The Golden Fleece Inn

First established in Rome during the reign of Augustus. For nearly two thousands years the Golden Fleece Inn has been a nexus of the supernatural community.

Located deep within the Infinite Staircase, the Inn does not actually exist on Earth, allowing Patrius to remodel every few centuries without regard for building codes or the laws of physics. There are six locations where the Inn can be accessed directly from Earth. Each of these appears as a rundown establishment at the end of an alleyway or a dilapidated part of town and is heavily warded by Patrius to make accidental discovery by mortals unlikely.

The six cities on Earth from which the Inn can be located are Rome, Istanbul, London, Kyoto, New York City, and Jerusalem. No matter which door a visitor enters through they all find themselves at the front door to the Inn next to the bouncer. Each city then has its own exit door somewhere in the Inn, while the front door also serves as the exit to the Impossible Staircase. The Inn is also accessible via a short journey through the Impossible Staircase from St. Petersburg, Baghdad, Chicago, Cairo, and Mexico City.

Some guests would prefer that the Inn accept currency other than silver denarius. The Stiltskin Trust Co moneylender in the corner is normally happy to exchange currencies, but often attempts to trick customers into making other bargains.

Both the owner of the Inn and its staff are notably eccentric and have a strong desire to look after the wellbeing of the Inn’s guests.

Patrius – a human sorcerer of indeterminant age. Patrius appears as a middle aged man with slightly greying hair and is usually wearing a purple button-down shirt. He is an extremely powerful sorcerer who uses earth magic to extend his own life. Most of his time is spent sitting in his alcove where he can listen in on conversations. If a guest attracts his interest he will normally invite them to sit with him where he will ask about them about themselves and make occasional notes in his guest book. In the early days of the Inn he was known to disappear for years at a time without explanation. Nowadays his absences have grown much rarer and last for a few days at most.

Ted – the hulky, shirtless, tattooed bouncer sitting in the broken recliner is a troll named Ted. He takes the Inn’s no fighting rule very seriously and doesn’t care about much else. A few years ago someone introduced him to Chinese food and became addicted. Now regulars often bring him offerings of egg rolls and lo mein. Ted is almost never seen without his trusty silver battle axe which stands almost as tall as he does.

Gib and Gob – the kitchens are run by a pair of scaly green imps named Gib and Gob. No one actually knows which one is which. Regulars insist that their cooking is second to none, and they are right as long as the two have had a few years to practice their new recipes.

Dan – A tall and skinny young demon with four arms and horns growing from his forehead. Dan tends the bar and is an amazingly talented mixologist. His true passion however is for coffee and he has several customs blends that he makes for guests.

Bog/Boggie – the Inn’s resident boggart who takes care of the housekeeping and serves as a messenger for Patrius. It takes the shape of a large cat with a silver collar around its neck and a chain that drags along the floor. When it’s not busy it can be found sleeping in front of the fire in Patrius’s alcove.

The staff are exceptionally loyal to Patrius and the Inn, but the place wouldn’t be the same without its regulars.

Nathan – an NYU graduate student studying creative writing and folklore. Nathan is not magical in least but wandered in by accident on day. He’s been coming to the Inn ever since and it has become his favorite study spot.

The Captain – an old mariner who always smells like fish and wont stop talking about the time he wrestled a polar bear. He appears to be some kind of ocean demigod but has never revealed who his parents are.

Doug – the president of the NYC chapter of the Black Dog Motercycle Club. He and his pack come nearly every night.

Arito Taisho – a shinto priest and talented psychic. He comes to the Inn regularly to play cards with Doug and the rest of the pack.

Belesunnu – a middle eastern woman of few words. She has a talent for wind and earth magic and mostly likes to challenge over-confident men to games of darts or archery contests.

Gerark – an elderly bugbear who works for Stiltskin Trust Co. He sits in the corner most days with his magic circle, ready to exchanger currencies and seal magic contracts.

