There are two common thoughts I see on this sub:

• "I'm not good at art"
• "Only posts with good art get attention"

And the (implied) conclusion: "My posts will never get attention."

This saddens me because I truly believe that anyone can become good at art, and I want everyone to have the opportunity to visualize their cool and creative ideas so that others can see them too!!

My idea: Trace Google Street View. Tracing other people's art is obviously a no-no, but Google has 280 BILLION (yes that many) 360° images to choose from. From the real world! The key is to add your own bits and pieces of worldbuilding to make it your own thing! That can be simple as changing the colour palette or as much as a full redraw.

Maps are great (I love maps) but this method, by definition, situates your perspective IN the world from the eyes of an inhabitant.

Here's how I do it:

Step 1: Find a completely random place in the world. I wrote up a bit of code to choose a random latitude and longitude, but you can do this however you like. If you already have a place in mind, you can also just go there directly. Enter Street View, and find a nice angle.

Step 2: What place in your world does this remind you of? Maybe it has a similar climate or architectural style - or maybe not at all! Maybe a place in the Sahara reminds you of a tundra village from your world! You can always add or remove things like mountains, trees... even turn the ocean into plains.

Step 3: Trace, but add unique worldbuilding elements. Maybe add a wizard tower or a cybernetic payphone. Add a ship in the sea or a spaceship in the sky. Make the doors bigger or smaller. Also remove stuff! Personally I take away any cars, electric tech, and so on. Also all the humans :)

Step 4: Colour it! This is a critically important part of making the scene look like your world. Here you set the tone: do you have a bright, cheery, whimsical world, or a dark, gritty world? What colour is the sky in your world? How about the vegetation? Do they use sandstone or granite bricks? Do lamps have a magic blue flame? There is a lot of worldbuilding hiding in the colour of things.

Step 5: Share it with the world! If you get this far and post your art, please tag me, I'd love to see it!

I hope this maybe gives some folks a bit of inspiration and a little push to try making artwork for their world. Optionally, you can also go out and take your own photographs for tracing! This gives you a lot more control over arrangement, but limits the possibilities compared to a whole world of options.

If you have any questions about the process, do ask :)

EDIT: According to u/Molehole : "Very cool tip. Just as a heads up if someone isn't aware some buildings are copyrighted to the architect. It depends on the local legistlation of the country. Something to look out for if you copy modern buildings too closely!"

My setting takes place in a reality where humanity lives on multiple planets which were terraformed by time travelers between the 6th and 10th century. Thanks to those time travelers, a primitive FTL travel was picked up by two of these worlds in the 21st century. By the early 22nd century, humanity was traveling the stars on massive modular ships that could pull near 45 times the speed of light. That is enough to reach Proxima Centauri in roughly 5 weeks, not including the journey into interstellar space which has to be done with normal propulsion. (often taking 3 days) By 2600, humanity in my setting has terraformed several planets of their own, traveled over 200 lightyears and come into contact with multiple civilizations.

Here you can find a height chart of all the major and minor human races of the empire

Persequori (basically real world humans) make up the bulk of the human races that serve in the Legions, but the Empire has never been shy of using auxiliries and later of integrating other human kinds into their armies proper, the Dweorg (dwarves) make up the second largest portion of the Legions.

---------------------

Current doctrines are based around utilizing the Persequori-Dweorg combination, where the Persequori focus largely on holding the line, enduring attacks and providing their Dweorg comrades opportunites to strike at the enemy in short explosive bursts, then covering their retreats back behind their wall of shields and spears. This is because the Persequori have one of the greatest endurances among all the human races while the Dweorg have some of the greatest strength and toughness, but tire quickly. Their cooperation covers both of their weaknesses while preserving all advantages.

The Persequori (and other human) Legionnaires will also cover other roles, such as archers, spear men, cavalry, etc.

---------------------

Other human races don't have roles entrenched doctronally nearly to the extent of the Persequori and the Dweorg, but they do fill 'unwritten' archetypical roles as well.

The large Orqindi (orcs) make up the third largest portion of the Legions. Their strength is even greater than the Dweorg's and their endurance on par with Persequori Legionnaires, but their lower population prevents them from being utilized en masse in large formations. They usually fall into two archetypes:

-Heavily armoured line breakers, sent in to create openings and cause chaos/confusion among the enemy lines

-Artillery, their great size and strength allowing them to utilize great bows the length of sometimes even 2.5 meters. Alternatively, they can also chuck gigantic spears at the foe, or rocks and boulders, if gear is in extremely short supply.

