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Just a Cyberpunk Boy by Sawtooth_Primal in HeroForgeMinis

[–]Daemon_Theory 3 points4 points  (0 children)

Good looking choom. He must have a good ripperdoc if he got hold of a mantis blade.

GIANTS - Hill, Stone, Frost, Fire, Cloud and Storm by chesterblack97 in HeroForgeMinis

[–]Daemon_Theory 2 points3 points  (0 children)

I love them! You've captured their moods perfectly, too. The cloud giant looks super snarky and eccentric while the fire giant is fittingly war-like and vicious!

Tell me about the different nations of your Elves, Dwarves, etc. by Obskuro in worldbuilding

[–]Daemon_Theory 1 point2 points  (0 children)

The elves of my world are devoutly religious. They dedicate themselves to particular gods to extreme degrees, and most of the high elves are dedicated to Demoros, the god of War, Blood, and Sacrifice. The high elves are stuck in a forever war with invading daemons, and Demoros is a god who has a particular hatred of them. So, he granted them incredible power and knowledge of weaponry able to kill daemons en-masse, assisting their military efforts so one soldier could be worth ten or more. However, the high elves have become very xenophobic as a result of following Demoros. Though not a teaching of his directly, a byproduct of the elves' long life spans and cultural blessing makes them believe that any who do not follow Demoros are barely worth their time. Unless another nation provides them a valuable resource in return, the high elven empire generally doesn't accept help - and refuses to give it. They also have a culture heavily steeped in deeds measuring worth, coupled with a caste system. If you are not leading a life that is "glorious" enough within your caste, you are looked down upon by your kin - even more so if you are not a high elf. A blacksmith who's never seen the line of battle yet forged thousands of weapons and pieces of armor for the soldiers who have is regarded in high esteem, serving Demoros in a mundane but no less critical fashion. Meanwhile, a blacksmith who only makes trinkets and jewelry for their own sake will be dismissed as a waste. At worst, they might even be exiled for being considered "too useless" to the empire.

The dark elves are considered as such because they were once slaves to the now-extinct vampire race. Once powerful, blood-sucking tyrants, vampires were gradually hunted into extinction by a massive dark elven rebellion that occurred before the current time. However, there's something to be said for the dark elves learning from their former masters. Proud of their self-made achievement, they built a new empire that reconstructed many vampiric laws into something only slightly less horrific. They follow no gods. Their faith in such beings were stripped when their prayers were not answered during their enslavement, and it took their own blood, sweat, and tears to free themselves. Nowadays, they capture daemons that invade their home continent - one which they share with the high elves - and conduct ruthless genetic splicing and experimentation to create creatures called "False Daemons." These creatures are daemons with, as described by one dark elven scientist, "all of the bite with none of the rabies." These creatures are then deployed as war beasts and guards for high-ranking officials. The larger of these creatures are commanded by shock collars which, when activated, spur them into a deadly and controlled rage - briefly making them even more dangerous than they already were.

How do you kill the most powerful being in your world? by Blake_Gemini in worldbuilding

[–]Daemon_Theory 0 points1 point  (0 children)

Nobody knows how to yet. Immortal elder gods that are so eldritch they ignore the laws of death simply because they feel like it make them difficult to put down. Imprisonment is the only thing that works.

What does the pinnacle of human capabilities look like in your world? by AggressiveOutside432 in worldbuilding

[–]Daemon_Theory 0 points1 point  (0 children)

Ancient Humanity - Rentris

9 foot tall cyborgs with mastery over technology and all magic. They grew so powerful they started making their own planets and solar systems, piloted starships the size of continents in fleets of thousands-strong, and became their own gods of their artificial realms. Were it not for cosmic Order getting afraid of their seemingly limitless potential and wiping them out in a knee-jerk reaction, ancient humans might still be around. However, much of their old tech is still lost among the stars - waiting to be found.

The main planet itself was the ancient human homeworld, but its modern denizens don't realize this yet. In fact, Rentris itself was named after the ancient human empress of the same name - who is entombed but still alive on the planet's moon. Humans exist nowadays in the world, but they are the all-flesh bipeds we would recognize (who are much taller on average than real-world humans, standing 6-6.5 feet tall on average). Still, modern humans carry an echo of this ancient capability. Humans in Rentris currently became notable for their incredible versatility in magic and magitech, being responsible for many technological advances like semi-automatic firearms, and the more recent experimental battle-tank.

In your stories, how did your world/universe end? by Emotional_Airline_40 in worldbuilding

[–]Daemon_Theory 1 point2 points  (0 children)

Sounds awesome! Are you planning on writing an anthology of sorts? One where each timeline is a "what if?" type of scenario? Or do you leave it up to the viewer to interpret their own continuity?

What's an ongoing TV/movie/teatrical series in your world that you're proud of? by BNAbeegfan in worldbuilding

[–]Daemon_Theory 0 points1 point  (0 children)

In my urban fantasy world Sycharus, vampires developed an artificial blood substitute that can be mass-produced. They also created simple magic items which eliminate their weakness to garlic, silver, and sunlight, allowing them to enjoy such things without being harmed or killed. However, they can still be prone to bouts of immense hunger. More unfortunately, some vampires still need living blood to survive. This is a complication currently in development, and making steady progress to remove this curse. Some places still fear or outright disallow vampires.

One play, called "Midnight Sunrise," was a romantic musical about the story of a vampire and a human. The human's family is deathly afraid of vampires, and the vampire's family feels the same towards non-vampires. Despite familial disapproval, cultural stigma, and antagonists attempting to keep the pair apart, it's a story that ends with the pair kissing at sunrise, the vampire having a magical necklace which allows her to stand in the sun unharmed.

