To create a fictional race

Different cultures and races will appear depending on the geography of the fictional world in which they exist. These can be intelligent lifeforms or other kinds of races with unique characteristics and traits.

When creating races for a story or worldbuilding project, it is essential to consider various factors such as their geographical placement, morality, beliefs, and languages. The environment plays a significant role in shaping a race’s physical attributes, cultural practices, and societal structures.

Geography can influence the physical appearance and adaptations of a race. For instance, in a world where harsh desert conditions prevail, a race may have evolved with darker skin tones, efficient water conservation mechanisms, and the ability to withstand extreme temperatures. On the other hand, a race living in secluded rainforests might possess lighter skin tones and be adept at navigating dense foliage.

Morality and beliefs also play a crucial role in shaping a race’s characteristics. Some cultures may value honor and bravery, resulting in societies built upon codes of conduct and chivalry, while others may prioritize stealth and cunning, leading to societies focused on espionage and subterfuge.

Languages are an integral part of any race’s identity. Each race can have its unique language or dialects, and even the use of language barriers can serve as a source of tension or conflict between different races, adding depth and realism to intercultural interactions.

It’s important to note that races can vary depending on the genre as well. Some races are intrinsically tied to a specific genre and may seem out of place if their origin in that universe is not explained. For example, while elves are stereotypically associated with fantasy settings, their inclusion in a science fiction world would require a logical explanation or unique spin. On the other hand, a highly advanced and technologically oriented civilization appearing in a high fantasy setting might spark curiosity and demand proper contextualization to maintain the suspension of disbelief.

Geography

LocationDescription
CavesThe inhabitants of caves are used to the dark. Those that live in caves can vary from large monsters to little anthropomorphic beings.
i.e.- Goblins, slimes, drows, etc.
MountainsTo live in such a harsh environment a race will needs to be quick and strong, or at least know how to raise animals so that they can be fed and use their skin to create clothes. The race could resist cold or heat, depending on their place of origin.
i.e.- Trolls, dwarfs, draconic races, etc.
PlainsThe most common races living in plains are nomad or are established in small villages. In some works of fiction, races from the plains are normally anthropomorphic beings, with or without animal traits.
i.e.- Humans, lesser monsters, etc.
ForestForests are the place for druids and hunters, so its inhabitants will surely be skillful with those traits. Very nature-based civilizations.
i.e.- Elves, anthropomorphic animals, spirits, etc.
SwampsSwamps are often associated to evil and cursed waters. A harsh place to live where it is either eat or be eaten. A place where witches, undead and so on live.
i.e.- Undead, anthropomorphic reptile/amphibian, etc.
Cities and TownsLiving in a city or in a town is the easy life for any kind of race. Normally, those locations are near a source of water. People living in cities and towns are more capable at communication and travel than other races from the outside. Humans are the most used to live in this kind of environment.
Outer PlanesUnknown planes of existence, extradimensional. Races living in those harsh environments are very different physically, since they had to adapt their bodies (if they have material bodies) to their plane of existence.

Physical Attributes

Physical AttributesDescription
AnthropomorphicSpecies with human-like traits
Draconic / ReptilianSpecies with draconic-like traits
i.e.- Scales, wings, tail, etc.
Animal (mammal)Species with animal-like traits.
i.e.- Ears, tails, wool, etc.
Amphibian / Fish Species with amphibian-like traits. Can survive in water
InsectSpecies with insect-like traits
EtherealA species that lacks material substance

Unique Traits

Unique TraitsDescription
Dark VisionCan see in the dark
CamouflageAble to fuse with the environment and hide
Mana manipulationAble to use magic to its benefit
Hard scalesSpecies has sturdy scales that can defend the user from some attacks
PoisonousAble to infuse venom into other species
ExoskeletonHas external bones that protect the innards of the species from attacks

Specialties

Unique TraitsDescription
ForgingThe race is very skilled with the forge
ForeseeingSome members of the race can foresee the future or predict some results with high chances of success
Scientific knowledgeSpecies has knowledge about science and can apply it to real-life uses
Natural connectionThe race is connected with nature
Magic ArtifactsSpecies can create magic-imbued artifacts
Material gatheringSpecies is skilled in the gathering of any material

Background

BackgroundDescription
Lost civilizationThe species was lost long ago
Progenitor raceThe race is the first civilization from the planet
Noble raceOther species deify that race
Despised speciesOther species hate that race
Foreign speciesThe race had to move out from their place of origin for some reason
Hidden raceThe species has been hidden from the world

Secret Societies

Adding a secret society to our world, whether in literature, video games, or other formats like role-playing campaigns, is a great way to bring variety and freshness to our stereotypical religions/cults.

