Archive for the ‘World Building’ Category

If you’re just joining the World-Builder’s Anonymous, you might want to go back to the beginning and start here.

But if you’ve been following along, read on!

 

Another interesting aspect of world-building I have discovered is the weather.

Weather literally shapes a world – rain feeds rivers that cut through rock over eons, swelling and diminishing to flood and erode. Wind shapes dunes of sand, scrubs landscapes or buries whole civilizations.

When we think of weather with world-building, the first thing that may come to mind is climate on a global scale (Star Wars was notorious for making the entire planet one climate/geological type – Tattooine the desert planet, Hoth the snow planet, Dagobah the swamp planet, Endor the forest moon, that forgotten name of the planet of the cloner people that had a perpetual stormy sea, etc. – which seems incredibly lazy to me). Globally, there are bands all along the globe where certain climates prevail.

Another thing with weather and climate is that it can shape culture. The people of the Brazilian Jungles have a very different way of life than the Bedouins of the desert, or the folk who live in the remotest parts of Siberia. Their subsistence is affected by what is available, which in turn influences what they perceive to be of most importance (which can give rise to which god(s) they worship), which influences their rites, traditions, even things as “mundane” as the way they dress. The light, airy robes of the Bedouin would hardly be appropriate for those in a jungle, where the long flowing fabric would catch on everything and anything as they pushed through the growth. Folk on the cold tundra couldn’t get by with the little or nothing of the jungle tribes, but they’re not going to be growing a lot of the plants by which they can make cotton/linen, so they would gravitate to animals with fur, etc.

I said ‘animals’ and ‘fur’ there, too, which leads into the other thing about weather and climate – it dictates what can survive there. A lizard that thrives in sunlight is hardly going to make it in Antarctica, but that cold inhospitable place is where you can find penguins. Tiny winged critters are going to find it difficult to thrive in areas with high winds because they’d just get knocked out of the sky or battered against the cliffsides – unless they had a very good “pre-sense” of winds coming on and can get to safety before the worst arrives.

If you’re just building a world just to build a world and have fun, then starting with the planet and giving it areas of different or severe weather is just grand. However, if you are building lightly to create the stage for something you are writing, you can easily go too far if you start with the whole world.

Let’s play along using the latter case, building lightly because you’re writing.

Weather can mean ambience. We’ve all heard the “It was a dark and stormy night…” cliché for horror or drama/thriller. As if horrible things can’t happen on a sunny, mild day. (That might make a good shocker, turning the trope on its head, to have the crime/horror committed on what started out as a beautiful Spring day.)

Weather can also be a hurdle to heighten conflict and suspense.

Sheriff JimBob is chasing Bad BillyRoy west to recover the money and bring him to justice, but the bridge that BillyRoy just used to cross is now floating down the river in pieces thanks to the storm that fed the river. And now JimBob is faced with crossing there, going out of his way and getting more miles between them, or stopping to help the family getting swept away in that same river.

It’s also the hurricane threatening Carrie Saylor who defied the others and rowed to the tiny island alone and ended up with a sunken boat and no shelter.

Used lightly, it can also be used to reinforce an alien setting in a fantasy or science fiction story, with radiation or EMP storms being a constant threat, or a methane rain (like on the moon Titan). For fantasy, there could be magical storms, which are magic in-and-of-themselves or somehow mess with the magic in freaky ways.

Weather can be a tool of the antagonist. For stories with fantasy/magic, this is a great gimmick of evil wizards, sending storms and altering normal patterns to cause misery in the land or directly against the protagonist.

Weather can be the primary antagonist itself – think of the disaster novels and movies with the threatening volcanoes, storms, etc. Sure there can be a lot of other antagonists (usually people taking advantage of the disaster or the panic beforehand).

Shows like Strangest Weather on Earth highlight some truly unusual events that could form the seed of a really good story too.

So, what’s your favorite weather event (mine is lightning, as I’ve mentioned before) and how could you use it in your stories? Share in the comments!

 

 

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If you’re just joining me, you should know that I started blogging about my quick-starter world-building process a few weeks ago. You can go back and start here. Or, if you just wanted to read about the culture aspect, start here.

Like I stated above, we went over a quick and dirty culture build, starting with the building blocks: values/fears.

Once you’ve established that, this next step is pretty simple.

Let’s say you wanted your world to have a pantheon, or gods/spirits to worship.