Jasmine/James – a shapeshifting succubus/inccubus who runs a small supernatural escort business. They have helped people hide more than a few skeletons and is generally the one to go to for information about the current state of the supernatural. They are often seen smoking with Patrius in his alcove or giving Dan feedback on his newest coffee blend.

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Twenty Questions to Ask About Your Fictional Country

  • What is the climate like?
  • Is it landlocked, coastal, or an island?
  • What resources are present?
  • What is the terrain like?
  • Are their any natural barriers that would impede movement?
  • Where are the sources of water?
  • How many languages and ethnic groups are present?
  • Have any of these people been recently displaced?
  • How is society organized?
  • What form of government is there?
  • Do the people look favorably on the government?
  • What religions are practice?
  • Is there a state religion?
  • Who are the country’s neighbors?
  • Is this country more powerful than its neighbors?
  • What are the country’s major industries?
  • Is the country dependent on its neighbors for any important resources?
  • Does the country have any colonies abroad?
  • Are any parts of the country’s territory contested by its neighbors?
  • Does this country have any historic rivalries?

The Best Things About Bending

Elemental magic is hard to do right. The four classical elements are so ingrained in us that we all are likely to add elemental worldbuilding into our first settings, but it’s hard to do well. The four elements have been done so much that it’s hard to be original. It’s hard to make elemental magic feel like it’s really a part of the world and not just a later add on.

Yet the elements are so pervasive that the internet is full of people showing off their elemental magics systems where they very creatively include their own elements like shadow, mud, or even magma.

There is nothing wrong with making an elemental magic system. It comes naturally to us for a reason. But if you want to your elemental magic to work it’s going to take a lot of effort.

Of the very limited selection of examples I have been exposed too I have only seen two instances of elemental magic done well; Codex Alera by Jim Butcher, and Avatar the Last Airbender.

Unlike Avatar, Codex Alera has six elements, not four. Each element has it’s uses, but some elements are clearly more useful that others. To be fair, the characters are at war for just about the entire series and for obvious reasons the characters are most interest in the elements that help them to kill the enemy. In Avatar the elements have a place in daily life and each can easily contend with the other. As much as I love Codex Alera, the world of Avatar just feels more alive.

Physicality

This is something that can really only be done in a visual medium, but Avatar does it so well. Not only is each of the four based in a different marital art, different styles have their own variations.

For me the most obvious example of this are the pro-benders. Their quick jabs and evasions evoke images of professional boxers, and the bending they do reflects that. They’re all about quick attacks and evasions and it shows. Against a real fighter not constrained by the rules of the ring they quickly fall short. There movements are of peoples trained to do one thing well rather than master their element.

What’s the best thing about this? For me it’s that practice gets results. In most fantasy it can be hard to show characters getting better with magic. In Avatar their magic is so tightly linked to their movements and thinking that it’s almost impossible not to. A bender’s philosophy and mindset impact their bending in a very visible way.

Balance

Elemental magic is so common that it’s hard not to have prejudices.

Earth, Water, Air, Fire. Which would you choose? Which is the best?

In fantasy that has a four element system we don’t always get an equal view of each element. Everyone expects fire to be aggression or water to be healing. Avatar may not give every element the same amount of screen time, but they each have the same amount of potential. Every element is shown to have its own limitations and strengths but none is ever made to look weaker than the others.

In fact the best benders, like Iroh, take the time to learn from the other elements and see what practices they can incorporate into their own art.

Incorporation

Each of the four nations is inseparable from their element.

Too often in fantasy, magic is treated as something separate from the rest of society. In the Avatar universe magic is inseparable from the larger society. The trains and mail in Omashu are moved by earth benders. The builds in the Norther Water Tribe are clearly built with the help of water benders, and the the Fire Nation could not have had its industrial base without the fire benders to power the furnaces.

This arrangement brings obvious inequalities to mind. What can a normal person do when bending is so prevalent?

It’s an important question to ask and one that doesn’t get enough attention in the Legend of Korra. What do non-benders get?

Even so, the prevalence of bending in these societies becomes even more important. What happens when technology progresses? What happens when the non-benders no longer need the benders? While not fully addressed in The Legend of Korra, it’s still an interesting question that fantasy should address. What does magic do when it can’t hide?

