump to the description box/transcript and have fun. Consider them and their work a starting place, not a professor. 

There is always a vulnerability in learning things, because we can never outrun our own confirmation bias and we always have limited time to chase down facts and sources—we can only do our best and be open to finding facts that disprove what we researched prior.

Colonialism’s Popularity Problem

Something about colonialism that I’ve rarely discussed is how some colonial empires actually “allow” certain types of “deviance” if that deviance will temporarily serve its ends. Namely, when colonialism needs to expand its territory, either from landing in a new area or having recently messed up and needing to re-charm the population.

By that I mean: if a fascist group is struggling to maintain popularity, it will often conditionally open its doors to all walks of life in order to capture a greater market. It will also pay its spokespeople for the privilege of serving their ends, often very well. Authoritarians know the power of having the token supporter from a marginalized group on payroll: it both opens you up directly to that person’s identity, and sways the moderates towards going “well they allow [person/group] so they can’t be that bad, and I prefer them.”

Like it or not, any marginalized group can have its fascist members, sometimes even masquerading as the progressives. Being marginalized does not automatically equate to not wanting fascism, because people tend to want fascist leaders they agree with instead of democracy and coalition building. People can also think that certain people are exaggerating the horrors of colonialism, because it doesn’t happen to good people, and look, they accept their friends who are good people, so they’re fine. 

A dominant fascist group can absolutely use this to their advantage in order to gain more foot soldiers, which then increases their raw numbers, which puts them in enough power they can stop caring about opening their ranks, and only then do they turn on their “deviant” members. By the time they turn, it’s usually too late, and there’s often a lot of feelings of betrayal because the spokesperson (and those who liked them) thought they were accepted, instead of just used.

You said it yourself that this colonial government is even stricter than the historical equivalent—which could mean it needs some sort of leverage to maintain its popularity. “Allowing” gay people to be some variation of themselves would be an ideal solution to this, but it would come with a bunch of conditions. What those conditions are I couldn’t tell you—that’s for your own imagination, based off what this group’s ideal is, but some suggestions are “follow the traditional dating/friendship norms”, “have their own gender identity slightly to the left of the cis ideal”, and/or “pretend to never actually be dating but everyone knows and pretends to not care so long as they don’t out themselves”—that would signal to the reader that this is deeply conditional and about to all come apart. 

It would, however, mean your poor boy is less likely to get a break, because he would be policed to be the “acceptable kind of gay” that the colonial government is currently tolerating (not unlike the way the States claims to support white cis same-sex couples in the suburbs but not bipoc queer-trans people in polycules). It also provides a more salient angle for this colonial government to come crashing down, if that’s the way this narrative goes.

Colonial governments are often looking for scapegoats; if gay people aren’t the current one, then they’d be offered a lot more freedom just to improve the public image of those in power. You have the opportunity to have the strikers be the current scapegoats, which would take the heat off many other groups—including those hit by homophobia.

In Conclusion

Personally, I’d take a more “gays for Trump” attitude about the colonialism and their apparent “lack” of homophobia—they’re just trying to regain popularity after mishandling a major scandal, and the gay people will be on the outs soon enough.

You could also take the more nuanced approach and see how imperialism shaped modern gay rights and just fast-track that in your time period, to give it the right flavour of imperialism. A lot of BIPOC lgbtqa+ people will tell you the modern gay rights movement is assimilationalist, colonialist, and other flavours of ick, so that angle is viable.

You can also make something that looks more accepting to the modern eye by leaning heavily on romantic friendships that encouraged people waxing poetic for their “best friends”, keeping the “lovers” part deeply on the down low, but is still restrictive and people just don’t talk about it in public unless it’s in euphemisms or among other same-sex-attracted people because there’s nothing wrong with loving your best friend, you just can’t go off and claim you’re a couple like a heterosexual couple is.

Either way, you’re not sanitizing colonialism inherently by having there be less modern-recognized homophobia in this deeply authoritarian setting. You just need to add some guard rails on it so that, sure, your character might be fine if he behaves, but there are still “deviants” that the government will not accept. 

Because that’s, in the end, one of the core tenants that makes a government colonial: its acceptance of groups is frequently based on how closely you follow the rules and police others for not following them, and anyone who isn’t their ideal person will be on the outs eventually. But that doesn’t mean they can’t have a facade of pretending those rules are totally going to include people who are to the left of those ideals, if those people fit in every other ideal, or you’re safe only if you keep it quiet.