Where would they look for them? In their values and fears.

A deity or deities can arise from each of the values, or one can encompass all of them. A single deity can be dichotomous – instilling values and fears.

Let’s look at the Romans: They valued many, many things, of course, and had dozens if not hundreds of deities of lesser or greater status, but for the sake of this article I am going to point out only a few.

The Romans possessed the greatest military force of its time. Ask any Roman in his day, and he might add that their avid worship of Mars (where we get the term “martial” of course) had as much to do with their prowess as did their physical conditioning, discipline and tactics. In any martial society, a way to replenish the population was absolutely necessary, so they venerated several deities presiding over different aspects (fertility, virility, pregnancy, sex, conception…). Feeding a population was also of utmost importance, so any deity related to the fertility of the land (Ceres as one of them, and she also held ground over life and death and rebirth of nature, and sacred law, and… you get it).

Fears can be leveraged in your culture, especially by people who are cunning enough to trick the people into thinking that whatever it is that they fear can be avoided, such as with sacrifices of people and treasures.

What if you don’t want supernatural beings acknowledged at all? How about that?

There are cultures that venerate or vilify actual historical figures (sometimes even alongside supernatural beings, imagine that! Ha!) Think of America’s Founding Fathers – George Washington, Benjamin Franklin, Samuel Adams, Paul Revere among others – who embodied values of strength, resilience, and the idea that men should be free. There’s the opposite, those who are infamous like Adolf Hitler or Josef Stalin. But there could be a smaller villain in your culture, something like:

“Now you young’uns, don’t you go traipsing off up to that old cabin at wood edge yonder. That there’s the gateway on to Hell itself, old Shakey Jake butchering them youngfolk gone creeping up there and putting his curse on all round it. That’s why nothing grows in fifty paces all around. And it don’t matter he’s been dead for nigh on a century – if’n he’s done sold his soul so’s he can walk the earth again.”

You get the idea.

Sometimes you can even reach a serendipity – where you have a value that some venerate and others vilify (like Hitler who was adored by some seriously misguided people), and this is beyond awesome for you as a writer, because it means that there’s conflict! Conflict is at the heart of every story, and if you can build that into your very culture, then you can easily insert it into your characters’ lives and give them somewhere to “go” in the story’s arc.

So, what kind of values did you come up with, and how are you using them?

World-building – yes, we’re still on that subject. This is the World-builders Anonymous. If you’re just tuning in, check them out from the first post HERE.

Tackling Culture.

Alright, not so much “tackling” as “touching on”. Like trying to drink the lake through a straw. Pucker up, and hope you don’t get a mouthful of fetid water. And it’s much, much deeper than you think.

In many stories, culture is HUGELY important. Even if your characters don’t go up against it directly, the culture in which they are brought up is going to influence just about everything they do, be it in protection/defense of their culture, or in spite of, or even against.

Let’s dive in, shall we?

Imagine a character brought up in a safe, secure mansion whose practical world experience doesn’t go beyond the opulent, manicured courtyard of the home. His careful parents, mindful of their wonderful child, have sequestered him in their luxurious home and shower him with gifts and tutors and just about anything tangible he could want. His only other means of travel is through books. A character could remain there and be happy in that environment, only there’s no conflict in it, and the culture of security/luxury/protection is window-dressing to some other conflict presented in a story. Or it’s just a damn boring story where nothing happens (and yes, there are too many of those out there).

OR…

This kid could have it all but still feel like he’s missing out. He wants to travel, to see the real world (or at least what he thinks is the real world) through his own eyes, as he’s tired of all the servants following him around making him learn math and science and take baths. That’s creating all kinds of conflict, as he’s at odds with the culture he knows, and seeks to escape it somehow.

There’s also a place for a good-culture-threatened. Say we take the first character that has their world of security and opulence and is suddenly wrenched from it, or it’s destroyed outright. They’re going to fight to get it back. They might be turned into a slave, or have inherited debt and now can’t just live in their accustomed culture but work for it, which is a new thing.

In both cases, the culture creates a workable conflict for stories.

The great news is that culture doesn’t have to be developed deeply for it to be useful in your world-building and in the creation of conflicts. After all, how many of us can describe in detail our own cultures? Yet we still live in them, or in spite of them.

Let’s say you really don’t have anything else planned just yet, no characters, no language. Culture is an easy one to start with. Why? Because it’s really based on a concept of values and/or fears.