Conclusion

Avatar the Last Airbender is an amazing series. I’ve loved it since I first saw the pilot in a hotel room when I was ten. Any time I thought I might want to make an elemental magic system I’ve turned to the wiki and realized that I simply couldn’t beat it.

It’s not the magic, or setting, it’s how real everything feels. The entire world is infused with the love of its creators and speaks to the wonders that can be achieved by a few dedicated worldbuilders.

What I most love about Avatar is that the otherwise cliché elemental magic can be innovative in the right context. Any magic, any idea, can feel real in the right setting. It speaks to the strength of good worldbuilding and it has been in my mind ever since I saw the first episode.

Really though, the best part of Avatar is that the magic doesn’t feel like magic. It just feels like a part of the world.

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Is The Legend of Korra Any Good?

Maybe.

I began watching (several years late) knowing that fans have a love/hate relationship with the show. Nevertheless, I tried to keep an open mind and managed to make it through to the end. And I have a lot of thoughts. I struggled writing this post, I tried to write a coherent essay about the Legend of Korra. Instead have this listicle.

If I had to sum up my thoughts about what was wrong with the series it would be this. It had a lot of potential, multiple good moments, and a lot of missed chances.

The Bending

If you’ve read any of my other posts you’ll know by now that I love magic systems and bending is no exception. The world of Avatar is one of the few examples of a fantasy world where elemental magic doesn’t feel like the cliche. It feels real and it’s an integral part of the setting and culture. Getting to see subsets of bending reach maturity, especially metal bending, is just great.

It was also great to see an airbending master let loose. Don’t get me wrong, Aang is great, but he never really put his airbending on full display like Tenzin does in this series.

I guess airbending is good for something other than marble tricks after all.

Finally, I was glad to see the creators stick with giving each style of bending a distinctive visual. Pro Benders, the professional athletes of the Avatar world. have a very distinctive style regardless of element that shows a focus on quick attacks and agile dodges. That this style of bending rarely holds up outside of the confines of the arena is a nice touch.

The main issue with the bending in this series is Korra’s weakness. Already at the beginning of season one it’s implied that she has already mastered three of the four elements. Yet throughout the series she repeatedly get’s brushed aside by her opponents. This is especially apparant in season one when she starts Pro Bending and apparently forgets everything she knows about bending in the process. Her fights with the Equalists are filled with quick jabs like those used in the arena when she could have just brought the building down. By the end of his first season Aang was sinking entire fleets on his own. With the exception of an incredibly cartoonish fight in season 2 we never get that from Korra.

The Villains

None of the villains were bad exactly, at least the ideas for them weren’t. It makes sense that non-benders would begin demanding equal treatment or that established forms of government would be overthrown or forced to change. Or that people would forget to honor the spirits and cause backlash by doing so.

The problem with these villains is that we never really get to explore their motives. In her role as avatar Korra takes for granted that the world is already the way it should be. In season 4 it’s finally said that Korra helped get better treatment for non-benders but that’s not something we ever see her caring about in the first season while she is fighting Amon.

In Avatar the Last Airbender the protagonists dealt with concepts like imperialism, war , refugees, gender roles, and disabilities to name just a few. Legend of Korra introduces its own ideas, but never really deals with them in the same way. Time and time again Korra sees the problems that gave rise to the villains she has to face and each time she turns the other way.

Not Doing the Thing

So conflicts could have been resolved if the characters had done the sensible thing. I realize that if characters never made mistakes we’d never have story, but LoK has some really spectacular mistakes.

Why for example did Suyin Beifong refuse to restore order in Ba Sing Sei after the Earth Queen’s death? Morals aside, she at the time ruled one of the most advanced cities in the world with dedicated cadre of trained fighters. She had at this point already took her forces out of the city to help the avatar and the fledgling air nomads. Her refusal to help led directly to Kuvira’s rise to power.