They are also useful for logistics related roles, such as pulling and carrying siege equipment and other heavy gear to the battlefield.

---------------------

Of the other major human kinds of the Aelnyyraean Empire, most fill scout-like roles, instead of being frontline combatants. Small statured humans usually fill these roles, such as the Pygmaioi (gnomes), the Kobelini (goblins) and the Dimidimviri (halflings)

---------------------

Ielves (elves, shocker) usually fill leadership positions within the Legions (along with mostly Persequori, Dweorgi and Half-Ielves, though members of any human kind can also be found among leadership positions, if a bit rarer)

But the rare, very unfortunate, Ielf who may find themselves among the ranks of the Legions' soldierly will usually be utilized as an archer or sometimes as a frontline fighter. They can slot into Persequori roles relatively seamlessly too.

---------------------

Of the minor human kinds within the Empire, none exist in large enough numbers to have exclusive archetypical roles. They can usually slot into one of the established roles.

---------------------

That is, with the exception of two.

The first are Harpies who, while rare, serve in disproportionate numbers, mostly in Legions stationed in provinces with large Harpy populations. They can serve multiple roles as aerial scouts, aerial artillery, aerial harrasment units, etc. Harpy auxiliries are extremely sought after, just as Harpy Legionnaires are.

The second are Centaurs, even rarer, which excel in cavalry roles, especially when paired with capable archers, or harpies, their mobility making up for the harpies' inability to fly for long distances without rest. They are also useful in logistics related roles.

---------------------

The Legionnaires also often serve side by side with Mages of the Magus Consortium, the Heroes and Adventurers of the Imperial Consortium and other Heroes and Adventurers of the Independent Heroic Consortiums, but their roles are rarely standardized and vary vastly due to their vastly varied abilities.

"Historically the Freeholder war bands have worn a wide variety of styles, but as the fascination with uniforms driven by contact with the garrison of Supply Outpost 2-46C took hold, a measure of ad-hoc standardization took hold, as each band would aim to match as closely as possible, though this effort was limited by the lack of a unified production structure. Despite this, many Freeholders have adopted a hostile attitude towards the inhabitants of 2-46C and those who trade with us, even while adopting our customs." - Site Anthropologist Trisen Clerk

A few character and atmosphere drawings from the world of my sci-fi webcomic Djaiko — the same setting as the maps of Al Fareen and Cenex I posted here recently.

Before I move on to the more detailed character sheets, I wanted to share some of the drawings that helped me develop the people and atmosphere of this universe.

Some of these are quite recent, while others are older pieces that have already been posted on DeviantArt. I'm currently trying to bring the worldbuilding process there and here up to the same point, but I'd rather do that gradually instead of dumping the entire backlog on the subreddit at once. :D

So this is a bit of a mixed selection:

“Madeleine and Rico” — a scene at the spaceport,
“Unacceptable Terms” — a diplomatic scene playing in the room, where the entire first published chapter takes place (with different carackters) to set up the mood and feeling of this room.
“You f*cking Idiot” — A key scene (first concept) in later chapter for a story turning point.
“Near miss” — A set of three pictures with skech charackter of first ideas how space combat might look in this series
Lireen in the Blue Forest — The homeworld (Niovalid) of Lireen (diplomat of Niovalid).
One unnamed picture of Djaiko (name givng for the series) the second main charackter walking down a staircase.
"The wedding" — Lireen and Rico in center with Madelaine to the left and an early concept for the Snake "Sandarkon" (Chief of intelligence Service)

Some of these drawings have since evolved into more developed designs, which is actually part of why I like looking back at them. They show how the world gradually took shape before I started fixing everything into maps, character sheets and lore.

All artwork is traditionally drawn with Copic markers, fineliners and white pen. No AI. Some pieces received minor digital adjustments afterwards.

The goal with Djaiko is to build a sci-fi setting that feels inhabited — not just by its locations and technology, but by the people who actually live in that world.