This article will discuss the creation of hidden organizations in the world; societies that manage to exist for years without the need to come to light, whether they are small-scale or global. To do this, as in previous articles, we can answer the following questions:

  • Who (or what) is the object of worship?
  • What are the goals of the secret society?
  • Why do they remain anonymous?
  • How is it possible to join the secret society?
  • What promises are made to the members?
  • What activities are conducted within the organization?
  • Who or what leads the organization?
  • Who are their allies? And their enemies?
  • Is it possible to leave the secret society? What happens if someone wants to leave?

The answers to the previous questions can be very helpful in establishing the foundations of the secret society we want to create or to keep in mind for a future expansion of our world.

Who (or what) is the object of worship?

Very often we find that the object of worship of a secret society in different worlds is a deity from that universe, whether it is a forgotten god, one shrouded in mystery, or even a well-known one in the popular pantheon.

Alternatively, a secret society can base its entire organization on a specific artifact or a philosophy; the object of worship does not necessarily have to be based on higher beings, following the trope of religious cults.

On the other hand, a secret society can have an abstract concept as the object of worship, such as spiritual enlightenment or reincarnation, or beliefs in the need to change society, revolution, or the elimination of the perceived enemy.

To add some more ideas, we can make the object of worship be the belief in supernatural powers, the use of magic with the premise of making the members of the secret society believe that the possessors of such powers are “chosen.”

But if we want to focus on the more realistic side of secret societies or cults, we can observe a similar pattern to religions: the worship of a person, whether it is a mentor, a charismatic leader, or a parent; these types of cults are effective because they create strong bonds between the object of worship and the members of the society.

What are the goals of the secret society?

The objectives of a secret society are typically closely related to the object of worship; therefore, it is what the members of the cult are faithful to, and show their greatest devotion to.

Fortune, power, influence, war, knowledge, and the like are usually one (or more) of the objectives that a secret society seeks to achieve.

Why do they remain anonymous?

There can be several reasons why a secret society wants to remain anonymous, whether it is a morally good or bad organization.

Various motives for keeping the society in secrecy depend on its objectives, or the object of worship. These may differ from the ethical and moral foundations of society as known in the world, and therefore they do not want to be publicly revealed due to fear of the consequences (or an inconvenience).

Possessing an artifact that grants divine gifts, unlimited wealth, or control over the population means that the society’s desires are to hide it in order to not attract others, protecting such artifact from the outside world, or to secretly use it without anyone knowing of its existence.

On the other hand, a secret society may remain hidden to do good, as certain information can cause chaos in the population. These societies may stick to the anonymity so that an enemy does not know the opposing party’s final moves, or to protect the world from an uncontrollable power (as other individuals who knew of its existence would use it for evil and selfish purposes).

How is it possible to join the secret society?

Alternatively, we can answer the question «How are members recruited into secret societies?».

When we talk about an organization, its members can join voluntarily, likely going through a preliminary analysis by the organization’s recruiters. In the case of secret societies, given their nature, the norm is rather the opposite.

To be able to enter or recruited into a secret society, one must be enlisted beforehand by the recruiters of said society, taking into account the individual’s abilities or mindset.

We can create various ways to include members in our secret society, from rituals, genetics, choice by a leader or artifact, prophecies, or even through bribery or threats to family members (although the latter is less subtle).

What promises are made to the members?

As for what can be promised to members of the secret society, we can simply use the accumulated wealth of the society to support members and their families as an incentive.

Alternatively, we can create ranks within the cult where ascending means learning more about the buried secrets by the leader of the society, the acquisition of supernatural powers, or simply a position of greater importance in decision-making.

Regarding sects, cults, and societies in our world, we can find that many of the promises made to members of these organizations are about salvation, whether it’s ascending to a higher plane of existence or being saved from the end of the world.

What activities are conducted within the organization?

Often in works of fiction, anonymous organizations tend to engage in political or religious activities, although the specific nature of these activities depends on the secret society itself.

In a broad sense, the secret society will carry out its activities in order to achieve its goal, which may include controlling the masses, conducting religious rituals, gaining positions in politics and the local economy, and more.

Internally, there may be various activities in which members of the secret society can benefit, such as the ones mentioned earlier in this article, such as promotions, acquisition of power or training of skills, and so much more.

Who or what leads the organization?

