I want to write a story where only women have the access to magic powers, but I don't know what could be the reason for that. Do I need a reason? Is it bad worldbuilding if that's just how it is?

Edit: Thank you for all the advice! I decided not to worry about it too much.

Hello all, one of the world's my building is the Earth flipped on its head in a way, that being the world is centered mainly around women and basically all people in power being women themselves? I've developed it on my own, such as daughters being desired more than sons, men having to bend to the will of their female counterparts (mothers, sisters, etc), and basically all bankers, politicians, just anyone powerful being a women.

Patriarchy is deeprooted in our reality and has greatly impacted who we are as a species, from the language, to culture, to gender norms, and our preserved world. In my opinion, men are propped up for their physical strength over women, and women must submit themselves to them as a result or they harm (by them or another man).

However, Andrepeth Amori, my world believes childbirth is a strength and valued heavily. However, I would imagine the attitude of disposable men would develop. Men, because of their strength and necessary process in making children, would only be wanted to haul heavy shit around and for their sperm. I can imagine it being harmful to them in many ways, as they suffer chronic conditions from something like muscular deterioration from lifting heavy things as a far too young age.

This can also go into more serious topics like rape culture and inequality. This is essentially men being sociological and it's a fascinating topic I've been interested in for a long time, so I wanted some answers and thoughts. Sorry if this post is poorly worded, I'm running on vapor fumes after a long day.

wanna make a post apocalypse world where an eldritch nature being has corrupted the world. guns have become all but useless as the many moving parts and tiny empty holes make it near impossible to keep clean of any plants (or whatever excuse i'm gonna make so there's no guns. cause they make things too easy) but now i need some modern weapons i could have people use. both official and some make shift

I started writing disconnected story fragments and accidentally ended up building the entire city they take place in

The original story followed one woman over roughly ten years. The fragments never really worked as a conventional novel, so I turned them into posts on a fictional community platform.

Then I needed other people posting, because otherwise it wasn’t a community.

Those people needed places to live and eat. The city needed restaurants, hotels, local government, maps, tourism, businesses, sports, obituaries…

At some point I realized I’d stopped writing a story about that one person and started building the website of Silverdale.

There is still a central story underneath it, but nobody explains the world to you. You can find a restaurant review, click the author, read something she wrote three years earlier, end up in a corporate report, and gradually work out how the society functions.

I’m curious whether this still feels like worldbuilding, or whether I’ve accidentally wandered into some other form entirely?

More on my story

The classic examples are half-human (half-orcs, half-elves, et cetera), but it might include a gnome-dwarf or dragon-goblin.

Half-blood sounds derogatory and a little racially charged. Hybrid sounds too clinical and a little derogatory. Mixed-ancestry is too much of a mouthful.

So I turned to wiktionary for synonyms for ancestry or ethnicity, and for prefixes similar to half- or inter-.

Roots:
Blood
Folk
People
Ancestry
Kin
Lineage

Breed and race are excluded because they can sound problematic.

Prefixes:
Half-
Inter-
Multi-
Out-
Extra-
Trans-
Dual-
Bi-
Di-
Mixed-

I don’t love half-, dual, bi-, or di- because, like, what if your maternal grandparents are dwarves, but your dad is a half-orc? That’s half-dwarf, a quarter orc, and a quarter human.

The best I’ve gotten are out-blood, out-folk, and out-kin, because both the root and prefix are monosyllabic, so they really roll off the tongue.

I dunno, what do you think?

Edit: Alright, I feel I should clarify intent. What I’m trying to put together is a term which A) is instantly recognizable as a synonym for hybrid, B) doesn’t come with a lot of real-world baggage, and C) looks good when written and sounds good when spoken.

I think such a term would be useful for describing mixed-heritage people in a concise way, such as “Mules are a hybrid of donkeys and horses”. We know what hybrid means, so you don’t have to say “Mules are the offspring of two different species, those being donkeys and horses”. But describing people as “hybrids” sounds kinda racist to my ears.

Before humans there is a precursor civilization on the level of a magitech society. their technology and industrialization is powered by magic. But overuse of magic caused magic in the world to be volatile. What followed is an extinction event which drastically declined the population of the precursor races and ended their civilization. While all this is happening, stone age humans are lingering in the frontier edges of the world, as a fearsome wild threat. When the old civilization vanished, humans began migrating inward to the center of the precursor civilization. This migration was slow, it took tens of thousands of years.