While we’re on the topic of inaction. Why in season four was the Fire Lady so unwilling to take action against Kuvira? Given all the work Zuko put into rehabilitating the nation’s image after the war this attitude makes sense to a point. Did she really forget that her son is a part of the army that would very likely have to fight Kuvira on its own if the Fire Nation refused to help?

For a country seemingly dedicated to inaction the United Republic has a lot of warships.

And why didn’t General Iroh just order his troops to fight Kuvira? I understand that the president had ordered him to surrender but it’s not like he wouldn’t have been able to see what a terrible idea surrender was. Plus as a member of the Fire Nation’s royal family he isn’t lacking in career options. After the role he played in season one, his part in season four was just disappointing.

The Spirits

I actually enjoyed Avatar Wan’s story. I know a lot of people did not. But it didn’t actually contradict any of the existing lore, if anything it gave it greater context, and the different art style made it clear that the story was being told with some embellishments.

The problem I have is with how the spirits were portrayed in the rest of the series. in the Last Airbender the spirits had gravitas. They were forces of nature or strange creatures bordering on being eldrich horrors. LoK’s spirits are essentially neopets that get angry sometimes. It’s no wonder the people of the Avatar World stopped listening to them.

I do however like that Iroh was able to live on in the spirit world. It made sense for his character and as a big fan of Iroh I was glad to see him come back.

The Tech

At first the huge jump in technological progress that happened between ATLA and LoK was jarring, but it grew on me. The series has a wonderful steampunk/magitech aesthetic and the ways that we see bending and technology intermingle is just great.

Almost none of this tech got used after season one and that’s a tragedy.

With all the advances in technology I don’t quite understand why we don’t see as many non-benders taking part in conflicts as we did the ATLA.

The Verdict

The Legend of Korra had some good moments and a lot of bad moments, but it’s still a fun watch. If you want to see powerful benders driving around in shiny cars then this is the show for you. Like most things, it helps if you watch it for fun and don’t question it too much.

If you liked the first series then you should definitely watch this one, as long as you don’t raise your expectations too high you should still be able to enjoy it. I still don’t think it at all measured up to the first series, but at least I had fun watching it.

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All the images here were sourced from the Avatar wiki.

Worldbuilding: Sparrows

A few weeks ago I made a post about Flicker Lamps. Magical communication devices used in the early days of exploration in my Sprawling Iron series. While they became an essential part of managing large empires they were hard to mass produce and had several properties that made security difficult. Furthermore, the could only be given to specific individuals and could not be distributed by governors as needed.

This limitation proved to be especially inconvienient when it became more important to be able to communicate with agents sent to unexplored lands or diplomats dispatched to negotiate with local governments. Eventually, sorcerers devised a new means to rapidly communicate over long distances. Sparrows.

These ceramic birds are small enough to fit in the palm of a person’s hand and infused with a minor air spirit capable of animating the clay and providing it the power of flight. A person wishing to send a message via sparrow must first hold an image of the intended recipient in their mind as well as their general location. Once they do this the sparrow will animate and the user can speak their message allowed. After the sparrow hears the message it will take flight and attempt to find the intended recipient, once it does it will repeat the spoken message and be ready to used again. In some cases, written messages and maps may also be tied to small loops on the bottom of the construct.

Sparrows are small enough that ships, armies, and individuals can carry many of them and allow regular reports to made. But they do come with some limitations.

  1. Distance – sparrows have a limited range, typically not more than a few hundred kilometers. For longer messages they are typically sent to a central administrative hub the possess a flicker lamp or telegraph office capable of passing on the message.
  2. Recipient Identity and Location – the sender must know the recipient and their general location. If either of these are incorrect the sparrow will not be able to deliver its message and will not give its message to anyone else.
  3. Message Erasure – once the message has been repeated there is no way to get the sparrow to repeat it. Recipients must be sure that they are paying attention and hope that they are in a quiet place.