We can make this question very simple if we decide that the secret society is led by a single leader. On the other hand, something that creates a lot of tension and suspense for the audience regarding this type of organization is not knowing if those who lead the secret society are puppets or if they are actually the masterminds.

The latter is known in fiction as the trope of the puppet leader, a good way to create plot twists regarding our secret society.

Other ways to lead the organization can vary from internal democratic systems, leadership through an artifact, power ranking systems, etc.

Who are their allies? And their enemies?

Every organization, whether secret or public, must have allies to rely on and enemies to fight for their ideals.

In our secret society, we can create subsidiaries that originate from the organization. Similarly, there may be other secret societies working against the main one, either due to different ideals or personal motives from their leaders.

Is it possible to leave the secret society? What happens if someone wants to leave?

We have discussed the possible benefits that can be offered to members of the secret society, but on the other side of the spectrum lie the consequences, and the agreement (written or oral) of remaining in the organization.

When we talk about a society that is anonymous to the world, the consequences for members who try to escape will be much more severe compared to those of members from a public organization, as the member can expose the secrets of the cult/sect/secret society.

No member of a secret organization will be able to leave without consequences, although the extent and severity can vary depending on the specific society and its rules. Social isolation, loss of privileges, personal identity crisis would be examples of the “lesser evils” that a society could punish to an ex-member. On the other hand, what I would call “greater evils” are on the more dark side of the spectrum, with “death” being one of the most benevolent of the punishments (feel free to imagine).

Protagonism

We talk about protagonism in relation to the characters of a narrative when we refer to the importance of these characters within the plot.

Protagonist

Going back to the origin of the word, the protagonist is “the one who plays the leading role; main actor.” We refer to the protagonist of the story as the character who drives the plot, who pursues the main objective and undergoes changes or evolves.

Types of protagonists

We can observe three types of protagonists in stories: the hero, the anti-hero, and the villain.

Hero

“The good one”, the one we can empathize with and support along their journey. A hero embodies traits or characteristics that anyone admires or desires; they are an example to follow.

An important fact about the role of a hero is that they are a type of protagonist, but not all protagonists are heroes. Every story needs a protagonist, but not all stories need a hero.

Examples of heroes include Harry Potter, Frodo Baggins, Superman, and so on.

ANTI-HERO

Unlike the hero, this type of protagonist does not have traditional heroic characteristics or traits, as they have common weaknesses and flaws.

Their actions, although heroic, can be seen as amoral from an objective point of view.

Examples of anti-heroes include Light Yagami, Deadpool, Walter White, etc.

VILLAIN

Paradoxically, we can make the villain of the story, “the bad guy,” the protagonist at the same time, being the center of the action and the one who drives the plot.

A clear example of a villain protagonist is Anakin Skywalker, a character who starts as a hero and ends up becoming one of the most well-known villains in cinema, Darth Vader.

Main Character

One last topic to consider is the comparison between the main character and the protagonist of the story, as they can be the same character or two different entities.

Both the protagonist and the main character are important to the story. The difference between them is that the protagonist drives the plot while the main character is affected by the plot.

An example of the separation between protagonist and main character is in Charlie and the Chocolate Factory, where the protagonist of the story is Willy Wonka, while the main character is the young Charlie.

Deuteragonist

We refer to the character of greater importance to the plot next to the protagonist as the deuteragonist, also known as the secondary main character.

The role of the deuteragonist within the plot is typically to show the protagonist’s development throughout the story, or to compare and highlight the protagonist’s personality with that of the deuteragonist.

Examples of deuteragonists are Ron Weasley and Hermione Granger from the fantasy series Harry Potter. In Mistborn, Kelsier serves as the deuteragonist, while Vin is the protagonist and central focus of the story, even though she is introduced later.

Types de deuteragonist

Just like with the protagonist, we can classify the deuteragonist into different roles. The most common ones in narrative are: the sidekick, the love interest, the mentor, and the rival. Additionally, in some stories, we can use the antagonist as the deuteragonist, giving them a more prominent role in the plot.

The sidekick

Many deuteragonists base their role in the plot on following the protagonist wherever they go. They may often be childhood friends, people the protagonist can trust.

Within the story, they can serve as confidants, assistants, or reliable helpers in battles.

Examples of this archetype include Robin from Batman comics, Dr. Watson from the Sherlock Holmes novels, and Sam from The Lord of the Rings saga.

THE LOVE INTEREST

Whether they are love stories or other types of plots, we often come across a fascinating character known as the love interest. These characters play a pivotal role in the protagonist’s journey, capturing not only their attention but also the imagination of the audience.