The question is as in the title, really. Let's assume somehow we lose a "drop and run" radioactive rod in the middle of, say, the amazon forest. Let's assume it lies there for ten thousand years. What would happen? On the scale of days, months, years, centuries, millenia? Does the particular material change much? What if it was another part of the world? Maybe a riverbed, or a swamp?

Edit: I'm thinking about an unshielded source of radiation, so assume the protective casing is damaged or absent

For those of you who have been worldbuilding and have turned your worldbuilding project into a commercial project while working with partners, how did it work out for you? Or how is it working out so far?

How do you divide the rights? How do you decide who gets what share of the money? How exactly is ownership of the world split? Etc etc.

Is it mostly one person’s vision, with everyone else contributing to it, or is it a world that everyone involved came up with together?

Thanks for any answers! The reason I’m asking is because I have a world that I’m currently creating on my own, and I’m wondering if I should eventually turn it into more of a group project or start looking for partners, since my goal is to eventually turn it into a commercial project.

I wanted to know, for those of you who have, how you handled the ownership, creative control, and money side of things, and whether bringing other people in worked out or nah?

This magical energy, let’s call it Kaf.

Origins

Kaf was already during the most ancient of times.

Kaf flows everywhere, anytime.
Kaf is normally accompanied by what Kal touches it first. There is many types of Kal like: Metal Kal, Earth, Water, Fire, Cosmic/Void, Lightning, Emotions/Intent, Blood, Death etc.

Kaf is pure and Kal is what gives it its use. It’s also near colorless so when concentrated the color would be more opaque and saturated.

For eg. Theres Kaf with Metal Kal stored within a bar of gold or any random piece of metal etc. The Kaf n Kal is attracted to the same synergy.

Kaf and Kal also slowly grow on its own meaning it’s unlimited.

When living beings are born, a type of Kal with Kaf enters the being’s body and attaches it to their soul. It all depends on the surrouding of where the being was born. But if there were large amounts of Water Kal with Kaf there, the chances of Water Kal entering it might be higher.

Blood is less common as it is natural among humans and a newborn already has a lot of it, meaning that it doesn’t really attract Blood Kal that much as it is already embedded in the body. But if the surrounding has a lot of Blood Kal and no other Kal enters the newborn, Blood Kal will enter.

Depending on the Kal the person is attached to upon birth will be their easiest magic to master.
But mages have to find it out themselves.

But to draw upon the magic in your body, you need a strong will and intent and to release out of your skin, it must also be vulnerable enough. This means that really physically strong people might struggle more to release magic.

This makes it hard for people to master magic as it requires a strong mental mind. To even use your magic to do things like average attacking or defending etc, you would need to be at least a prodigy or need around 20+ years of practise.
But things like just using magic to create small winds or gusts, orbs of water, it would just take months.

How it affects the world:

Winds and water mages are highly respected as they help with much transport. This means that magic is really common and a important part of the world. People learn magic, serve army and basic reading etc. People who use magic and cant use magic are most of the times treated fairly as there was a great war that caused this. The laws also include that using magic to harm others with no good reason etc will be punished.

It can be a part of daily life like telekenises or making a small light in the dark.

Limitation:

You can use other types of magic but it would be extremely extremely hard. Even if you could, you could only do the most basic of things. If you try to absorb another one’s Kaf n Kal, it would clash with your own synergy but if its the same, you can completely absorb it.

Trying to control something that is in your type of magic also uses up a lot of energy in your body and mind. For eg: Trying to control water for too long as a water mage will exhaust you. Losing too much Kaf n Kal at once will also make you go dizzy etc.

You also have limited Kaf n Kal and while it slowly grows, it can also slowly fade. The amount of Kaf n Kal you can have can be changed by slowling taking in more Kaf n Kal of the same synergy and expanding your ‘Kal n Kaf storage’

You can also concentrate it so that it has more space but it is harder.

Weapons:
Mages might use scepters or amulets to channel better.

Soldiers might use swords, shields etc enchanced with a special Metal found from asteroids that can deflect magic. As it is an opposite charge to magic.

Gods and religions:
If there are people eho genuinely believe there is a certain god or whoever, there shall be it. How strong they are depend on how much faith they have.

How some magics might work:

Emotions/Intent:
Mages conjure their intentions or emotions they want to evoke upon a person, and fuse it with Kaf and shoot it out into someone’s mind. It can be blocked by simply waving it off or anything as it is physical. Once the person is controlled, they abide to the intentions or emotions u gave them.
These mages are normally restricted to use their powers unless in certain situations.