To get around these limitations, many governors and administrators have at least one person on staff tasked with receiving sparrows and accurately transcribing these messages. Oftentimes they are given special quarters and offices in secluded areas to ensure that they have access to a quiet environment and are relatively free from intrusion. These sparrow handlers are often targets of bribes and even assassinations as eliminating or compromising them can disable an enemy’s communication network.

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Worldbuilding: Flicker Lamps

Now I just need to assign meaning to the trinkets on the bookshelf…

When the nations of Oliad and Danacia began to realize their imperial ambitions they were faced with a challenge that they had never confronted before. As their colonial holdings expanded they were faced with the question of how their central authorities could quickly send directives to their scattered generals, admirals, and imperial governors. This was in the time before the invention of Sparrows and the telegraph, and neither kingdom had access to the Soul Stones used by older empires.

The solution that both nations settled on were the Flicker Lamps. These devices were made by taking a fire spirit and splitting it into many parts. Each part could then be sealed in a glass lamp and sent overseas to important governors and military commanders with at least one remaining in the homeland.

An individual with the proper training could then operate the lamp by causing it to flicker in coded patterns that would then be repeated by every other lamp in the set. This allowed messages to be quickly sent across great distances.

There were drawbacks however. The first being that they were expensive to make and required at least some sorcerous training to operate. Because of this they were typically only issues to important governors and high ranking military commanders who were responsible for passing messages on through more conventional channels.

There was also no way to send a message to just one lantern in a set. A message intended for just one person would be sent to all connected lanterns. Every set of lanterns was expensive to make and traveling with multiple lanterns, especially while on campaign was difficult. To address this most nations using these lamps created special codes that would be known only to certain lamp holders. This was not a perfect system and often led to information leaks when outdated codes were used, but it worked well enough for most communications.

With the later invention of the telegraph and Sparrows these lanterns fell out of use. But they are still kept as museum pieces and curiosities, and sometimes still employed by enthusiasts and secret societies.

This is the first bit of worldbuilding that I’ve posted in awhile. Don’t worry! I plan to post more in the coming weeks. Check out this link here if you want to see what else I’m up to. You can also follow me on twitter @expyblog!

Campaign Cartographer: First Impressions

I am always looking for new worldbuilding tools. Am I substituting more tools for actually working on things? Probably, but it is fun.

There are a lot of worldbuilding tools out there, and figuring our which will best suit your workflow is tough. Personally I seem to just buy all of them, but that doesn’t mean you should have to. So, is Campaign Cartographer worth it?

I’ll be honest I had no idea what it was until ProFantasy started advertising their stay at home bundle. Now, compared to Wonderdraft these programs are expensive. But I got their map maker, city maker, and dungeon maker for about $60 on sale. Still not terrible considering all the included art assets.

I poked around online for some reviews. I wasn’t entirely thrilled by what I found but looking at the screenshots I really liked the art. A lot of it conjures up images of classic fantasy maps. That said, there’s still a lot to learn about making them.

On first glance the UI is anything buy modern. It’s not like wonderdraft were the icons immediately hint at what they might do. It takes some tinkering and a few checks of the manual to figure out. I don’t know about you, but as dated as this UI looks, to me it just oozes functionality.

I know it seems old but just look at how functional it is!

But that doesn’t mean it’s easy to use. After a few minutes I was able to figure out how to draw land masses and to add rivers. I wouldn’t say that they look any good, but I’m getting the hang of it.

While the UI is very different there do seem to be a lot of similarities when compared to Wonderdraft.

The most important shared advantage of the two are the art assets. Having premade icons for towns, houses, bridges, and what not are a huge timesaver. And just like wonderdraft it’s hard at first to figure out how to best use these assets and still seem original.

As long as you’re careful about what order you add assets in there is a lot you can make with just a small set.

Just like with Wonderdraft, the key is to experiment. After a few tries I think you’ll find that it’s easy to combine these assets to create something original. The trick is to be patient and not be afraid to start over. I know always want my first attempt to be the last but I don’t know of any project that doesn’t need a few edits.

