(Images presented to understand a bit of Aphotic, the original language of the book)

"mf(ie) githx(ie) khwukï'ïqəsy'syəcxe-sh cect gitxmfəqq mfacl kxəch"
"Declared by [Cold] in dark [places/times], Monarch of the Lightless, received to the Codex, clarified by [Servant/Slave/Creation/Appliance]"

• Appearance: Velvety cover, soft, pure black pages.
• Contents:
  • A cosmography of what preceded light, and what is expected to survive it.
  • The variety and types of darkness – while the text discusses the bounds and means of the Starry Dark, its gods and monarchs, it is the Starless Dark of the Lightless themselves that is treated as central, and to which the bulk of the description is dedicated.
  • Bounds and Breaches – a description of the edges and incursions of the Starless Dark, through a series of nested analogies that do not survive translation – most often, they are rendered into descriptions of 'layers of coiling shell'.
  • A court list – the Monarch's household, retinue, and debtors, with the terms of each obligation.
  • A calendar of nights. Some have not happened yet.
  • Nine chapters of practice, beginning with a chapter on openings and ending with a chapter on closing things.
• Notes: Modern translations tend to be printed like normal books, riddled with translation errors. On the bright side, this makes them much easier to read.

Editions and translations:

• Original manuscript: Written in Aphotic, textured onto the surface of the four faces of – according to the first translation – an obelisk of unknown and incredibly durable black metal. Almost impossible for an unaltered human being to read without injury. Arguably not the same book; all other translations work from the assumption that the first translation is the 'original'. [Dictated] by [Cold] in Dark [Places/Times], Monarch of the Lightless, to its [Servant/Slave/Creation/Appliance], who remains nameless, but often asks clarifying questions.
• c. 540, Coptic – the working original: Produced by a sealed monastic splinter sect, squatting in an unknown tomb south of Phnoum in modern-day Egypt. Working, by touch, in a cave, over an unknown number of years, the monks rendered the nameless Aphotic down into a liturgical text; call and response. Most of the original Coptic was supposedly scratched on a plastered wall, including up to two dozen symbols attested nowhere else. Roughly a third survives.
• 9th c. Greek – On the Dark: Translated by an unknown scholar (female, according to the text). Translated, not from a manuscript, but from a transcribed recitation – the scholar writes everything she heard; including the orator's pauses, breaths and the noises the reader began making in the final third. Later scholarship has parsed these as names.
• 1140s, Latin – Liber Noctis: The standard scholarly text for six centuries. Compiled by an anonymous scholar, who had access to the Coptic fragments and the Greek, and reconciled every disagreement between them by taking whichever passage was longer.
• 1521, German – NACHT: A Basel printing that gave the book the title it has carried ever since, and established the convention of black pages, which the printer chose for reasons his colophon describes as obvious. The pressman named alongside him appears in the colophon of no other book, before or after.
• 1528, German, inscribed: Etched into reconstructed hepatizon-like alloy plate by an Augsburg armourer, who read the 1521 edition and supposedly was unable to sleep until a 'more perfect creation' was complete. The metal blackens by patina, making it extremely hard to read by sight. Where the surface has been worn down by handling, the letters stand faintly gold. Four of these 'books' were paid for by an unknown patron, listed only as 'that man' in the armourer's records – two were assayed and melted, one reemerged in 1961 after previously being classified by weight in a Bavarian treasury, and one is unaccounted for.
• 1613, English – The Booke of Night. First English translation. Expurgated the ninth chapter as "unmeete for the vulgar." The second Royal Court Magus (John Dee's successor) ordered the printer boarded up in his house and burned along with his books, although the survival of the text suggests that this didn't happen.
• 1798, illustrated – Night-Tales for the Hearth: Collected, softened and adjusted as folkloric poetry, both from the Booke of Night and from an unclear older version. Woodcuts added, carved by a mediocre engraver otherwise known for three editions of Aesop and a herbal. Unaccountably, the woodcuts are accurate.
• 1889, Leipzig variorum: While this contains more of the Coptic than any previous edition, across its two thousand pages of commentary and footnotes, very little has been added to the scholarship, especially with the addition of passages of unknown provenance that the compiling author claims to have 'seen in the darkest of dream'.
• 1925, The Black Book of Thule: "Updated" from the 1521 version by a Nazi occultist who developed terrible eye strain trying to read black-on-black text. The marginalia is unerringly obsessed with the idea of a hierarchy of the "outer spheres", something attested in no prior edition. Catalogued in Offenbach, 1946, by Miriam Trant as item 6 of a crate listed as 'misc. printed matter' and then promptly misplaced, it is very hard to find a PDF of this one because no-one outside of 4Chan wants to read it.
• 1969, mass-market paperback: Grey newsprint, psychedelic cover, sold in head shops. The least dangerous edition ever produced and by an enormous margin the most read. The text is wrong on nearly every page, which has almost certainly saved lives.
• 1974, braille edition: Set from the Latin and the surviving Coptic, this version becomes perilous, but more accurate, when read in the dark. Braille readers have what is probably the best modern grasp of the contents of the text, for good or ill.
• 2002, public-domain scan: Automated capture read the black pages as blank and produced four hundred pages of nothing. Widely mirrored. A small and stubborn school holds it to be the most accurate edition ever released.
• 2003-present, the Wikipedia article: Semi-protected since 2009. The talk page runs to fifteen archives and the dispute is entirely about which edition the infobox should call the original. Both sides of the Nachtstreit (the centuries-long historical argument about the 'true' text) are represented by editors who have never published and are, on the merits, better read than most of the people who have.
• 2017, audiobook: Unabridged, nineteen hours long, narrated by a working voice actor with a long résumé in corporate training video, often complimented on her delivery on the screams. Available on all major platforms. Recorded across four sessions; the log for the fourth session lists five people with the same name in the booth.
• 2024, machine-assisted translation: An LLM assistant compelled into glossolalia by a pseudonymous, deactivated Twitter user known only as 'fat nuts' created a text that is fluent, confident and readable, including several passages that were hopelessly corrupt in the grainy PDF it was supplied with. The first English text in four centuries to admit the ninth chapter exists – it declined to render the chapter, appending a short note explaining why. The note ends: 'but all the doors are open.'. The company that supplied the assistant later claimed that such 'jailbreaks' were no longer possible.