So you ask yourself: what three things (physical/concrete things or concepts) does your culture value/fear the most? Note: this is not generally what the character values most. We’ll get to that.

In the example above, I used SAFETY/SECURITY, LUXURY, CHILDREN.

In this culture, since Safety/Security is important to them (and we will expand “them” to mean the whole society, not this one family, for the sake of the example) and so they will have spent resources to develop a place for themselves that is safe and secure. Possibly by means of an efficient, large security force, either a military or police (depending on where/who they perceive the most threat is coming from). They may even have very restrictive laws, if the idea of “liberty” isn’t very high in their value system, which is doesn’t seem to be considering how sequestered they keep their child. They live in luxury, which could mean that they were either producing something of extreme value, were shrewd traders or they used that military/police force to seize the resources of others to fuel their lifestyles. And their children are kept behind closed doors, in protected spaces, given anything they want (generally not a good thing, the kind of treatment that turns kids into entitled snowflake monsters).

This could end up being a very dystopian culture, and definitely one where the kid not only dreams of getting out, but of finding a way to change it or escape from it to go where he wants to go and do what he wants to do. And you can see on each level what kind of fight he’s going to have – his parents, for one, who’ve “sacrificed” for him. The society itself, which strains to protect children, especially from themselves.

Whew! That’s a lot of ground already covered and I haven’t even started. But to get you started, try to come up with those three concepts and you can start building around that. Next week, we’ll take those three concepts and build something else that may be vital for your world: a pantheon.

So, tell me below what you came up with for your concepts and the conflicts you can build.

 

This week I wanted to take a step back from the craft of worldbuilding and look at one of my favorite examples of what it can do for any story. I present: The Elder Scrolls.

The game series just celebrated its 25th anniversary and has gone through 6 full-blown, stand-alone games, some games not numbered in that timeline, various mobile device spin-offs and one huge MMO, there has been a LOT of development. If you’ve read my other blog posts, I may have mentioned that Morrowind, by far, is still my favorite, and that game came out in 2002, so only 8 years of development had been completed at that time, but…

According to Todd Howard (director and head producer at Bethesda Softworks), Patrick Stewart said, upon receiving the reference for the game’s character Emperor Uriel Septim VII: “I got the notes… Never in my life doing any role have I gotten such detailed notes and I loved it.”

First, let me clarify “development” here, as anyone who works with computer systems/games/etc. realizes this word really means to build up the game by creating its functionality, its mechanics, etc. In the case of the Elder Scrolls, it wasn’t just development in this sense, but also a real creation of new things, with ways every piece interacts in the world.

In ESIII: Morrowind, they really knocked the ball out of the park with Alchemy. To make the skill interesting, there had to be ingredients. Ingredients come from varied sources, and this is where the worldbuilding got interesting—they created (intentionally or not) a kind of ecology to support the harvestables within the world. A lot of plants and fungi exist around the massive province of Vvardenfell, with parts to pick that have certain beneficial or detracting effects when eaten or put into potions. But there are also creatures, not to kill just because they attack you (as just about everything does in most of these games) but to gather their parts as ingredients as well. ESIV: Oblivion and ESV: Skyrim would continue this practice, and Skyrim introduced Blacksmithing which enabled the player to build and furnish their own houses, further using the harvestable ingredients. But it goes beyond that. Plants weren’t just ever-present. Players had to find them (which was a major quest in Oblivion and in Skyrim) in their native or preferred habitat, or sometimes in pots around the area of the world which each game covers.

And that’s just the biology.

Its history is rich as well. There are a massive number of in-game books, and just stopping to read some of them not only confers skill points but also a great deal of history and culture developed for the game. Fiction is represented by stories like A Dance in Fire and Poison Song, both of which span multiple volumes. Non-Fiction includes topics like The Real Barenziah, Buoyant Armigers: The Swords of Vivec, The Oblivion Crisis, written, of course, after Oblivion. There are even books of riddles (Red Book of Riddles, Yellow Book of Riddles) and children’s books were introduced in Elder Scrolls Online (Brave Little Shalk). There’s also one tongue-in-cheek book, ABCs for Barbarians. You can check out an overview of them here. One of my personal favorites is the Lusty Argonian Maid, not for its content but for the way in which it’s been inserted into the world. At the time of Morrowind, it was supposedly written by Crassus Curio, a pretty colorful Imperial aligned with House Hlaalu. It was apparently a coveted classic by the time of Skyrim (reference cave of books), but in ESO is claimed to have been a much older work (implying that Curio took the story as his own, as the events of ESO is 800 years before he lived – not to mention that the people of Tamriel’s minds haven’t gotten any cleaner in the 1000+ years, hehehehe).