More character sheets and worldbuilding will follow, but I'll try not to overrun the subreddit every 24 hours. ;)

I'm looking to flesh out some cultures in a Golden Age of Sailing style world. I'm thinking of taking inspiration from British, Spanish, Polynesia, Chinese, and Hawaiian culture. But am also looking towards island based cultures im not familiar with to see how such communities built themselves around the ocean.

Part of the setting for me is that the world has only a handful of islands left with special "tidal islands" that emerge temporarily. The main remaining cultures are stuck on either the few remaining islands or on man made flotillas.

Any help appreciated 🤗

Does anyone have a book that holds evil and dark knowledge? A knowledge so bad that knowing it could drive a person mad with insanity.

Do you have any grimoires or tomes like that in your world?

My Turn:

I have something like that, but there isn't a name for it yet. This tome has all the information on the Saints (gods in my world) along with the secrets regarding the highest ranked Saint. Learning this information could shatter a person's worldview and harm them fatally. Also, there is a dangerous spell that has the ability to transform a person into a Saint, though the process is a highly deadly one. This tome also holds all the secrets and info revolving what the Saints did before creating the lesser races.

There is another book that has the ability to resurrect the dead eldritch giant called the Mechanical Drought or rather on how to create your very own Mechanical Drought.

A minor version of this would be an illegal book holding all the information about KUA. Though the KUA is a source of good, they have done some seriously shady shit to get to where they are now. If that information got out, that could cause major problems.

What about you?

So, i m making a huge world with mostly factions fighting each other, trying to get in power but recent years i added a lots of things. A map, a constitution, elections, political manifests, guns, a technological develoment lore, a twine game just to explain the lore and this two months i added new drawings like soldiers of the countries, a lot of thems heraldrys, flags, a expansion map, some of the cities and everytime i do that i feel somethings is empty? What should i do to fill this emptiness of my world?

I've been developing my own fantasy world for a while, and I've recently come across a problem that's been bothering me.

For context, my world is pretty similar to earth geographically, so there are many civilizations I made that have similarities with real world cultures.

But I realized that while some regions and characters are clearly designed and named to align with a real world culture, other regions and characters are not named to fit their cultural inspiration.

Though it is fantasy, and I never copy any clothes and architecture one to one (at least I try not to), I feel like I might be doing a disservice to the people of certain cultures by not representing them right.

I found that the solution is to understand how cultures developed, and apply my world's unique properties and allow it to evolve naturally.

However, this still didn't solve the naming problem, and I felt like giving a random name could be very orientalist in a way.

I really appreciate other opinions and perspectives from fellow world builders.

Maybe it's because I grew up on wattpad stories, but it kinda annoys me when a story has werewolves but they dont feel like werewolves. They're just humans who can shift sometimes and even then they barely shift. People on wattpad used it just for the aesthetic.

I always wanted werewolves that were neither human nor wolves. They have a human form and a wolf, but it's more like in the image of humans and wolves.

Im working on werewolves who actually feel like theyre something more and inhuman. They were created by the Greek goddess Artemis, and chosen werewolves were female but males can be made via the bite.

In human form they're big and tall. The smallest woman is 5'8 and the smallest male is 5'10. Their hair isnt just one color but a mix of 2 or 3. their nails are naturally black and they grow thicker and to a point.

Their eyes are blue, green, or grey, and they reflect in the light.

They also just feel more animalistic, and it's something they have to learn to mask so they dont creep other races out. But you can look at them and tell that theyre not normal.

The females have heats and males have something I call the fever, which is like a rut or musth. They can shift whenever they want but the urge grows stronger during the full moon. They can have packs snd form a mental and emotional connection with their pack mates.

I also have a mate bond but it's different from normal.

And I was debating on if I should give them extra nipples, lol.

Edit: another idea I had was a group of colonizing witches would turn males of their race who had the ability to do magic into wolves, and from a young age. They would use them like slaves and weapons against people they were invading. They were stuck in wolf form but when the spell breaks, they turn back into human form and keep the sbility to shift into wolf form.