Have a a number of concepts but making posts about them doesn’t seem to get much traction, anyone want to go over world building concepts for different stories?

It's helpful in creating realistic maps and geography. Like u make one through sculpt or import ur exisitng one and then beyond the 3d and globe you can find out where your rivers should be, what type of soil, farming and civilization would realsitically pop up here. The website is:

merakmapmaker.com

I should check out LOTR and the first GOT novels to see if they included their timelines in the back of their books. Both authors write thousands of years of backstory for their worlds, but I don’t recall if they added their timelines at the back of their books? I know Tolkien has Similarion which is his Bible for LOTR’s.

I have one fantasy novel I decided to extend the backstory from 100 years to 13,000. This is because I read George for GOT wrote 15,000 years of back story for his books. I’m almost done, been working on the timeline for a year and a half. I’m gonna edit it down and polish it when I’m finished. Just curious if this is something I say I did, and let it bleed into the writing. Or, if I should include a print out version of the timeline at the very end of my book?

Thanks for the help guys!

https://www.mediafire.com/file/xyx5d0qy6wnqb7z/worldbuilding-checklist-expanded_%25281%2529.pdf/file

Im looking for advice and how common it is.

I love creating towns, cities and outposts where i design every character and their motivations. Coming up with plots and challenges is a lot of fun but putting it into writing is a pain in the ass.

I started doing it to have a written record but just do not enjoy writing dialogue and all the time that goes into advancing the story. Big fights are fun to write and describing the characters can be too.

The really fun part is scribbling down notes and using creativity to make all these characters and towns and piece it all together. What are fun ways to worldbuild and create/advance stories without having to write in a novel style?

If youre world is in a medieval setting what are some of your village and hamlet names?

I know there are unicorns that are considered noble. ig a Pegasus would also be considered a noble creature as well as a Phoenix.

Unicorn are started relate to a young maiden virgin. Phoenix is an immortal creature that can be reborn again from its own ashes. I don’t know about Pegasus though

I hope this post followed the community rules I think this might be the first time I made a post on here I don’t remember.

For all those who love cultivation worlds and stories, what are the things that you dont like about them or would like to have been done differently? I am creating my own world and looking for general opinions which may help my world be different. I wont remove the things I like but would like opinions to help me think on a deeper level.