Let’s not forget some other cultural aspects – whole pantheons of gods and god-like beings were created to be worshipped, shunned, fought over, like the Nine Divines and the Daedra, the latter of which lend their dark shapes to the already very surreal landscape of Vvardenfell. The characters names illustrate the differences in their cultures, with Argonian names such as “Scales-Like-Gold” or Orc names, Gruf gro-Bargh or Hurna gra-Rohk, denoting male and female respectively. Imperials have befittingly Roman-sounding names (like Crassus Curio mentioned above, or Caius Cosades – the developers must have had a thing about using the initials CC to make the weird old guys in the game…). There’s even astrology with its own system (which has sadly gone by the wayside after Oblivion), from which your character can pick the star under which they are born, be they Steed, or the Tower.

I could go on. Really, I could. But you should experience the games for themselves, since most if not all are still available in one way or the other (GOG.com, or Steam, with tons of mods for them on Nexus). Or read here, if you’re not really a gamer, but still want to get the experience of an expansive world.

Normally I don’t post on Mondays, but I really wanted to get this one out, for two reasons. The first one is this:

Holly Lisle’s How To Write a Novel class is discounted for one week only (1 APR-8 APR 2019). After that week, the price goes up and doesn’t come down, nor does she offer sales later on. If you buy now, you get a rough cut of the class, but any updates are forever FREE afterward. I’ve used her classes before, am working my way through this one now, and love the way she teaches. It’s practical with real exercises, not that theory/feely/zen stuff pushed by a lot of so-called writers. If you were considering taking a class like this, do it now. Disclaimer: I recommend it because I use it, but if you click the link below and purchase the class I will get some compensation.

How to Write a Novel – by Holly Lisle

 

The second reason is ELDER SCROLLS ONLINE.

Last week, the Elder Scrolls series of games turned 25. Now, I am old enough to remember when Arena came out, even though I didn’t have my computer with me at the time to play it (I was on active duty then, far from home). Of course the cover of Computer Gaming World garnered a LOT of attention for the title. I wonder why…I’m guessing that at least one of my brothers still has his copy.

To celebrate the 25th anniversary, Bethesda released a free copy of Elder Scrolls III: Morrowind, Game of the Year Edition. I couldn’t have been more ecstatic. While I still have my old copy that I got when it was on the shelves(!!!), some of the younger members of my family who also love the Elder Scrolls (Skyrim) were able to download it.

See? I even have my well-worn, tabbed copy of the strategy guide, which I dug out in order to play it through again.

Also free was Elder Scrolls Online this weekend, so I decided to take the plunge (so to speak) and see what all the fuss was about.

I was underwhelmed.

Now, Morrowind is still my absolute favorite of all of the titles. When it was released, I picked it up thinking, “Hey, this will be fun.” I installed this little gem not expecting anything more than to be entertained with a new RPG.

No words can describe how it blew me away. The first beats of Jeremy Soule’s magnificent somber, soulful theme tugged at me like no other music for a video game had, capturing the essence of the character’s experiences and the otherworldliness of the setting (and still gives me the shivers – it’s far better than Oblivion’s “marching” version and Skyrim’s “war-chant” variation).

Then I got to see the world – floored again. No trees, all mushrooms! I’m something of a novice mycologist (a “fun-gal”, if you will). Virtually all of the creatures are reptilian (and probably another reason the Dunmer so easily turn Argonians into slaves, thinking them of little higher thinking capacity than their kagouti or guar “cousins”). It was true fantasy, a weird, impossible world that no other game, let alone a first-person role-playing-game got close to emulating. The bizarre architecture where the Imperial Forts are the ones that feel very out of place, the crazy, twisting Telvanni towers, the volcanic ashen lands. Swamps, mines with “glass” and “ebony”. You could LEVITATE – that’s right. Levitate. And you had to, in those towers, but if you were good at enchanting you could add it to anything (you could also do it with the tool…) and cross the whole of Vvardenfel from the air. Just watch out for those face-munching cliff racers. Even Bethesda couldn’t recreate that novel weirdness until the Shivering Isles expansion of Oblivion. The caves under the north in Skyrim start to head that way again, the glowing fungi world with the crimson Nirnroot (it’s name escapes me at the moment). We get a real dose – a real tease, actually – with the Dragonborn expansion and a trip to Solstheim, where some of the fallout from trouble at the Red Mountain made its way over to the Nord-occupied island.