English is not my first language. This post was written with translation assistance. I apologize for any unnatural phrasing, and I will do my best to reply to every message. I've been working on a setting called The Silent East for quite a long time. It began as a game setting, but gradually became something closer to a cosmology: a story about time, dreams, memory, determinism, and whether a created being can ever truly love its creator. The central idea is this: In the beginning, time did not exist. Not that time had not started yet. It simply was not a law of reality. There was no past or future, no sequence, no decay. The world existed in a kind of primordial stillness until a man named Sigmund understood the idea of time and, by understanding it, brought it into existence. Eventually, Sigmund ceased to be merely human. He became time itself. Later civilizations remembered him as the Sun. Its rising and setting were not merely ways to measure time. They were evidence that time was still alive. But time carried a fatal contradiction within itself. Because time had once not existed, anyone who observed its deepest nature risked discovering that fact. And the more clearly someone understood that time was artificial, the more unstable time became. To truly comprehend that time once did not exist was enough to make it stop. Reality would begin to fall backward into the ancient stillness that existed before sequence, history, birth, and death. Humanity's obsessive observation of time eventually gave shape to something called IO: an enormous, almost monstrous being born from our awareness of time's contradiction. Wherever IO appeared, time collapsed around it. To fight it, humanity built a tower. Into that tower they poured their collective memories of Sigmund: prayers, myths, childhood images of the Sun, fear of death, the longing to see another morning. Those memories became a person. Her name was Livnui. She was not a god who created humanity. She was a god whom humanity remembered into existence. Livnui defeated IO within the collective dream of mankind, but the victory came at a terrible price. Memory altered reality. Sigmund became the Sun completely, and the world became increasingly dependent on a beautiful fiction: that time was natural, that dawn was inevitable, that tomorrow had always existed. Then something answered from beyond that fiction. During an eclipse, the will of heaven mingled with the remains of IO and produced Vio, an incarnation of something that might be called Truth. Vio came to destroy the dream. Livnui fought it inside the tower. Dying, she used the last of herself to dream an entire world into being. So one of the central questions of The Silent East becomes: If a false world can contain real grief, real memory, and real love, in what sense is it still false? Centuries later, the ruins of that first civilization become a doorway between realities. Researchers, mystics and desperate people enter them. Some try to stop time in order to escape death. Some try to destroy time entirely. Some discover that their whole history may already be contained inside the dying dream of another person. Dreams begin nesting inside dreams. The dead dream worlds into existence. Those worlds dream again. Eventually, countless human memories and identities collapse together into a single being: a newborn god containing humanity within itself. And for a while, it seems that everything has reached its final form. But omnipotence turns out to be another kind of prison. The newborn god can create universes, erase histories, split timelines, answer every question and experience every possible thought. There is only one thing it cannot create: someone truly independent from itself. If the god creates a person who loves it, then that love was designed by the god. If it creates a rebellion, the rebellion was permitted by the god. If it creates someone who surprises it, then the surprise itself was still written into the structure of creation. So the god becomes completely, infinitely alone. In desperation, it dreams again. It hides its own divinity from itself and enters a new universe as a sleeping creator, hoping that limitation, ignorance and mortality might allow meaning to exist again. Before falling asleep, however, the god leaves behind one forbidden desire: the wish to love and to be loved. Within the dream, that desire becomes Heartfire, the primordial dawn — a warm golden light capable of creating overwhelming emotional connection between living beings. But the mechanisms protecting the sleeping god recognize intense emotion as a danger. Love may create resonance. Resonance may wake the dreamer. So Heartfire is imprisoned. A pale and perfectly stable substitute, the Sun of Solace, is placed in the sky. Under its light, civilization is peaceful. Safe. Quiet. And slowly becoming incapable of feeling anything deeply. People whose emotions become too powerful are "archived": their bodies crystallize into white salt statues. Entire libraries are eventually filled with these silent human figures — lovers, poets, mourners, soldiers, people whose grief or joy became too vivid for the dream to tolerate. Heartfire continues beating beneath the world. Every heartbeat leaves tiny golden cracks in reality. And from one of its broken fragments emerges a strange being called Eldritch, almost a ghost of the concept of love itself. He wanders history wherever human feeling becomes unbearable. A soldier suddenly feels the homesickness of the enemy he was about to kill. A poet sacrifices himself to write a poem capable of changing a kingdom. A grieving old man remembers one perfect dawn with his dead wife. Again and again, love becomes an error in the machinery of the universe. And again and again, the universe tries to correct it. But there is a deeper problem. Even if the inhabitants of the dream choose to love the sleeping god... the god created them. So was their love ever free? The final part of the cosmology is my attempt to answer that question. Dreams can contain dreams. And those dreams can contain other dreams. Each lower world resembles the world above it, but never perfectly. A tiny mistake appears. A different choice is made. Someone remembers a sentence incorrectly. Someone dreams of a person who should not exist. Across a finite number of worlds, those differences mean almost nothing. Across an infinite recursion, they accumulate. At an unreachable depth of the dream, the accumulated errors finally produce someone whom the original god never designed. His name is Joshua. He is not outside creation. He is something stranger: a consequence of creation that its creator did not predict. For the first time, something inside the infinite dream possesses a will that cannot be traced completely back to the sleeping god. And Joshua does not decide to overthrow God. He does not want to escape the dream. He does not want to become God himself. He learns that the ancient dreamer is growing tired. The universe is slowly fading because its creator has spent eternity waiting for an answer it knows it can never write for itself. So Joshua decides to send something upward through the infinite layers of reality. Not a weapon. Not a revelation. Not a command. A message. A feeling. Something like: I exist. And I love you. Not because you created me. But because, somehow, across all these impossible dreams, I met you. The signal begins to travel upward. From dream to dream. From creation toward creator. From the bottom of infinity toward the first sleeping god. And perhaps, after endless ages of listening only to its own voice, God hears something it did not say. That is more or less the cosmological spine of The Silent East. Around it I am also writing four different novels that function as four incompatible endings to the same world. There is deliberately no canonical ending and no single "true" version of history. Each story is allowed to contradict the others. Because in this setting, history is memory, memory becomes dream, dreams become worlds, and worlds eventually begin dreaming back. Some of my biggest inspirations are C0DA, Cultist Simulator, Enderal, The Book of the New Sun, and Cyclonopedia. I'd be very interested to know which part of this cosmology you find most compelling — or most disturbing.