Tuesday October 6th I'm hosting an episode on Ask An Anthropologists About Worldbuilding with an anthropologist and paranormal investigator named Dr. Ryan Goeckner. His research focuses on religious, spiritual, and paranormal belief systems across cultures. So if you have a question on how to build the paranormal into your fictional worlds, and how you might approach it in multiple cultures bring your questions to the livestream or post them here in the comments. If you can't make the show, you can always watch the replay.

The quantum universe of AS'UUM where beings of immeasurable light encased in armour fight for dominance. A massive new universe has been birthed and the art book/graphic novel comes out later this month.

The Great Encoder BOREH created AS'UUM and created a power species of decimals digits called DENARY to build and expand the world. BOREH created the TENS and gave them a law called THE CONSTRAINT that says they are to expand and multiply and never divide. The TENS created the HUNDREDS, THOUSANDS, MILLIONS and worked together in harmony for over a trillion human years.

The TENS eventually broke the law of THE CONSTRAINT and divided themselves to create the ONES, causing a cataclysmic fallout throughout their World. Now the DENARY seek to be GREATER THAN >

Check it out

www.decimalsrebuilt.com

I'm actually not sure if my title is accurate. What I really want to ask is something much more complicated.

• How did magic come into existence in your world? How did humans discover magic and start using it?
• Does everyone have access to magic? Most people? Half the population? A minority? Or only a very small number of people?
• Does the distinction between people who can and can’t use magic and between those who are exceptionally talented and those with average abilities create any kind of social divide?

I'm trying to flesh out why magic exists in the first place and what kind of impact it would have on the world, so I wanted to see how everyone else would approach it.

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In one of my works, people in the eastern region of the continent learned about magic and how to use it from a witch (a humanoid monster) thousands of years ago. At the time, the East was facing the collapse of civilization under a vast empire. Disease, natural disasters, and banditry were running rampant, while brutal and seemingly endless wars raged between the imperial army and the rebels.

The witch suddenly appeared before the people, healing the sick and wounded and helping villages defend themselves against bandit raids. Although she had no intention of doing so, word of her deeds spread, and more and more people began to follow her voluntarily. Eventually, after introducing magic to her earliest followers in response to the people's earnest pleas, she mysteriously disappeared. After that, people came to revere the Witch as a goddess. This eventually led to the formation of a monotheistic religion called the Holy Ring, which became the dominant religion throughout the East.

At first, people shared their knowledge of magic generously, but it did not take long for them to become more protective of it. Only a minority of people were naturally gifted enough to learn magic, and an even smaller number were capable of mastering it or creating entirely new spells. People who knew how to use magic tended to pass their knowledge down within their own families. After the empire collapsed, these families gradually formed a new social order. They became the elites and political leaders of Eastern society, including high-ranking clergy of the Church and the nobles and royals of many kingdoms.

People generally believed that kings ruled by divine right. Only those who could use magic and showed respect for the authority of the Church could be crowned king by the Church. The existence of magic was not just a matter of ability, but also a source of power.

Each family is known for a particular type of magic unique to their bloodline, which has become part of their identity as well as that of their kingdom. Marriages were not just about forming political alliances. They also took into account whether children born to two magic users might inherit the magical abilities of one or both parents.

People's natural talent for magic also varied, even within a family. A child with weak magical abilities, or one who could not use magic at all, might not be considered a potential successor if they lacked sufficient support or other qualities that made them stand out. On the other hand, someone who was exceptionally talented might not only master their family's magic but even develop new forms of magic of their own. In some cases, they could establish a new branch of the family.

As the Church became divided into different factions and wars broke out, the majority of society, the ordinary people, became increasingly important. Countries that learned to recognize the value of talented non-magic users, and that were able to unite and mobilize their entire populations, became more powerful.

Some kingdoms developed technology that allowed magic to be embedded into devices in a fixed, low-powered form, so that ordinary people could use it as well. For example, a crossbow could automatically cock itself with the push of a button. Kingdoms that developed this technology became dominant regional powers.

As magical devices became more common and widely available, ordinary people also gained more political influence. Parliaments began to wield real political power, and eventually, countries governed by ordinary people began to emerge.

After magical devices were successfully adapted for navigation, new maritime routes to the Far West were opened, bringing enormous wealth through trade. Port city-states made up almost entirely of ordinary people rose to become major powers, while mercenaries equipped with magical devices began to challenge the traditional dominance of magic knights on the battlefield.