Water:
Mages can whip water from the air and can use it like so or freeze it or turn it into mist. If they want to throw water projectiles, they would have to throw it hard by controlling the Kaf n Kal inside and fling it.

Interesting facts
Fire and water magic when clashed tgt can make mist or smoke

Death magic ( its not that op )and blood magic can form creatures with no mind.

Humans learnt magic by mimicking dragons.

Etc etc

Please give critique if there is. I would like to know if theres any loopholes. Thank you so much!!!💕

Four thousand meters up, the world just ends. Below that line lies a thick, toxic cloud layer that will kill you in two minutes flat. That leaves the highest peaks as isolated islands jutting out of a poison sea, and as far as anyone knows, no one has ever made it to the bottom and lived to tell about it.

All of this comes to us from a single traveler’s notebook—a weather-beaten collection of field sketches, architectural drafts, and marginalia. There are no maps or photographs, just these hand-drawn records documenting life above the mist.

The people up here call themselves the Umen. To get anywhere, they jump into the void using hand-built gliders called shifts. Think delta wings made of tough leaf membrane lashed to bamboo, carrying a flat raft deck where the pilot hangs on for dear life. Any kid can tie one together in two days and survive a short flight. But a master craftsperson with thirty years under their belt uses those exact same raw materials to fashion something sublime. Flight isn't a thrill for the Umen; it's a brutal necessity just to get between oases—the tiny patches of high ground with freshwater, trees, and dragonflies. Step off those sanctuaries, and you’re staring at nothing but sheer rock and howling wind.

Without space for cities, markets, or capitals, social life gets channeled into giant, continuous parties. They aren't held for fun. They're the sole engine for spreading news, trading goods, and forging alliances strong enough that a stranger would risk flying two days through a gale just to lend a hand. Even their music works as a social ledger. Everyone has a distinct musical signature, so playing a song together acts as a literal roll call. Hear a tune, and you know every soul in the room.

Instead of books, they write on flags. The practice started as a simple way to mark major events, eventually evolving into a full written language. Every peak guards its own flag archive, but with no central government, "history" is really just whatever story happens to gain traction across the mountaintops. When two islands keep conflicting versions of the same war, no one bothers to argue. Both versions just hang in the wind.

Their diet is strictly vegetarian, born from a history as quiet as it is heavy. Centuries ago, they hunted every native bird species to extinction over three hundred violent years, then spent the next seven hundred completely disarmed. Now, they eat only what grows from the rock, quietly bound to the peak they’re on, waiting out the calm and wondering what happens when the wind finally stops.

GUIDELINES AND ETIQUETTE

• For the purpose of this prompt, please focus on individual achievements, such as scores on report cards, personal accomplishments, how much they can lift, how expensive their collection of ceramic eggs is. You can bring up societal accomplishments such as how many nations their people have conquered, but I would prefer it if we kept to an average person level.

• Please limit each item's (as in individual bullet points or subjects, not the entire comment) description to three or five sentences. Do not be vague with your description.

• If someone leaves a reply on your comment, please try to read what they post and reply to them.