~ Leigh

[pangaeaseas]

The Problem of Religion in Harry Potter (or, what is Wizard God?)

tl; dr: I wish more hp fics did something with religion and the wizarding world

so to state my credentials up front: I've read a lot of hp fanfiction, a little on the Reformation and religious history--like, I have probably more background knowledge than the average person but I am very emphatically not an expert and have never actually taken a class specifically on any kind of religious history, and I'm an ex-Catholic who did ten ish years of religion classes. There are probably a LOT more people more qualified to talk about this than me but whatever I've never actually seen very much meta written out on this specific issue so I'm giving it a try. (if you have written or read such meta, please send me recs)

ahh the Problem of Religion one of the great unsolved mysteries of the hp world building (similar issues include What the Fuck is Going on with Ireland, How Does the Ministry Actually Work, What is the Population, etc) and I call it 'unsolved' because the fandom has no massively popular solution (like Lordships for the Problem of the Wizengamot) and in general tends to just not think about it, much like JKR originally did. Now IMO she probably intended most wizards to be, like, generically Church of England or whatever without much investment--basically copying the Muggle equivalent whenever it isn't spelled out how the two worlds differ, which is I think a lot of her un-filled-out world building is meant to be. Which. OK. You can do that, but, you know, religion is a very very important aspect of worldbuilding and in my opinion ignoring it and expecting it to be just the same as 1990s Muggle Britain is uninteresting and lazy.

This (wizards are meant to be some kind of Christian and probably Church of England just for simplicity's sake) is evidenced by things like Hogwarts having Christmas and Easter breaks, James and Lily having a Bible quote picked out by Dumbledore on their tombstone, and Draco Malfoy, most emblematically wizard of wizard characters who can be taken as a potential baseline, automatically saying things like 'Good God'. Which, you know, implies that the idea of a single God, and probably the Judaeo-Christian God because that's the same cultural background as the rest of Britain, is taken for granted by wizarding society. It doesn't necessarily imply anything about Draco's or even the Malfoys' personal beliefs, and of course you have other characters saying things like 'Oh my Merlin' and "Morgana" and things like that. Which in my opinion wasn't meant to be indications of some kind of Merlin or Morgana worship but more quirky and fun flavor things of the kind jkr loves to include without thinking out the implications. But you absolutely can take those statements that way--this post is absolutely not meant to dictate how people want to headcanon and I am absolutely here for giving wizards a well thought out pagan or Non-Christian religion, I just don't think that was the author's intent. There's also plenty of other things that imply Wizarding cultural Christianity that I'm not remembering off the top of my head.

And, of course, much better writers than me have extensively discussed all the Christian themes in HP. Of course, themes don't need to affect how people worldbuild in fanfic.

So: with HP canon, we are looking at a society that is probably culturally Christian and probably (key word) intended to be Church of England. But, because JKR wasn't putting much thought into it and basically just took a Chrisitian bedrock of society for granted, the implications of this are not really explored at all. So what I'm interested in is how fandom deals with it.

Mostly, that is...not at all, either taking cultural Christianity in the Wizarding World for granted the way JKR does or by ind of handwaving that wizards have evolved beyond the need for religion and that's just how it is. And that's perfectly fine! Not everyone wants to come up with a full, working, wizard society, and even if they are trying to worldbuild some aspects of wizarding society religion is often ignored, because people don't want to deal with it for often valid reasons (religious trauma, just disinterest, grew up agnostic, not Christian but thinks wizards probably are etc, etc, etc, ) Personally I wish more fics delved into what wizarding religious belief actually is, but to put it bluntly, that's just me. And I have never dealt with religion in my own fics. So don't takethis as judgement at all.

But there are interesting headcanons when people do choose to try and worldbuild religion in HP.

Fom what I've seen, one of the major ways to deal with religion in HP (aside from not dealing with it at all) is to give wizards, often pureblood wizards, some kind of pagan, often Celtic-inspired, religion. And this is quite defensible! Sometimes this is badly executed and/or turned into Death Eater apologia, but the idea of wizards having a different religion is really interesting and a good deal more interesting (IMO of course) than just not mentioning religion at all. Most fics that I've seen don't delve too deeply into, like the actual history and theology of these religions, but there are definitely some that do. (Also if you know any PLEASE send me recs). So if handled well, this is a great way to add some religion worldbuilding in the world of Harry Potter.