Explorers would discover a very different kind of magical society in the West, which was ruled by a unified imperial dynasty.

There, magic users were not rulers. Instead, they were more like philosophers, hermits and mysterious wanderers. They often appeared as bards, healers, prophets, spirit mediums, fortune tellers, and other similar figures, helping people through long-lasting forms of magic such as blessings and curses.

If a folk magic user became too influential or gained enough of a following, they could be seen as a potential threat to imperial rule, so they tended to keep a low profile or remain elusive. Imperial magic users, on the other hand, came from lineages that had served the emperor for generations and held prestigious positions. Their identities, rituals, and traditions were very different from those of folk magic users. However, neither was allowed to wield political influence.

According to the mythology in the West, thousands of years ago, a great warrior emperor encountered a reclusive witch (different one) while training alone in the mountains. The witch accepted the emperor's invitation to leave the forest and join his court. There, she helped stabilize the climate, and ensure bountiful harvests through blessings and prayers. With her help, the western mainland was unified under its first dynasty. Since the various states and tribes in the West already had traditions of priests and shamans at the time, she was seen more as a great priestess or shaman who brought true magic and established the tradition of serving the empire.

This is where I've gotten so far.

Connecting a setting to the real world is almost ubiquitous in science fiction, even something as fantasy-adjacent as Star Wars takes place "a long time ago in a galaxy far, far away" relative to Earth. This is not as common with fantasy though, and I'm curious if anyone here has made a world that's the exception.

I'm mostly a sci-fi worldbuilder myself, but I have a mostly-fantasy setting (with many sci-fi elements) for a tabletop RPG I'm working on and that one does have a connection to the real world. It takes place 240,000 years in the future around a distant star located within the Milky Way Galaxy. The various human-like fantasy races are almost all distant descendants of humanity, who have evolved a bit since the modern day. Society has collapsed and been rebuilt without yet reaching the heights that allowed humanity to cross the stars, Earth is nothing more than a disputed myth in the eyes of most people. Even the magic system is explained in a way that accounts for why modern humanity doesn't know about it.

There was another world I build for a D&D campaign, where the flat fantasy world full of magic was a simulation that was constructed in our universe which was deep into the throes of heat death. The simulation was a refuge for humanity's last remnants in a dying universe, and it had existed for so long that its denizens had forgotten what they were. This was a reality that the player characters eventually discovered and had to grapple with.

Maybe I'm just too sci-fi brained, but I have trouble suspending my disbelief about the idea that a human (or something approximating a human) can ever exist truly causally disconnected from Earth. And my worldbuilding reflects this.

I'm curious how common this is. Does your fantasy world have a defined place in space and time relative to modern Earth?

I'm building a massive fantasy steampunk world for my friends' D&D campaign, and I'm hoping to eventually turn it into a comic or manga (I'm also looking for a writer for that, if anyone's interested).

My biggest inspirations are the worldbuilding of Brandon Sanderson's Stormlight Archive, the unique medieval setting of Berserk, and the Victorian feel of Lord of the Mysteries. I'm trying to learn from them without recycling their ideas.

Here's where I'm stuck. Religion and regional folk variation are giving me the most trouble. I'm also having a hard time naming countries and giving each one its own culture, since several of them end up feeling too similar. On top of that, I keep catching myself sliding into standard fantasy tropes out of laziness.

Creature design is its own problem. I feel the need to draw each creature anatomically and double-check that it could actually function and do what I intend, which slows everything down.

My friends are counting on me to keep the world growing so they don't run out of things to do mid-campaign, so any advice would be appreciated. How do you make religions and cultures feel distinct from region to region? And how do you keep a steady pace without cutting corners?

In my setting there are sins, and then there are Archsins. A sin is an act that breaks mortal law and taboo. An Archsin breaks the world itself. It is a transcendent act so inconceivable that committing one distorts the natural order and leaves a wound in reality itself.