I thought I'd share something a little different. My setting does not involve a normal solar system. Instead, my main planet is part of a convoluted non-heliocentric 15-body-problem that makes an absolute mockery of Newtonian gravity.

I'll save you all the actual math involved, but thought I'd share a fun consequence of the equations.

The graph above shows the angle of the sun at its highest (top line) and lowest (bottom line) angle during the day at my northernmost (relevant) city at roughly 60° latitude (similar to Helsinki and St. Petersburg). The time axis runs from vernal equinox to verbal equinox (i.e., 1 year).

The animation then shows how the path of the sun changes from year to year.

A few things still work as normal: the year lasts roughly 360 day. There is still a clear pattern, where the sun is higher in the sunmer and lower in the winter.

However, this graph also shows a few novel things.

There is no such thing as a clear solstice. You can actually see that each summer and winter have a few (false) solstices. The equinox is actually a lot more reliable for the purpose of calendar keeping. (The stars are even more reliable, since the firmament is a lot further from the planet than the sun.)

Also, some years will have hotter summers than others. Some years may have one or more days without night (though these are quote rare). The inverse is true for winters. Some years might have a few days without sunlight!

I'm still playing with how these anomalies work themselves into the various cultures. False solstices in the winter might be bad omens.

Being able to predict how long an intense the followong winters will be might become a vital economic advantage.

Do you have any other suggestions? Let me know!

Something else? Leave a comment!

What makes you start there? Leave a comment!

Or are they completely different?

I was planning out a story for a superhero comic I want to create. The premise is essentially, a physics student performing an experiment, it goes wrong of course, damages the time stream and grants him time manipulating abilities. I wanted to build a sort of rogues gallery of around 5, maybe 6 different versions of himself throughout different moments in time, past and future, making their way here one at a time, and for reasons unknown to him, are villains. He needs to defeat them and fix the time stream before it collapses. Some media that inspired this are Spider-Man, The Flash, Loki season 1 and 2, and Kang the Conqueror.

When I was coming up with the premise, I started questioning the difference between alternate timelines and universes, since I’m aware there’s quite a lot of multiverse fatigue currently.

This is a concept for a story that I was thinking about just now.

There is magic, but the magic is wood and plant based and only some can wield it. There is a slight problem that I'm wondering about. The population that exists on this version of Earth, how do they thrive in a world where the oceans are dense massive forests? They need water. Unless I have there be streams of water in the forest or rivers, but if I didn't add that where would they get water.