However, my personal favorite set of possibilities--obviously I have some personal bias as a history nerd with a long standing if never as deeply researched as I would like to interest in the history of Christianity and as an ex-Catholic--is that, well, we know the statute of secrecy started..when, exactly? 1690. So this much is obviously a result of JKR's Hollywood understanding of witch hunts (a subject for another time and someone far more qualified). For interested wrodlbuilders, we can take this as a guideline at best, as personally I think it would have taken a good deal longer than one year to agree on and implement something like the Statute and I tend to take 1690 as an end date, not a start. I also tend to take the Statue as a largely European phenomenon, at least at first. But, uh, what was happening in Britain at the time..oh, right...the Glorious Revolution....what was happening that created the conditions for the Glorious Revolution...oh, the English Civil War...which was because of...oh yeah, and what was also happening on the continent, maybe it involved, wait, thirty years..oooh, the Thirty Years War...wait weren't there a whole bunch of massive social shifts happening in Europe at this point in time isn't that funny but surely the stature of secrecy could be considered a part of these massive social shifts...all of which was heavily influenced by...you guessed it, the Protestant Reformation.

Wait. So. Maybe, the separation of Wizards from Muggles, at least in Britain, wasn't actually about Muggles hating wizards or wizards hating Muggles. Maybe it was about religion. Now personally I find this ABSOLUTELY FASCINATING. The possibilities, the possibilities...

Wizards had a massive religious civil war that created the blood status system in its modern form? Particular families have wildly different denominations? Excellent. Religion both in terms of level of religiosity and in terms of denomination is a blood status marker? Excellent. Purebloods are all Catholic (what does this do to both Catholic and not Muggleborns?) Excellent. Purebloods are all Puritans? Weird, but if you can pull it off excellent. Purebloods are all one of the wacky new denominations that sprung up after the Reformation and then either died out or conquered the world? Excellent. Pure bloods are all Lutherans who really hated Henry VIII? Excellent. One of my favoirite ways to create a wizarding religion was someone who had most pure bloods follow a denomination that split off from Catholicism in the Great Schism and then a small minority being Catholic, with the worlds splitting around the Reformation. Even the paganism headcanons can be incorporated: the Reformation could conceivably have made it much more difficult to keep practicing wizard paganism causing separation of the worlds.

Personally I would love to see a world that used the history of the Protestant Reformation super well, but it's not the only way to relate a Wizarding religion or a Wizarding religious history. I just wish more people tried to do that at all. Let wizards be religious! Or let them be irreligious but have thought about it, instead of just ignoring religion at all as something that might conceivably have influenced human societies. Maybe Wizarding Britain has state sponsored atheism. Just say that outright!

Another thing I'd like to see more fic doing is theology: how does having magic impact people's religious doctrine? Does every major religion essentially have a wizarding branch with its own theology because magic impacts their view of the world so much, or do most wizards simply follow the majority Muggle religion in their country with no modifications? if so, why? Do some wizards disagree, potentially violently, over how to incorporate magic into their religion? Do some people refuse to use magic because they think it goes against their religion? Etc etc etc you could go on forever. I've seen fic, which randomly enough was about Regulus Black, do this pretty well (or I thought so as a non-Jew) for Judaism, and I'd love it if done with other religions.

Anyway. Now I have to figure out how the hell religion works in the Wizarding Britain of my own headcanon.

[prokopetz]

The trouble with self-consciously edgy urban fantasy RPGs which are explicitly set in the real world is that they always get fixated on the Second World War, and there's literally no good way to speculate about whether Hitler was a vampire or whatever – not only is it tasteless, it's done. It was cliché even in the 1990s, and it hasn't become any less cliché since. Like, at least switch up the war – I want to see an edgy urban fantasy RPG whose Secret History™ revolves around the proposition that Archduke Franz Ferdinand was from space.

[wisteria-lodge]

some worldbuilding notes for a hypothetical american magical school in the harry potter universe

Since I feel especially annoyed about ilvermorny today

Okay. So a fairly important difference between England (& Europe) and the Americas is that North/South America is really, really big. Population groups can be a LOT more spread out, which is important. If you’re going to give me a statistic like “one in every 10,000 people is a wizard” well, that means that early on, you’re statistically not going to know any magical people outside of your (presumably mostly magical) family, or like… rumors of A magic guy a hundred miles away, who you then track down and apprentice with. 