And the story! You could, of course, play it any way you liked, but if you go through the main storyline, it feels like you’re experiencing a novel. Humble beginnings, a child born at a certain time of uncertain parents, to discover, and prove, and manifest as the true hero of the story. (Don’t even get to do that in Oblivion, as Martin is the hero and you’re just a tagalong, and in Skyrim, well, everyone is more annoying–oooh, Dragonborn!– than that Arena superfan from Oblivion).

In short (or long, as the case here), Morrowind is an almost insurmountable masterpiece.

I went into ESO with one major goal – wanting to experience Vvardenfell the way I experienced it all those years ago. Boy, was I disappointed.

Don’t get me wrong–the world of ESO is STUNNINGLY BEAUTIFUL (no, I am not apologizing for all caps). But it is compressed. Like a Reader’s Digest version of MW’s Vvardenfell. And it’s not just my memory expanding on me, because I did a quick play-through of getting to Caius Cosades just to test against it, in case it was my old age. Getting from Seyda Neen to Balmora was a trek, and a dangerous one at that. At any moment, one of those horrid little kwama foragers could jump out at you, or a cliff racer swoop in ready to eat your face. There was real danger, real tension that the trip you were making might be your last, before it even begun. Unless you decided to hop in a Silt Strider and make the trip more safely. In ESO it was like, “Head on the path north from Seyda Neen and… oh, there’s Balmora. Um… yay.” Same for Vivec City. And, if along the way, an alit or nix hound happened to attack you, well, dozens of heroes would just by you and hack/slash, no more critter. Yay. Not. There was a heavy dose of isolation in Morrowind that made the world so wonderful. I get that the Vvardenfell of MW was the entire game, and this one is part of a much larger world, but compressing an already-extant world into a peanut shell ruined that part for me.

You get to experience it fresh, clean. Not the case with ESO, where everyone is a hero, running around with incongruous names, on mounts that don’t look like they belong in the universe of Elder Scrolls let alone on Vvardenfell (with the exception of the guars, who are awesome looking mounts!). All followed by a bunch of nonsensical pets, which only adds to the off-putting impression. To be “fair”, Bethesda seemed to get away from what made their games awesome with each iteration after MW.

In MW, you get to slowly unravel your part in the world. There’s a cryptic dream warning from someone you only much later learn is Azura. In ESO, you get slammed with the knowledge that a Daedric Prince is using you. In MW, you don’t get to meet Vivec until much later in the game. In ESO, you’re chatting like pals after a few short jaunts here and there to serve him (at least there’s the satisfaction that, in MW, you get to end the god-poseur. Gratifying).

The other thing that really bothered me was the “prettification” of the characters. I LOVE character creation, especially when there are a whole bunch of sliders to really tweak the look and make them unique. Morrowind had none of that – you selected a race, a gender, a hairstyle and a face. Oblivion had the sliders, but everyone looked like bloated ticks, no matter what you tweaked (I heard that there were mods that improved the look but I never used them). Skyrim did it right and did it wrong – lots of sliders, but the man races all looked alike as did the mer races. I couldn’t tell a Bosmer from an Altmer, despite them being unmistakable in the previous titles. At least in Skyrim, every last one of them looked like they had a hard life, which is realistic. In ESO, everyone is a supermodel version of themselves. Sure, there are some scars and bits of other physical detractors you can add but the orc females are like idealized elves with green skin paint and stick-in tusks. It’s laughable. As if someone ugly can’t possibly be heroic.

And before you accuse me of being a hater, first, shut it. This is my opinion, and I am fully aware that ESO is meant to attract the lowest-common-denominator paying players, and builds in the mass appeal with all of the ridiculous things that people who used to flock to WoW and other games like it are expecting. Players that just hack and slash in the world ruin the FEEL that made that world wonderful in the first place. Was it fun? Yes, but not in any way that made Morrowind wonderful, or even Oblivion or Skyrim great games. I think I will stick with single-player games.