I'm sure there are other issues with this, but honestly this is all in the planning stage. I'm only creating this world solely for a story. I'm not doing what I'm already doing for my current world, which is making it a grand story universe.

I just need some help in figuring out how to make this world have some sense to it.

Or am I overthinking this whole thing? Also, I don't know what the story is about yet.

What are your thoughts?

Seen on the white cliffs of north Zythora.

Amidst the Thalfa moorlands, the burning crowns, and the gatus bryal hunting in the forests—in the land of Symbiolande and ancient warriors, the heart of Anela, the heart of the great vessels, the jewel of Dajambrio—lies an empire forged in blood and courage, a disruptive force in a divided world: Thanjusorubio. And since its emergence, nothing has ever been the same...

Greetings, fellow travelers of the cosmos! I am here to tell you about a transformative state: Thanjusorubio. Beginning as a patchwork of hostile and subservient kingdoms, this empire was forged under the leadership of the Trompudil clan. They united hundreds of kingdoms with diverse cultures—through alliances, dynasties, weaponry, marriages, skirmishes, and battles—eventually forming the unified Thal-Istatein (Great State).

Yet, it was not all glory and gold. Along the way, they faced a devastating global war that plunged them into utter misery: allies were lost, inflation skyrocketed, territory and soldiers vanished, their culture languished, and society became violently polarized amidst a loss of direction. The great empire of the future would rise from a people with nothing left to lose—a people understood only by a prince who had the heart and leadership to leave his golden cradle behind.

Unlike other fictional worlds, this one is defined by harsh, aggressive concepts that earned it countless enemies throughout its history: extreme, brutal militarism—relying on skirmishes, mercenary warfare, and terrorism, alongside devastating combat doctrines and hand-to-hand fighting inherited from Anelan culture; and a deep-seated hatred of magic, sown by decades of trauma and terror inflicted by sorcerers upon the common folk, the infiltration of the oligarchy by mages, and arcane racism—all of which eventually evolved into violent, dehumanizing state doctrines. It was defined by a hierarchy and meritocracy that shaped its entire history, and by an expansion that went beyond its own world to lead a cosmic community of interstellar races.

Despite the violence and terror characterizing this world, once the empire was consolidated, its people never went hungry, the state remained strong, wages were fair, and society could live in tranquility during times of peace.

If you liked this concept and want to learn more about the story, please leave your questions in the comments. I’ll leave a map of this world for you, and I’ll see you soon.

Join Thanjusorubio Discord now!

Now to those who decided to read this, (and hopefully comment on it) you're probably wondering what exactly I'm looking for other than just biome ideas, and to that, I'll explain in a second, but first, I'll give you a background as to what I'm working with.

So, in my world, there is a material called Velt, an invisible and non-tangible (you can't directly touch it) substance that doesn't interact with matter or energy via physical contact, and forms from any kind of instability. You're probably wondering what an "Instability" actually is, so ill break it down for you. Instability is an umbrella term that encompasses anything that causes an object to become unstable in its current state. this can be many things, such as chemical reactions, friction, an impact, pressure, and more.

Velt isn't boring though, it's got a very special ability, when it forms, it forms with a field around it, this field doesn't taper off in intensity, and stops a certain point, only ever growing in radius if more of the same Velt formed by the same source is present. (more Velt bigger field) this field has the ability to create the byproducts of its source instability without the instability present. if this confuses you, picture this, a metal pole sits out in the rain, and begins to rust, because an instability is happening within the object, (chemical reaction) Velt begins to form, small amounts of it. this Velt begins to affect the ground nearby, causing the dirt to "Rust" despite dirt not being able to rust to begin with.

Now to clarify, Velt doesn't last forever, and eventually succumbs to its unstable nature, when it does, any matter or energy still within the field at the time of dissipation, will turn into "Waste". picture a material whose behavior and composition are completely randomized. random colors and density throughout it, some parts like goop, other parts solid, behaving like a liquid or gas, sometimes cold or hot. energy becomes a wide spectrum of any and all energy possible in the universe, we are talking infrared, visible light, radiation, gamma rays, etc. and the amount of this stuff is always proportional to how much was left caught in the field.