In order to get away from the model of “my parents teach me magic” or “I am one of three apprentices of this one magic guy”... then you’re going to need a population center. The biggest pre-Columbian population centers that we know of are Teotihuacan (which seems to have fallen apart circa 750) and Cahokia (which seems to have fallen in the late 1300s.) We know almost nothing about the people who originally built these cities, we don’t even know these cities' original *names.* So that makes me think - hidden city. Make both of these magical cities, and then go very El Dorado with it. Streets paved with gold, etc. I could see an American magical *school* located in either (or both) of these. And they’d very quickly become sister schools anyway, considering how easy teleportation is in this universe. 

I actually think it’s kind of cool if the American wizards split away from the muggles EARLIER than their European counterparts. Maybe a seer saw destruction ahead, and the thought was - well, we better protect the kids. The first Europeans over in the Americas were the (very religious) Spanish (and Portuguese.) Considering that when Columbus showed up, they were smack-dab in the middle of the Spanish Inquisition… fairly famously concerned with locating and killing witches… yeah, I’ll believe that the magic community of America just decided they didn’t want to deal with that. I could absolutely see the American wizard community becoming really, really isolationist. Which MEANS that their architecture/clothing/style of magic would be completely its own thing. You could pull design references from the Mayans, Aztecs, Navajo, Iroquois, Chocktaw, Cherokee (just to name a few)… like, it would be so cool looking. 

I also think that if the split happened this way, the wizards probably would have taken the non-magical inhabitants of the cities *with* them, when they disappeared off the map. I think American wizards are actually pretty cool with muggles… you just have to be able to FIND them, and once you find them you have to be willing to STAY in their magical city. or else they just dump you back outside and memory-charm you so you don’t know how to get back (again, very El Dorado.) If you’re magical and want to leave - explore the world, bring back other magical knowledge - not an issue. But probably (since you’re not the city’s secret-keeper) you’re not *able* to tell anyone where it is. 

I think it’s kind of dark and interesting (and also makes sense with how spread out America is…) that if you’re a magical child, the school summons you almost through compulsion. Like you just wake up one day, and *have* to walk in a certain direction. Magical families would of course know all about this, and either be living in the city already, or escort you there. But if you’re a muggleborn, you just have no idea what’s going on until you show up. I think American wizards have a word for “loyal muggle protector of the wizard child” - because while you can’t STOP the wizard child, you can *follow them,* and find El Dorado that way. And then they just let you stay, if you want. Obscurials would have been more common in America (I imagine you’d be more motivated to repress your magic if you thought you were the ONLY magical person in the world) and this model would have been set up to cut down on the very real threat a rogue obscurial represents. 

(oh, this compulsion magic would absolutely have a range. Like it wears off if you sail too far away from the mainland. so the Caribbean and pacific islands etc would have completely separate magic traditions.)

Animal communication as path to wisdom shows up in a couple early american traditions, so it might be fun to say that basically "familiar" - magical helper/guide animal - is a unique type of American magic. Of course there would absolutely be some sort of cultural stereotype / hierarchy attached to the *type* of animal you favor, because people be people.

Also, I could see them being jussst a little judgy of European wizards, who can so easily become incapacitated/have their magic taken *from* them, just by taking their wand. Maybe American wizards try harder to develop/control wandless childhood magic, or go more for the ritual based/mental stuff, which takes longer to perform/master. And then side eye the rapid-fire magic of the Europeans, which SURE is great for dueling, but like. It's very clearly war magic.

[nobodysuspectsthebutterfly]

Has anyone asked George what's the tax policy of any of the asoiaf kings (and queen)?

You haven't read the books, have you. Does the dwarf's penny mean nothing to you? Bran in ACOK and Manderly's silver? Littlefinger and his embezzlement? Cersei in AFFC and the Iron Bank? Dany in ADWD and the olive trees and the fighting pits? Tywin and his relationship with Aerys, who raised taxes and tariffs despite Tywin's objections, then blamed his Hand when lords and merchants complained and lowered the taxes so that they would praise him? Alton Butterwell and Edwell Celtigar, hugely unpopular masters of coin because of their taxes? King Jaehaerys and his "Lord of Air" Rego Draz? Rhaenyra aka "King Maegor with teats" and Bartimos Celtigar, murdered horribly for his taxes? No, seriously, have you read anything at all?