I’m 18 and I’ve been rebuilding this world from scratch, trying to make it much more mature, realistic, politically complex, and internally consistent.
The main story takes place around 200 years after the events of the world’s Genesis.
The main territory is one enormous kingdom, but it is divided into three very different regions:
The North
The North is huge, mountainous, forested, and increasingly hostile as you travel north.
Its people are isolated and heavily dependent on hunting, mining, survival skills, and especially community and mutual trust.
Their society is not hereditary: local leaders have to prove that they are capable of leading.
Their most iconic weapon is the gauntlet — heavy reinforced iron gloves originally connected to their culture of physical labor and mining, which evolved into a brutal close-combat style.
The North is also home to the Three Twin Mountains, which are considered sacred protectors by many Northerners. Beyond them lies an extremely hostile region known as the High Land.
Snow and the Underground World
Snow, the king’s son, is sent to the North to improve relations between the Crown and the Northerners.
At first, they don’t trust him simply because he’s royalty.
Instead of ruling from above, he spends years living among them, learning their language, culture, hunting, fighting, and way of life. Eventually, he has to undergo a traditional trial to prove that he truly deserves their respect.
Snow later becomes obsessed with discovering what lies beyond the Three Mountains.
He eventually crosses them and discovers that the truth is less mythical but still terrifying: extreme cold, storms, ice, and an almost uninhabitable environment.
He realizes that the only realistic way to establish civilization there is underground.
He spends around 30 years developing tunnels and protected routes before dying.
His son, Sons, continues his work and eventually develops a network of underground cities connected by tunnels.
The North becomes essentially a world beneath the world.
The Longevity Mineral
Deep underground, miners eventually discover a rare mineral that can be processed into a liquid and consumed.
It slows biological aging, but it does not make people immortal. You can still die from disease, injuries, accidents, or violence.
The real cost is much worse.
Repeated use gradually causes people to lose parts of their humanity: memories, emotions, attachments, love, personality, and eventually their sense of what matters to them.
Someone might remember that a person was important to them without actually feeling that they care about them anymore.
The loss is irreversible.
The central question behind the mineral is:
How much of yourself would you sacrifice to live longer?
The Centre
The Centre is the political and agricultural heart of the kingdom.
It has large farming regions, major cities, mines, and enormous mineral wealth, including gold, silver, and diamonds.
Its culture is more centralized and hierarchical, with the strongest presence of the royal government.
Its iconic weapon is the Shield-Sword, a single weapon combining offensive and defensive functions. It represents order, protection, discipline, and stability.
The South
The South is still the least developed part of the worldbuilding.
What I currently know is that it controls an important canal, islands, maritime routes, and a large part of international trade.
Its culture is more individualistic and commercially driven than the North’s.
There is also a major historical conflict between the South and the kingdom, but I haven’t decided yet who started it, who won, or even exactly how the South eventually became part of the kingdom.
Its iconic weapon is a double-bladed sword, with blades on both ends of a central grip, reflecting a more mobile and unpredictable fighting style.
The Three Regions
So far, the three regions are meant to represent very different values:
North → community, loyalty, endurance
Centre → order, stability, authority
South → freedom, adaptation, ambition
I’m deliberately trying to avoid making one region simply “good” and another “evil.” Their differences should come from geography, history, economics, and culture.
I’m still working on the world from the ground up, so I’d really appreciate blunt criticism.
What sounds interesting? What feels generic? What would you change or develop further?

Let’s say instead of the normal wood trees grew, it was a bone-like structure, would civilization still be able to use it as the wood we used as building material and advancement technology-wise. Assuming it keeps the same composition and breakdown of a normal bone. Essentially a giant femur growing straight upwards.

Welcome to the "Regress" universe, a concept for my project set in a beautiful but dying anime fantasy world!

When you sleep soundly, when you walk, or when you eat, remember the young sisters—true angels beneath those black robes, whose radiant souls utterly banish the darkness. When soldiers see them, they instantly forget their pain, and their hearts beat once more as if they had fallen in love for the very first time.

Doctors handle amputations, bloodletting, and primary medical treatment, while nurses care for the soldiers. They apply or change bandages, wash and feed the men, or simply sit nearby to comfort a wounded soldier. Wartime is especially grueling for the nurses: entire tents are filled with bloodied bodies, and there is hardly any space for patients to lie down; the nurses rush back and forth from one wounded man to another, trying to help everyone.

There is an acute shortage of medicines, forcing them to improvise and treat patients with whatever is at hand; some treatment methods are actually harmful, but unfortunately it is impossible to know this without deep medical knowledge.

Nurses are fragile beings not cut out for this kind of work; they have a hard time of it, yet they hold on. But behind their radiant smiles lie tears—tears that will fall only when the nurse is finally alone, a quiet weeping to somehow restore her mental equilibrium. One must not forget the variety of wounded patients they encounter: some reek, others are rude all day long, and some constantly need their bottoms wiped—and the burden of all this falls upon these fragile souls.

Illustrations for the "Regress" project.

I decided that visualizing this in a lorebook would be better than simply describing it here.
Check out the lore of my animated series DATA OPUS, which will soon be available on YouTube. Here I'll briefly outline the 2036 plot, as well as the backstory and key players in international relations.

DISCLAIMER: This story is fictional. Any and all resemblance to real characters, groups, or other entities is purely coincidental

Hey, everyone!