So is campaign cartographer worth it? Is it better than Wonderdraft? To be honest with you, I don’t know. I can see already that both have a lot of potential, and Campaign Cartographer wouldn’t have lasted this long if it didn’t have potential. For me personally, I’m already enjoying Campaign Cartographer simply because it’s easier for my computer to run.

I’ll post a full review once I’ve had time to fully explore its features. For now it seems clear to me that Campaign cartographer has a lot to offer. Picking it up on sale and seeing if it’s right for you might not be the worst idea in the world, but be warned that it will take some getting used too. And right now they’re even featured on Humble Bundle!

Have you used Campaign Cartographer or Wonderdraft in the past? If so, do you have any advice you could give me? I’m always looking to learn. You can find me on twitter @expyblog. If you liked this review you can help support this site at the cost of a cup of coffee.

Making Magic

There are a lot of ways to design a magic system, but to me the biggest decision to make has been Hard vs Soft. Should it have clearly defined rules and spells, or should everything be a little looser?

In general I’ve gone with the later, influenced by books the the Farsala Trilogy and the Sea of Trolls that I read while I was in middle school. I really like the idea of magic that consisted of some sort of hyperawareness of the environment and an ability to tell it what to do.

Because of this most of the settings I’ve made over the years have some sort of soft magic system with some animistic qualities thrown in. The problem? I’ve made them all the same. I’ve set aside a lot of projects over the years and I think it’s because I lost interest in them, because I kept making worlds with the same elements over and over again.

I also think that the stories I intend to tell in these settings end up suffering because of this. Too often the only cost to magic that I impose is feeling tired. That’s not really much of a cost. Why don’t I make it first born children or lost limbs, or beetles? There are a lot of possibilities that I have been largely ignoring.

So it’s time to switch to making systems that are a bit harder, something with more rules. As I’ve thought about it more I have realized that part of the problem is laziness on my part. The magic should make sense in the setting and add something to the story, and I’ve honestly run out of things to impose on the system I keep using again and again, but I also don’t want to take the time to define the costs and limits of the system. So I am making a very late news years resolution and I’m going to try some new things with my worldbuilding.

I’m thinking of starting with a little vancian magic first.

Five Tips for Fantasy Map Makers

1. Mind the Rivers

Some worldbuilders spend years getting their plate tectonics and ocean currents just right. All of this can be fun, but you can make a convincing fantasy map without it. The thing you should really focus on is rivers. No one really cares if your ocean currents are off or your mountains aren’t in the right place. Rivers have an intuitive aspect to them that no other geological feature can match and because of this mistakes are easy to notice. To put it simply, rivers flow from higher elevations to lower ones. Most often rivers will flow into lakes, oceans, or other rivers. Rivers do not flow into a lake, wait around awhile, and then flow into a different river.

This is important because an incorrectly drawn river is jarring to look at even if you don’t know why, and because rivers are hugely important to civilization. Most major cities are built on rivers in order to take advantage of the farmland and transportation that they provide. This means that rivers can serve as a vital plot device, and as such their portrayal should not be ignored. Of course all of this can be ignored, it is your world after all, but I would advise making sure that you have a good reason for doing so.

2. Make Your Map Fit Your Story

People grow to fit their environment. You wont find horse-mounted nomads living in the mountains or naval powers in the middle of the desert. People do the best they can with the hand they are dealt. In fiction, we can decide what that best is and determine a hand that will enable it. There is of course fun to be had in drawing a map and simulating the evolution of civilization from the stone age to now, but that is not what most of us are doing. Most of us have a story we want to tell or an idea for a world we want to depict. There is no reason then to design a landscape that does anything other than to enable the story you want to tell. If you want your countries to be fighting for control of a major sea lane they there better be access to water and natural choke points. If you want your characters to venture to a distant mountain and fight a dragon then you better include a mountain or two within reach.

3. Choose a Realistic Scope

A lot of us like to think big. We draw a map of an entire world, solar system, or even galaxy and then set about filling all of it in. The problem here is that you probably wont use most of what end up writing. Trying to fill every corner of a world with detailed is fun, but ultimately futile. Above all remember that map is meant to be a reference for your players or readers, and the focus of the story is likely to only concern a small corner of the world.