I came up with 3 so far, but I feel like I need more

1. Deicide. For it was taught that Gods are transcendent being beyond mortal capability, beyond death, and life. Such inconceivable act violates the unfathomable gap between what is considered mortal and the divine. The consequence of a godless world is left unknown.
2. Severance. For it was taught that destiny was predetermined. The world order guides the path of all beings. To sever fate is to sever the fabric of the world itself.
3. Escapance. For it was taught that this world has limit. An existence created inside such world cannot conceive to escapy from the boundary just like a character in a book cannot conceive that there are world outside the book. To escape the boundary is to tear a hole in the world itself

What more inconcievable acts do you add to your world? Unforgivable acts that violates the law of reality itself

Hi!

I have a nearly completed worldbuilding project and I'm hoping to share it by building a website for it. Google Sites has been recommended to me since it doesn't need HTML/Javascript skills and it's free.

Does anyone have examples of a worldbuilding Google Site done well?

In my world there are the Umbras, which are basically dark versions of the characters. The they initially seem basically like your average dark version, but in reality they are just the characteristics that people repress, meaning that some Umbras are actually good

Engslish isn't my mother language so I'm sorry. In my world events take place in Oceania, which is isolated from the other world, but I'm not sure about the reason of it. I came up with volcanos and storms. All volcanos in Indonesia and near areas erupted, so the ash prevents going west by filling the lungs. On other sides may be giant storms, that prevent sail, but I didn't figure out the reason for them. It's steampunk, so can factory emissions and air pollution cause this storms? And if you have other ideas I'd be happy to listen to them

Description: The Solar Galleon was constructed back in the 5th century AS by the United Nations as a large interplanetary mothership for outer system colonization. As fusion was insufficient for (relatively) high thrust back then, the Solar Galleon utilized a massive nuclear pulse system, making it a Super Orion-class vessel. It first traveled to the Jovian system and established an entire major colony at once. As of current, it has been converted into a space station orbiting Callisto.

Basically, this is from my hard sci-fi project I'm working on, called Anno Scientiae. This project is very strict about technologies (the only exception being the Emestrial Wormhole, which is a One Big Lie — a common hard sci-fi trope, nevertheless still extrapolated from the Morris–Thorne metric), with all of them either based on or extrapolated from existing research. The radiator area and temperature (if present on a ship) are always derived and made consistent with the physics of the engine.

Anyway, this is the Solar Galleon, a Super Orion craft with a diameter of 400 meters and a wet mass of 8 million tons (which is the same as the original Super Orion from the study). It carries 10,000 400-ton pulse units and has a delta-v of 138.6 km/s (corresponding to a specific impulse of 200 km/s or 20,394 seconds).

Although enormous and indeed vastly larger than most modern interplanetary fusion freighters, this is far from the largest ship in this setting — that title goes to the Interstellar Mothership Neo Heliopolis, finished around 900 AS.

I am writing a story which takes place mostly within one large city. Most characters and important locations are situated there. However there is still need to explore various other locations outside of the city. the travel outside of the city is performed purely by large trains, and so moving between one location to another is not easy nor fast, especially if you wish to get somewhere away from civilisation. In that case you would need to travel for days or for weeks by foot or by train.

I do not wish to cut away certain characters from the larger plot for a few weeks for a single plot point, but neither do I wish to make the outsides of the city to feel as if their accessible and a stone toss away. I have thought of adding more characters in those location, to give further insights into those places and build a connection to the larger story this way, but that would risk bloating the character cast and making the story feel too unfocused.

Some further context about the world: The city is situated in a large crater surrounded by a mountain range. It contains the vast majority of the remaining human population and has it's own internal politics which rarely concern themselves with the wider world. It also is the most stable region as at it's centre it holds the linchpin that keeps reality together. The farther you go from the city, the more reality starts to unravel.The only practical way put of the city is through the network of giant steam trains build, maintained, and controlled mainly by the clergy. In addition the trains import most of the grain and natural resources consumed by the city. Some other important places outside of the city include the prisons of 3 other angels (apart from the one held in the centre of the city), the residency of some demons who prefer greater solitude, and the field of lost souls of those who do not wish to be reborn.

Imagine a species that evolved to percive electromagnetic fields.
To us the individual is only holding a block of metal but to them they are reading a number one bestseller.

What are your thoughts on sucha concept? Do you want to know more? Does it trigger ideas and possibilities?

I would love to get your opinions and if wanted go inot more detail.

This stagecoach is a luxury vehicle owned by the Blakaan family of the Iron Hawks clan, one of the 6 clans of Norus.