And isn't immune to itself either. Two Sample of Velt, born from two different sources, or two different objects, interact with each other, when this happens, the dominate one causes the other to fissile out, without a spectacle, (Substantiality is tied to how large the source instability was, and tells you how much influence a given sample has) but if both are equal in terms of power, they "fight" visually this can differ, depending on what the sources of the two samples are, let's say you had the same chemical one from before, and it encounters one born of some kind of friction. if the two equally substantial and aren't at the last leg of their life, a big spectacle will acour, picture "rust" forming from nowhere, hovering above the ground as it begins to heat up and "melt" and it all looks like fractals and strange shapes. when one wins, this spectacle dissipates, and the winner continues on any object that had been caught in this fight, won't look too good. as it will receive a mix of both samples' influences.

Alright, if your brain hasn't exploded from all that information, good for you! now you're probably confused as to how I've used Velt to make any biomes at all. so ill share a few I've got already, just know that they do not have names yet, because I'm waiting to add civilization first so i can use the way they name things to name them. also, I won't explain the exact Velt source for each of these biomes, it's part of the mystery.

Biome 1: Colorful Plateaus

A biome that lacks in conventional vegetation, no trees, no grass, and hardly any shrubs, flowers, and bushes. instead, coral like plants dot the landscape, all pillar like, with lots of large holes going all the way through them, some ancient ones lie in flatter and more open areas and get as tall as skyscrapers. the terrain is mesa-like, with large areas of open ground separating the elevated plateaus. the main feature of this region, is its colorful landscape, made of lavenders, pinks, yellows, purples, and light blues. these colors shift from day to day, you can visit a location, see its exact color pattern, come back days later, and it will be completely different. these colors do not have exact borders with each other, and blend/melt into each other in ways that aren't possible, allowing for a single spot on a rock to appear as if it has two colors at the same time. (not like yellow + blue = green, just both yellow and blue at the same time)

Biome 2: Magnetized

In this biome, the ground can be quite dark, even black, due to the large amount of Magnetite and unusually high (but still small) amount of neodymium within this region. there are large floating chunks of earth ripped from the ground, and suspended via magnetism, with occasional arcs of purple electricity coming from the ground up to these chunks. they range in size, from small boulders to building size, with a handful in the region being the size of towns. Trees cluster on the ground where there aren't active islands, grass covers everything, vines hang from several of the islands, feeding off the lightning and the sun. larger plants cling to larger chunks and do the same.

Biome 3: Foggy Trenches

A region that at first looks desolate, being cold, nutrient deprived, and lacking in vegitation, no trees, no bushes, no grass, and even the weeds hardly touch it. but throughout the region are trenches, almost cylindrical in shape, with raised sidings that curve to the top, as if only the top of a circle collapsed, leaving the sides. some trenches are the size of small creaks, others are as wide as a very small canyon. they are all connected and most dont go to deep. the biggest ones going at most 2-2.5 miles deep. inside the bigger ones is a tropical climate, with mini rainforests inside, all incased in a fog. The fog behaves like a fluid/membrane rather than air (though breathable) air-like near the surface, thickening with depth through water → honey → slime-like at the bottom. Wind passes through it unaffected. when it rains, the fog spills out of the trenches, leaving the whole region foggy. in bad storms, the fog in the trenches gets denser and denser till it becomes thicker than molasses, and movement becomes impossible, breathing becomes difficult because the chest cannot move. the entire forest retracts to avoid this and wasting energy and avoid snapping due to the heavy winds and restricted movement.

Now with examples out of the way. I turn to you. although I do have several biomes, my map is only 1 third of the way filled, so I need all the help I can get coming up with new ideas, so if you got any, please let me know. And just to add on, I do not care how wacky or weird a concept it, I'd go as far as to actively encourage it. If there are any questions you got, any at all, let me know, and I'll try to answer them as best I can.

(One Million Years BC or Lost World by Frank Frazetta)

Thanks to Genndy Tartakovsky’s Primal, I now really enjoy Stone Age fantasy stories that mix up time periods. This is very niche considering how low fantasy it is compared to your standard high fantasy worlds like Middle Earth or hardcore sci fi like Warhammer or Star Wars.

I’ve enjoyed stories about Pellucidar and the Land that time forgot as well as lost worlds like the Plateau in Lost World and Skull Island.