Lately I have preferred to start with a single region or country that is going to be the focus of the setting. Once I have a solid idea of what that country will be I start to fill in its neighbors. Unless I have good reason to, I try to avoid writing detailed histories of these neighbors. I make a brief summary of their current state and history, and after that I try to only flesh out the aspects of this neighbor in areas where they intersect with the story I want to tell.

4. Pay Attention to Natural Barriers

Rivers aren’t the only feature on the map that shape a civilization’s development. What hinders movement in your setting can be just as important. Swamps, mountains, deserts, and seas are all important in imposing limits on an empire’s expansion, providing shelter for smaller groups, and providing places to hide all sorts of interesting dungeons.

Once barriers are in place, routes to circumvent them gain immense strategic and economic importance. Mountains, swamps, and other remote areas might also be where your world’s exiles and hermits choose to live away from society. Both of these provide opportunities for interesting conflicts or quests in a story or campaign. Characters and armies can be sent to secure and defend mountain passes, or might discover that the old hermit living in the swamp has the answer to all of their problems, but reaching him can be an entire adventure in itself.

5. Don’t Be Afraid to Change Things

Getting wrapped up in the worldbuilding is easy. It’s also easy to be disappointed. The finished product rarely resembles the initial concept and there is nothing wrong with that, except of course if you are not happy with it. If you getting into your worldbuilding and you realize that you put a mountain in the wrong place or your cities are too far apart. If you begin to get the feeling that your map is keeping you from writing the conflicts and plot lines that you want then by all means change it. Starting a new project by drawing a map can be a great way to start, but that map should not be a cage. Sometimes we need to make revisions, and it doesn’t do any good to get too attached to a map you have drawn. Keep it of course, even discarded ideas can be useful later on. Don’t be afraid to retcon the entire map if it no longer serves its intended purpose.

Subreddits For Creatives

Reddit is one of the biggest sites online these days with so many subreddits available that you are almost guaranteed to one tailored to your interests. Think of any hobby or weirdly specific meme format and there is probably a subreddit for it. So what if you’re a writer or worldbuilder, what are the best subreddits for you?

Worldbuilding

It should really be no surprise that r/worldbuilding ranks among my favorites. The subreddit has grown significantly in the past few years and welcomes worldbuilders of all levels of talent. New artwork, discussion posts, and resources are posted daily. If you stay on long enough you’ll begin to see who the regular posters are and get to watch their work grow and develop over time. My preferred way of browsing this subreddit is to sort by new and look for discussion posts. Participating in brain-storming sessions or answering questions about your own world is a great practice and a good way to finally flesh out parts of your setting you may have overlooked and been putting off for later.

Imaginary Network Expanded

The Imaginary Network is a cluster of related subreddits dedicated to posting all sorts of art with credit to original artists. I like to browse through it when I’m facing off with writers block. My personal favorites are r/ImaginaryBeasts for making up new flora and fauna, r/ImaginaryBattlefields for thinking up climatic showdowns, and r/ImaginaryStaships for when I need my daily dose of SciFi.

Writing Prompts

When you feel like writing but don’t know what or you’re just looking for a challenge, r/WritingPrompts is sure to help with its long list of user-submitted starting points that range from established fandom to completely originial premises. The subreddit also hosts contests from time to time and has been the route through which many users have gotten their writing noticed. Writing a response to a popular post it can be a good way to get your writing more exposure online. Several frequent posters maintain personal subreddits to showcase their writing. Unfortunately, popular promts are often highly specific or tied to a certain fandom. If this is a deal breaker to you prefer something with a little more freedom then try the less popular r/SimplePrompts.

Map Making

If you’ve made a battle map for your D&D campaign, a fantasy island, a political map of your alternate history scenario, or you just like making maps then r/mapmaking might be the place for you. Like r/Worldbuilding it’s welcoming of all skill levels and is a great place to post if you’re in need of advice or feedback. Just make sure you have all your rivers drawn right before you post.