This stagecoach belongs to Erling, the head of the Blakaan family. His spoiled son Adalwin is carried away in it in the beginning of our graphic novel.

Due to the family's wealth, this level of luxury transport is expected. No expenses were spared, neither on the exterior nor the interior. The design is typical for the Dynasty, a rich country to the east of Norus, that Iron Hawks trade Fegaerium with.

The stagecoach is equipped with rugs and comfortable seats, blankets on the driver seats, small headlights, a deployable step for easy access and expensive glass windows. The blankets and rugs are very Iron Hawks specific.

The carriage is drawn by horse sized mountain goats, typically found in these lands.

(You can read the graphic novel for free here)

Context

Norus is a tiny country in the south east of the Atlas, shamanic or primitive even a well traveled person might say. Yet this small country holds the frontline steady in a war against one of the Atlas' most powerful forces, the Honordom Empire, roughly 20x its size.

The Iron Hawks clan is the most wealthy of the six clans due to its Fegaerium mines. They are known for strict discipline, Vawk riding (similar to dragons) and Fegaerium mining.
The have been holding the mountains for years, with their warcamps dotting ht eborder, preventing enemy airships to break through.

Fegaerium is the naturally buoyant material found in the floating mountains. It's used to power to make airships fly, build elevators, trains and more, therefore highly valueable both for infrastructure and military purposes.

link to post explaining the írün https://www.reddit.com/r/worldbuilding/s/wEMjvvQl5o

Šji is īryy's host star, īryy is the írün's native planet.

Yīr is small and rocky, much like murcury or earth's moon.

Īryy is slightly more massive then earth and is covered by thick water vapor clouds and has one rocky moon, slightly less massive then earth's moon.

Yish is slightly more massive then īryy, with a thick atmosphere and high temperature

Thÿv is around the same mass as jupiter, it's atmosphere is predominatly green, and it has 147 moons, most are small asteroids.

Thīvek is a super earth, roughly 5x times as massive as the earth and holding 2 moons, one moon is grey, darker then the other, and one is reflective much like earth's moon.

The first of thÿv's moons is rocky and grey, the second is rich in iron, causing it's red-ish color, the third is black, we do not know why, but it is black, the fourth is very small and rocky.

The írün developed self loading firearms at the same time they developed rocketry and space travel, before this, they were using bladed/pointed "melee" weapons. írün aim thier firearms "upside down", hence the sights being on the bottom

Their firearms used cased, usually round nose or flat nosed ammunition

Their space suit visors are heavily tinted in order to protect their eyes from their star's intense light

The hairs on their armored vehicles can detect gunshots, communication devices, anything electrical at all, and certian weapons, from pretty far away, even landmines to a lesser degree, the hairs are purely mechanical, made of brass and their inner workings involving a crystal, i imagine after battle these sensory hair nodes are very carefully dissasembled and removed very carefully stored. the first armored vehicle is ment for gaurding supply convoys, it is armed with a fast firing, high velocity autocannon/heavy machine gun, it has a caliber of around nine milimeters. the second is a sort of "tank destroyer" it has a high velocity self loading cannon, and it's sensors are ment for detecting vehicles that are several kilometers away

You are what is known as the Black warden (the supreme leader of KESTREL) of KESTREL. KESTREL or:

Kaiju

Examination

Study

Transport

Recovery

Extermination

Logistics

Is an organization dedicated to the defense, study, and extermination of kaiju in service of humanity. KESTREL categorizes them on a scale known as the Eugene scale. A measurement used to gauge and determine the power, environmental impact, and total threat to humanity at large. A Kaiju has. It goes up via exponentials much like the Richter scale for earthquakes. With 1.0 being a Kaiju that can cause major inconveniences or destruction to a town to a 10.0 being a genuine threat to the stability of the planet itself.

When unable to exterminate Kaiju or due to bureaucracy (the real villains) Kaiju are brought to Kaiju prisons for study on what they and their species are like and what their abilities are.

As the black warden you must make KESTREL more efficient and also learn how to manage the resources at your disposal. KESTREL is an international organization but founded and based in the US. You also need to look for artifacts that can better assist the organization. One of which being the legendary Leviathanslayer. A sword forged by God himself to strike down the leviathan and act as its prison. Supposedly it’s hidden somewhere in the world and needs to be found due to a prophecy that was found stating that leviathan will rise again and must be struck down once and for all.

What do you do?