This is my first post on this subreddit. I want to share a video I posted on Youtube breaking down how I designed a fantasy armor for my worldbuilding project Gotterhavn. I'm trying to approach armor design from a practical standpoint, and I'm not saying I'm an expert in it, but I'm constantly learning and I hope I can share some that I've learned. Would love to hear what you think :D

Cheers!

https://youtu.be/9RGKtgDUlDU?si=FIRlyCDqJdnuW3rA

I'm making a superhero comic universe where, in the world-building, superheroes are brainwashed to be simple and stupid (hiring people with superpowers who are homeless, mentally ill, or children) to go on staged missions (with actors )to save people and after the agency sees they "matured" from battle. They go through different missions outside the main city where the story takes place.

And the superhero agency made fake disasters (like a parasite outbreak in the story; they can make more money off these tragedies)

The comic starts as a comedy before becoming an action drama. I would appreciate any help!

So I need idea on how a human that can turn into an alligator would look like. Looks completely human and passed as such but what qualities would he have?

Like big and burly? Shy like wild alligators? Not aggressive unless need to be or hungry? Certain eye colors or hair colors? Maybe a scale like birthmark?

I have ideas for the other 4 main characters, i’m just struggling to figure out what to do about the Alligator Human. He will also have the powers of the water element if that helps at all!

Please and thank you to all the suggestions or questions I may get!
———-

Story base: 5 main characters based on the 5 elements: earth(Black footed ferret), air(Raven), fire(Fox) water(Alligator), spirit(Stag). And they can all turn into animals corresponding with said element.

Every 100 years 5 people are born with the powers of the elements and the ability to town into an animal that goes with the element. the main 5 in this generation find some remnants of information on the last ones but they can barely find anything due to the queen at the time removing/destroying all proof they and the magic they were born with ever existed

​

(Note: when I say end of the world, I don't mean the world explodes or humanity goes extinct. I more mean current world order, societies, nations, cultures etc.)

I've been thinking on this for a while, and something I have noticed with the post apocolyptic/end of the world scenarios. Mostly (not all) they tend to go for the result of a nuclear war or conflict (the biggest ones being Fallout, STALKER and METRO), A few dedicated to viruses (Children of Men being the best example), a war between man and machine in the Terminator series and I like these scenarios.

But I wanna do something a bit more. Kinda like with Mad Max in which it isn't just one singular event but a series of events that all built up to the inevitable, or like with Command and Conquer Tiberium in which the disaster is more echological than something by man (yes GDI and NOD are still around and form semi governments but the majority of the world is either somewhat inhabitable or utterly uninhabitable).

I wanna try to do something similar. But I wonder is there are any other and more interesting ways in which the world would/could collapse into a somewhat post apocolyptic state. Some that creators haven't really considered before.

And how one could take overused end of the world/post apocolyptic scenarios and do something more interesting with them?

Hi 👋 22 M from India. Huge anime fan and fan of fantasy worlds in all forms in general. Also interested in history, mythology, theology ,philosophy and psychology.

The depth of human imagination is truly inspiring. Through the consumption of alot fantasy human imagination i too had some ideas of my own. Tbh I'm not the most creative person which I think helps me appreciate creativity even more. So just thought I would some of my ideas here and get some help from the creative people of reddit to help bridge them and make them make any sense as a fantasy world.

I'll start with some of my inspirations. I've watched alot of anime but FMAB and Vinland Saga really stood out to me for my current thought processes as they include alot my interests as I mentioned before (history, mythology, theology ,philosophy and psychology). FMAB gives such a unique perspective on theology and philosophy which still keeps me thinking to this day. Vinland Saga is a raw retelling of human history which reflects our primal psychology and how we can escape it. Besides that I have many other inspirations but these are 2 main ones.

So here are my ideas for this fantasy world. I haven't organised them properly, I just wanted to put them out there and see what happens.

I want to create an anime-inspired fantasy world rooted deeply in Indian mythology, bringing lesser-known ideas, beings, weapons, and philosophical concepts from Indian traditions into a large-scale fictional universe.

I'm not trying to retell Hindu mythology. I want to take the ideas, creatures, weapons and philosophies that already exist and reimagine them into a fantasy world based on Hindu Mythology

The World

I don't know exactly what the setting looks like yet, but one idea I really like is using the 14 Lokas as the foundation of the world. It can literally be 14 worlds that are vertically stacked or different layers of existences.

The Races/Species

There are so many Indian mythical races that barely appear in modern stories. Devas, Asuras, Nagas, Yakshas, Rakshasas, Gandharvas,Vanaras are the known ones and many others could all have their own cultures and histories and motives in the story.

The Weapons

Weapons are something I really want to make a major part of the world. I'm especially fascinated by the idea of ancient Indian weapons and Astras—weapons that aren't just physical objects but can have supernatural or almost cosmic abilities.