The love interest is more than just a plot device. They bring depth, complexity, and emotional resonance to the story. They often possess qualities that complement or challenge the main character, creating conflict and growth. Their interactions are imbued with chemistry, tension, and magnetic allure, captivating the audience with every encounter.

THE MENTOR

This character is the one who takes on the role of a teacher for the protagonist, the character that will tutor the protagonist on what is necessary to progress in the plot. Typically, we find that their relevance in the story diminishes as the plot advances, leaving them with a supporting role, or getting rid of them to give greater character development to the protagonist.

THE RIVAL

A companion with whom the protagonist competes throughout the plot, either for good or for bad intentions.

We can use this archetype to compare the progress of our protagonist (or how far they are from their goal) to the rival.

One example is the rivals we encounter in each Pokémon game. Characters who, for the most part, compete with the player to prove who among them is better, and at certain moments are relevant to the main storyline.

Tritagonist

Following the same principles, the tritagonist is the character (or group of characters) that has, according to the origin of the word, the third most important role, which can vary greatly depending on the narrative.

The tritagonist is usually used as the instigator or cause of the protagonist’s sufferings.

Examples of tritagonists are the group of rebels in the acclaimed Broadway musical Hamilton (Marquis de Lafayette, Hercules Mulligan, and John Laurens), while Aaron Burr is the deuteragonist of the story.

Antagonist

The antagonist is the opponent of the protagonist, their counterpart, with whom they will create the main conflicts of the plot. This can take the form of a character or a group of antagonists.

Generally, antagonists are villains who stand in the way of the protagonist, although they do not necessarily have to be individuals; an antagonist can be an intangible force, a group, or any type of being that produces the main conflict of the story.

Types of antagonists

We can classify antagonists into four different categories: villains, conflict creators, inanimate forces, and the antagonistic protagonist.

VILLAIN

This is the traditional definition of the antagonist, “the bad guy” of the story, working with malicious intent for their own benefit.

Although there are villain protagonists, villains are the antagonist of the story when they are not the main character of the narrative, but rather the primary source of conflict.

Within this category, we can find various types of villains, such as the henchman, the supervillain, the anti-villain, or the mastermind.

Several examples of villains in stories are the Joker from Batman, Darth Vader from Star Wars and Ganondorf from The Legend of Zelda.

Conflict Creator

The antagonist doesn’t necessarily have to be a villain. Sometimes they are just characters whose goals are in direct conflict with those of the protagonist.

An example of this is Javert, the police officer who works to apprehend Valjean in Les Misérables.

INANIMATE FORCE

We talk about an inanimate force as an antagonist when referring to an inanimate entity or abstract concept that serves as the main source of conflict.

This can be the ocean, the cold, or a magical force that tempts the protagonist.

antagonistic protagonist

Rarely do we see this type of antagonist, as it involves making the protagonist themselves the primary source of conflicts in the plot.

We can observe this type of antagonist when the doubts and insecurities of the protagonist, their internal conflicts, slow them down on their journey towards the main goal.

Nations and world-changing events

This article goes on the creation of nations and their settlements, along with the design of important events in history divided into genesis and turning points.

Building a Nation

To start designing a nation in our world, a good tip is to look at the real world and find matches between different nations and their settlements.

  • Settlements are usually built in areas with nearby water, such as rivers, shorelines, or lakes.
  • To protect themselves from enemies, some cities are raised on high places.
  • There are not many independent castles. Normally a castle is accompanied by a town or city.
  • Life in the middle of a desert is almost impossible without a water supply, which is why it is difficult to find settlements with sedentary communities.
  • Places with extremely cold temperatures are difficult for the creation of settlements, since the climatic conditions are usually unfavorable for life.
  • Port cities are not necessarily located on the coast; the safest ones are somewhat more secluded to defend themselves from naval attacks.
  • The ecosystem of the place influences the behavior of its inhabitants.
  • The settlements must be governed by a political body or governed by someone with power; anarchy does not facilitate the development of a nation.

These and more tips can be followed as basic rules for the creation of settlements and nations in a human-like world.

On the other hand, if what we are trying to do is create a civilization in a ship/ship or our civilization does not live in the same way as humanity, we can ask ourselves the following questions to facilitate the creation process:

  • How does our civilization survive? Where do they keep the supplies?
  • Where do their leaders live?
  • Are they in conflict with another civilization?
  • How do they protect themselves from external threats?
  • Do they have structures based on religious or philosophical beliefs? Where?
  • Who are its inhabitants?
  • What is their political situation?
  • How does their economy work?
  • Do they have a military force? How does it work?