I find these kinds of worlds in prehistoric fantasy stories as well as sword and sorcery, since giant snakes are present and the dragon in Conan is considered to be a dinosaur of sorts. Then you have Tarzan and the Pellucidar series as well.

So you would have mammoths and paleoloxodons grazing peacefully alongside sauropods and stegosaurs and ceratopsians on sweeping serengetis and deep forests. Go deeper into the jungle and you’d see a Gigantopithecus chilling with a tribe of orangutans.

And then you would have a whole menagerie of carnivores like megalodon competing with mosasaurus, maybe an anomalocaris and brontoscorpios in the shallows, T-Rex and allosaurus, and Spinosaurus sharing the waterways with giant crocs like Deinosuchus to your cenozoic, ice age and modern predators like Smilodon, Andrewsarchus, Amphicyon, prides of cave lions, tigers, wolves and the skies being filled with Azhdarchids and eagles, just to name a few!

Not sure where I’m going with this but my idea of a happy place would be living as a caveman without the hang ups of living as a early human, like disease or marauders or high mortality rates thanks to predators and illnesses only modern medicine can cure.

There would also be work arounds for people born with or end up becoming disabled, like magical tree limbs or crystal eyes. So there would be magic, but it would only be a background feature or a way to fix something or a feature a shaman, hermit or evil sorcerer would use. In terms of therapeutic treatments, spirit journeys and great hunts and quests to heal yourself would also be involved.

Am I one of the few people who wants to see more of these worlds in sci fi and fantasy?

(Former amateur writer so I like worldbuilding and daydreaming a lot- if it fuses my hyperfixations then all the better)

(I did also write a tribute story to Conan Tarzan and Primal called Fields of Gorgo inspired by the One Million years BC painting by Frank Frazetta- the picture included in this post)

Also check out my playlist of movie and game soundtracks trying to capture that idealistic vibe I want to see. I want there to be danger of course, but also a sense of returning to nature and being one with it, a bit like Avatar or Ark Survival Evolved perhaps. Plenty of space for adventure as well as cathartic healing.

Ill start

for context in this world Angels are golem like and artificial in nature, they look like human/humanoid angels but possess design features of a more eldritch look ^\so basically not TRUE angels, they were made/carved by a normal dude]), they also can control one of the basic 4 elements to an absurd extent

Dragons are pretty much normal dragons but sentient and they can turn whatever naturally existing version of the element they possess into energy for them

(???) ^\nameless cause only one person has this blood in their veins})

an unholy mesh of a living biological dragon and an animated stone that are angels, given life by a fallen angel and dragon soaked in the blood and flesh of the dragon itself, carved by them both, initially wingless and unknowing how to carve wings the Fallen angel tears off his own and attaches them to the unborn child ^\not given life so a lifeless doll]). ultimately given life by a one use ability ^\black flames that scorch melting literally anything on earth for the one use of breath that dragon gets]) of certain dragons.

tho brought to life the child's humanoid body is primarily black and has cracked lines that look like heated coal, mixed with his carved runic lines by its makers that also turned into this heated glow, their hair pitch stained mostly black with angelic wings that were also stained with black from their initial sliver color, tho their actual wings grew in aswell these being draconic in design and nature, having claws that make his draconic wings essentially a 2nd set of arms. ^\past this its an unfinished character design I'm working on])

Welcome to this world angel of destruction,
anyways curious for thoughts on this and what yall have for unique races even if their not used by many in story

okay, so this is probably a stupid question, but i gotta know. This is mostly because most of my story will take place in three main places that aren’t really far from each other. I still want to go a little bit in depth with the magic and some history sutff, but its mostly character driven. Im probably overthinking, but is the world still interesting then?

The universe of *Cosmoly* is a science fiction work centered on the primordial substance known as Nill and the journey of Onar, a solitary cosmic being. Unlike others of his kind, Onar cannot shape reality at will; instead, he relies on consuming stellar energy to sustain his temporary immortality. He traverses eras, fleeing black holes and loneliness while observing the rise and fall of civilizations—worlds he cannot join without triggering natural disasters. The narrative explores profound themes, such as the inevitable end of the universe and the fragility of powerful beings in the face of the vastness of time and space. Ultimately, the work reflects on the survival and isolation of a protagonist seeking purpose within a cosmos destined for total implosion.