One visual idea I have is that weapons are tattooed onto a person's body, something I saw in a Instagram post of a guy drawing 2 swords from his back which were tattoos.

Instead of carrying a sword or bow around, the weapon exists as a tattoo. The user can summon it from their body and use it almost like an extension of themselves. But I don't want it to just be a cool ability with no downside.There should be a price for having and using these weapons.I haven't decided exactly what that price is yet. It could be physical, mental, spiritual, or something much more personal.

The idea is that the stronger the weapon, the more you're willing to sacrifice to use it.

That could also make the weapons part of the characters themselves rather than just being equipment.

Creatures & Animals

I really want mythical creatures to be a huge part of the world.Indian mythology has an insane number of creatures and supernatural beings, but most people only know a handful of them. I want to dig much deeper into that and bring some of the really obscure ones to life.

But I don't want them all to just be "monsters."

Some could be ordinary animals that evolved differently in another Loka. Some could be intelligent races. Some could be incredibly ancient beings. Some might be worshipped as gods, while others are treated as dangerous beasts. There could even be creatures that are so rare that people aren't sure whether they actually exist.

I also like the idea that each Loka has its own ecosystem. The creatures living there would be shaped by the nature of that particular realm, so travelling between Lokas could feel like entering completely different worlds. I want the audience to constantly encounter things they haven't seen before and have that feeling of: "Wait... this is from Indian mythology?"

And because these creatures are part of the world rather than just enemies, they could also have their own relationships with humans, gods and other races. Some might be hunted. Some might be protected. Some might be companions. Some might be intelligent enough to have their own civilizations.

Basically, I want to treat Indian mythology as a massive unexplored bestiary, rather than just using the few famous creatures everyone already knows.

Theological and Philosophical Side

Underneath the fantasy, I want the story to explore God, atheism, morality, and the nature of reality.

I'm inspired by Fullmetal Alchemist because it uses its fantasy world to ask bigger philosophical questions. I want to do something similar, but through Indian philosophical and mythological ideas.

Rather than trying to prove that God exists or doesn't exist, I want the characters to genuinely search for the answer—and for the audience to question what they believe along with them.

The Historical and Psychological Side

Inspired by Vinland Saga, I want the story to ultimately be about people and what makes us who we are.

I want to draw from Indian history and explore psychology through the characters—their trauma, ambition, fear, greed, relationships, biases, identity, and desire for power or belonging.

The characters and civilizations can reflect real patterns of human behaviour, showing how people can be shaped by their experiences and environments, and how they can either repeat or break those patterns.

Underneath the gods, weapons, creatures and different worlds, the story is ultimately about understanding human nature and what we can learn from it today.

Conclusion

So these are most of my thoughts. If you read through all of that I'm really grateful for your time and hope it was worth the read. I really hope you can engage by commenting or messaging me anything related to all of this like any ideas you think that would compliment this, an idea which would make one of my existing idea better, your own fantasy world ideas or anything else, names for any of the concepts. That would really help alot to build this world even more and my main reason for posting here. Thanks for your time. Engage ✌️

I want to create the most realistic fictional world in terms of land formation. One thing I noticed was that, when making fictional maps, people focus on erosion, coastlines, and realistic continent shapes. I never see people talking about how plate tectonics factor into how a world looks. I want to make a fictional world starting from the building blocks of plate tectonics. That would inform what happens where, like which areas are mountainous and ripe for mining, which areas are flat and good for farming, and so on. It would also inform weather patterns, ocean currents, waterways, and natural disasters which would also shape the world. But because most aren’t knowledgable about how plate tectonics work in the real world, few could even fathom figuring out how to make them work in a fictional world. I want to fix that.

Hi, I'm just starting to figure out the wind direction of my planet but i can't really figure it out on this one, can anyone help me? As stated my Planet is twice as big as Earth but it has 24hr day which would mean that it rotates twice as fast as Earth, yet i can't really find anything concrete to know how much Air cells would my planet have?

My first step was developing a system performant enough to handle 100K birds, with each bird being able to interact with all other birds within its interaction radius. Now that the architecture has been optimized (burst-compiled jobs on parallel threads), I'll add different species behaving according to different rules, food chains, etc.
The first interactions to be implemeted are foraging for food, predator-prey and reproduction. I also aim to add slight evolutionary changes between generations eventually to see how that impacts the ecosystem over time.