Politics

A civilization needs a system to control its inhabitants; anarchy does not help a civilization to progress and develop correctly, although it can be used for narrative purposes.

This section describes the different types of government systems that we can use in our civilization, the creation of a basic economy, and the effects of religion on the inhabitants.

Economy

In simple words, a world without an economy means that the civilizations that inhabit it are not very advanced .

Various writers use the same currency as a form of shared economy among the nations of their world, while others create different currencies or economic methods for each inhabiting nation there.

An example of realistic currencies in a fantasy world can be found in the Dungeons & Dragons role-playing game, where we have the following currencies and their values.

Currency namevalue over copper
Copper (pc)1pc
silver (pp)10pc
Electro (pe)50pc
Gold (gp)100pc
Platinum (ppt)1000pcs

Government

There are numerous potential varieties of government that we could incorporate into our realms, whether it be as a solitary governing body or a multitude of nations implementing distinct approaches to power management. In our expansive worlds, we have the opportunity to explore a wide array of governmental systems and their respective dynamics. The possibilities are abundant, allowing us to create rich narratives that reflect the complexity of real-world governance systems.

We can divide these types of government into 4 sections: power structure, source of power, ideology, and socio-political attributes.

Power Structrure

Federation. A federation is a political entity characterized by the union of partially autonomously governed states. Internationally they are identified as a single legal identity. The states of the federation do not have the right to unilaterally decide to secede, so they cannot break their relationship with the Federation.

Confederation. It is an organization made up of several sovereign states brought together for defense and other common purposes. To a large extent, confederations are the case of political alliances for a mutual benefit.

Unitarianism. A unitary state is governed by a single branch in which the central government controls the administrative, executive, and legislative powers.

Client state. We refer to a client state as a nation controlled at an economic, political or military level by another state with greater power in international affairs.

SOURCE OF POWER

Autocracy (rule by one). Autocracy is a system of government in which supreme power is concentrated in the hands of a single person or political group. The decisions of this system are not limited by external legal restrictions or by regularized control mechanisms.

Democracy (rule by majority). Democracy is a system of government in which citizens can hold positions of power or elect representatives from among the people to form a governing body, such as a parliament.

Oligarchy (rule by few). It is a government structure in which power rests within a small group of people. These could be distinguished by nobility, fortune, family ties, education or relationship with corporations, military or religion. These types of states are normally controlled by families who pass their influence on, typically, from one generation to the next.

Anarchy (rule by no one). Anarchy is a society without a government or a political authority that governs it; it is a situation in which there is no state.

IDEOLOGY

Constitutional government. Power is limited by a constitution, usually created so that citizens have civil and ethical rights.

Monarchy. A form of government in which a group, usually a family representing a dynasty, acts as the national identity of the territory. The head of the family, is the one who exercises the role of sovereign. Their power over the nation can vary from a purely symbolic (monarchical republic), to a partial and restricted power (constitutional monarchy) or to a completely autocratic (absolute monarchy).

Republic. The republic is a type of government in which the nation is considered public, not as a private matter or “property” of sovereigns. The primary positions of power in the republic are not inherited; they are obtained through elections expressing the consent of the inhabitants.

SOCIO-POLITICAL ATTRIBUTES

Capitalism . It is an economic and political system in which the nation’s trade and industry are controlled by private owners for their benefit, rather than controlled by the state.

Communism. A political system in which the means of production are owned in common, and production is undertaken for use, rather than profit.

Socialism. A system in which the workers, democratically and/or socially, own the means of production. The economic framework can be decentralized or self-managed by autonomous economic units. Public services, such as health and education, are common, collective and/or state property.

Religion

When we want to build a religion for our world we must ask ourselves several questions. Answering them can help us greatly during the creation process:

  • Is it a monotheistic or polytheistic religion?
    • If it is polytheistic, who are the gods? What do they represent?
  • How do believers pray? Where do they do it? Do they even pray? When?
  • Is it the only religion in the world?
    • If there is more than one, are there ideological conflicts between the world’s religions?
  • Are there sins in the religion?
  • Are there any doctrines to follow? 
  • Does religion have power in the state?
  • Is there any animal or object venerated?
  • Are there sacred places? Is public entry prohibited?
  • Is there a military group dedicated to the protection of religion?

Militia

A civilization needs a force that protects them from possible external threats (or for internal conflicts) to establish public order.