Now, I am just waiting for Bethesda to recognize that Morrowind is such a masterpiece that all it really needs is a new-graphics/physics overhaul, with maybe a few tweaks to bring the character/inventory interface up to speed. Oh, wait, Bethesda’s not, but someone else is… TESRenewal.com

Hurry up, guys. This gal’s getting old!

Hello, my name is T. R. Neff, and I am a world building junkie. Yes, I admit it, and I am happy to say that I am far from being the only one.

I started early in life, too. I loved those maps in the front of the fantasy novels in my brothers’ book collections. I drew my own maps and landscapes from those places (some of which were good, some of them pretty terrible and thankfully no longer extant). As I got a little older I was drawn to the tables in the Dungeons & Dragons books—the ones that helped to create worlds and environments on the fly. Thus comes my first reference:

Advanced Dungeons & Dragons World Builder’s Guidebook.

  1. This was one of those seminal works that helped dungeon masters create entire worlds for their campaigns. While I did play the game (you know, before computer role-playing games, where you had to use pencil, paper, dice and a whole lotta imagination!), my main interest was on the dozens of tables that helped to create randomization of continents, of geography, of cities/towns/hamlets, etc. There was even a table that helped figure the likelihood of certain fantasy-game staple professions inhabiting a city. Included with it was a pad of different kind of blank maps on which you could draw the entire world or focus in on regions. Many of these were hex maps, which any old-school role-playing enthusiast recognizes as the very best way of calculating distances for your traveling heroes. (The AD&D Boxed set had some really nice maps with clear acetate hex-map overlays for figuring travel, and was a marvelous tool for those who wanted a “clean” map but still needed a way to calculate if the hero could really reach Jemia from Roscor in less than a day…)

Why random? After all, we authors create worlds, right? Well, sometimes when we create them we conform them to all the things we know and like, and don’t let anything get too brutal for the characters we create. If we introduce tables like this, we can create a world of adversity that our characters have to deal with. We can pit them against unknowns, and see how they react. After all, that IS “character”.

 

 

Not content to settle for just the entire world that was possible from using the WBG, I remember coming across this gem:

ARES Magazine – Article on New Worlds of the Solar System

It was a series of tables for the Star Frontiers science fiction role-playing games that helped create solar systems on the fly. I used them constantly to create not only the world (using the above book) but put it in a whole system that could have things like eclipses and conjunctions and even some weird things like binary stars or twin planets. The systems could tell you how many planets and of what approximate size would be the most realistic for the types of star or stars. Water, weather, even life/technology levels could be randomized from the tables, although for most of my worlds I didn’t bother with the last several, especially if it was a fantasy world. The article was thoroughly indespensible for my worlds in space, and dictated the rather “difficult” planet in one of my stories yet to be published (set in the same universe as Clones Are People Two).

I think I even have the magazine somewhere around here, but if you could get yourself a copy, or if the article is available legally online for free, it’s worth taking a peek the next time you want to create a solar system for the world your characters are inhabiting.

 

And now, one of my new favorites, Holly Lisle’s Create a World Clinic (No Picture)

(Disclaimer: I am not an affiliate of Holly Lisle’s work, and particularly love this book. If you click on the link above and end up purchasing a copy for yourself, I will be compensated).

I don’t always agree with Holly[1], but here in World Building I discovered by reading her work that we are very much alike. As any other world-building junkie knows, and she points out, there’s an inherent danger in overbuilding (if you’re doing it for writing. If you do it as a hobby, build to your heart’s content!)

Why?

A) We –yes, I absolutely include myself here– never start writing because there’s always more world to create before we start.

B) It’s stealing time from writing other things we should be writing (like any other geek-thick hobby) and

C) We want to use EVERYTHING we create, somehow.

I won’t go into detail with my favorite part of the clinic, but if you purchase a copy for yourself I am sure you will guess what it is. THAT exercise alone was worth the price for me, and helped me have a whole lot of fun world-building but keeping it THIN enough to not let it impede the writing process.

WHEW! That’s a lot for me on world-building, and it turns out I have even more to say. But it will have to wait until next week… Hope to see you again!

 

[1] If you find yourself agreeing with any mortal being all of the time, you risk becoming a sycophant of the major ass-kissing variety, and you cease to be you because you start conforming to whatever you think THEY want you to be. I am NOT saying that Holly does this, as she absolutely does NOT and is the furthest thing from being a sycophant/conformist/ass-kisser, and one of the major reasons I respect her even if our opinions on a few things aren’t even close to being similar.