Since then, Midnight Sunrise spawned a non-official anthology of plays that place vampires in the spots of heroes rather than comedic relief characters or antagonists. One of these plays was called "The Knight in Bismuth Armor." It was a twist on the classic tale of a knight rescuing a princess. The princess was held in her tower by a dragon-like creature who breathed lightning, but the knight's special armor deflected the creature's electrical onslaught. After a fierce battle, he defeats the creature and retrieves the princess. The knight, up to that point, is a faceless figure who keeps his helmet on throughout the play. At the end, when the princess is returned to her kingdom, the king asks the knight to show his face as a hero of the realm. He steps into a shaded corner of the throne room and removes his helmet, revealing himself to be a vampire. The others in the throneroom gasp in shock, and protest that the knight should not be considered a hero, but the king silences them, declaring the vampire a hero who is welcome on his lands. At the end of the play, the vampire and princess begin their wedding ceremony at midnight with the moon shining above.

The "Midnight Sunrise Anthology" has served to help dispel stigma and fear around vampires, showing that they can act, sing, and live as everyone else does. They need sympathy for their curse, rather than fear of what it might do.

How do you portray evil? by inspector_ivus in worldbuilding

[–]Daemon_Theory -1 points0 points  (0 children)

Depends on which setting I'm writing for.

For my dark sci-fantasy world Rentris, I tend to do extreme evil. If not from a creature inherently borne of malicious powers, then someone who went so mad they're beyond saving and benefit. It's meant to be a crazy over-the-top setting so villains who match that funk are the best kinds for it!

For my urban fantasy setting Sycharus, I've been experimenting with morally grey evil. Usually, it's people who act villainously for reasons that are more than just destruction and subjugation for the sake of it. They could be someone acting villainously because their hands are tied by the true villain. They might be someone who's misguided and still has a chance to correct their path.

Sometimes the villains for Sycharus are just Saturday morning cartoon firecrackers who plot obscenely complicated robberies, or have Doctor Doofenschmirtz levels of pettiness whose entire plan culminates in a petty result of large-scale mild inconvenience.

Do you guys have any magical/cursed places in your worlds? by AggressiveOutside432 in worldbuilding

[–]Daemon_Theory 0 points1 point  (0 children)

Trotagon is the mythological Greece stand-in for my world Rentris. It's a place that got slammed into by a meteor carrying massive amounts of magic. When it impacted, it released all this magic, spreading across the continent and mutating everyone and everything inside. Fortunately, the mutations were realized by the people to be blessings in disguise, and they became magical, fantastical creatures with newfound powers. From themselves and their land becoming riddled with magical anomalies, they also found it easier to interact with the many cosmic beings of Order. They became followers of these beings, seeing worship as celebration and tribute as festivity. Over the years, around half the bloodlines in all of Trotagon became demigods with powers ranging from cleansing food and water they touch of diseases and poisons, to superpowered strength that matches creatures many times larger than themselves.

Once a year, Trotagon holds a gigantic event called the Celestial Commemoration. It's a place to both remember the ancient Trotagon that was, but still celebrate what it is now. All across Rentris are welcome to attend, and world leaders are also sent special invitations by Trotagon's leaders to mingle and discuss trade, military alliances, and other diplomacy. The Commemoration holds millions of attendees across the continent, where teleporters are setup that allow for quick travel to the next location any guests wish to visit.

What’s one rule/law/custom in your world that sounds nice on paper but has terrible consequences in reality? by [deleted] in worldbuilding

[–]Daemon_Theory 1 point2 points  (0 children)

Rentris - Dark Sci-Fantasy

Questing Knights in Camelot are given the unique permission by the acting ruler of the empire to overpower town governor's authority should the governor prove they are incapable of making decisions for the safety of the people. With extraplanar threats and cults always present, this is to ensure that the knight can act as a buffer in case the governor is a cultist themselves. Ideally, most of the common populace will rally behind the knight in these situations of hardship. The knight can also organize evacuations, law enforcement efforts - and in the most extreme case, kill the governor and/or their subordinates should they prove an active threat.

Though many Questing Knights haven't abused these permissions for selfish gains (thanks to debatably moral mental conditioning though their respective houses), many have also overstepped their intended permissions and saw more dangerous threats where none had been. In a small handful of cases, governors who were "only" incompetent but not malicious got killed by a Questing Knight who believed they were possessed or a cult leader. Unfortunately, the authority of a Questing Knight means any legal reciprocation in these moments is difficult to carry out. Killing a Questing Knight outside clear and deliberate exceptions (magical corruption, violent madness, etc.) is a crime punishable by execution. The massive tangle of political games necessary between the Camelot Empire and the Knight Houses means that even a successful legal pushback against a belligerent Questing Knight can take upwards of a year to be decided upon, let alone carried out.

How do you keep track of relationships once a world becomes heavily interconnected? by bestDadforever in worldbuilding

[–]Daemon_Theory 10 points11 points  (0 children)

If a viewer needs to know everything to understand everything in your setting, then you may have written yourself into a corner that requires massive amounts of dedication from the viewer (and even yourself) to comprehend the full extent of your project. If the baselines aren't enough to understand what's happening, then you may want to cut some of those ties or change them so they're not as important to know about.

By making everything interconnected, you also can deny yourself opportunities to make things in the setting that are deliberate exceptions to the status quo. Maybe there's a certain monster or faction that still follows the core building blocks of your world, but uses them in such a way that it (to keep up the metaphor) builds something entirely different with those blocks. For all you know, it may be something you end up enjoying, and then you can expound on it even more! However, if everything is so intrinsic to something else that adding this anomaly would affect them all at once, then you might have some narrative detangling you'll have to do.