There may be various groups within the same nation, serving different purposes, such as the army, police, security guards, religious armies and so on.

The military can be used in narrative to display the power of a nation, or to start a revolution against a greater power.

Genesis

Sometimes not explaining how our world has evolved to the map we show can be confusing. For example, including flying mountains in our world without any explanation of how it happens can create doubt in our audience, which does not help to mantain the suspension of disbelief.

To create an origin we can see that the possibilities are very varied; our world has various beliefs about how it originated, from an origin of humanity as slaves of superior beings to origins of a more scientific nature.

Despite what has been described above, the genesis of our world does not have to be the origin of the world itself, but rather the origin of the current state of our world when the audience is introduced to it.

Type of GenesisDescription
Start of a monarchyWhen a monarchy or other civilization conquers another, its culture and history can be modified for the benefit of the victor, creating a new origin for the world
A new source of magic has been discoveredA new magical source can make the world progress as a civilization or kick-start a war / race to obtain that power
The New WorldThe discovery of an island, continent, or celestial body can trigger political tensions to obtain exploitable natural resources. This kind of genesis can introduce new cultures to our world, which could be as old or older than the current civilizations of the world
World RestartThe world starts from scratch every few years, whether due to natural or unknown phenomena. Such a story can represent the personification of the inevitable and the struggle to achieve what others could not
EscapeSome events can be about the main cast trying to move from the original location to an unknown place. This type of narrative can lead the audience through various cultures and locations while following the protagonists

Turning Points

On the other side of the spectrum, we have the turning points of our stories, which play a vital role in shaping the world as we know it. These pivotal moments, whether they occur culturally, geographically, or in some other extraordinary manner, have the power to completely transform everything.

These world-changing events are indispensable tools in crafting the narrative of our world. They have the ability to disrupt the main plot, opening up new possibilities and branching out into exciting new story arcs. These arcs can be revealed in a direct or indirect manner, skillfully employing the technique of foreshadowing to tease the audience.

Within this section, we explore a multitude of narrative devices at our disposal to expand our worlds and ensure that the storyline remains fresh and captivating, while growing organically.

Cataclysm

An event (or sequence of events) on a large scale that causes overwhelming destruction to our world, partially or completely altering societal behaviors and its geography.

This narrative tool has three main points that are essential to make sense of the event: cause, event, and effect.

Type of CataclysmCauseEventEffect
World of Warcraft: CataclysmA dragon of huge power has been corruptedThe dragon awakens and engulfs the world in flames and destructionCharacters, the main mission and the world change drastically
Mass Effect: the ReapersAn ancient civilization has awakened of their slumber to complete their never-ending missionReapers destroy any civilization with intelligence that they encounterThe universe unites on the same front to fight against a universal reset
Mythology: RagnarökA cycle of inevitable fates lead to the events of RagnarökA sequence of events, beginning with Baldur‘s death  at the hands of LokiThe destruction of the cosmos and its reboot
God of War: Death of the GodsThe main character, Kratos, kills the Greek pantheonEach individual death causes a great change in the worldThe water level rises and floods Greece, epidemics appear, the flora dies, control over souls is lost, etc.

War

Another type of event that can affect the world environment on a large scale is a major war, which can be divided into several battles.

These kinds of events can also be described as we have done with cataclysms (cause, event, effect), but at the narrative level there may be a better way to dissect a war to describe its battles and fronts.

Therefore, when we look at war as a narrative tool, these are the recommended points to write about:

  • Cause
  • Factions
  • Alliances
  • Battles
  • Result

A good way to be inspired during the creation of wars is to look at how they have developed during our history; see how wars are like in the real world.

A notable example of warfare in fantasy literature is the war described in The Lord of the Rings, where Sauron‘s forces fight against the alliance of the inhabitants of Middle-earth, for the control of the One Ring and dominance over the continent.

Cause

A war cannot exist without a cause; “cause” is the necessary spark to initiate the conflict between different factions for a benefit greater than the potential losses that come with an event of such magnitude.

The origin of a war can vary from political reasons, to ideological differences, or even from a dispute between rulers.

FACTIONS AND ALLIANCES

A good way to differentiate the factions of a war is to have the following points written down:

  • Name of faction
  • Key players and their roles
  • Motivation
  • Geography
  • Alliances
  • (Specialties)

An example of a distinctive faction is the Empire, from the Star Wars universe, in which we find the following:

  • Name of faction: the Empire
  • Key players and their roles: Emperor Palpatine, Darth Vader, Commander Tarkin, Bobba Fett (bounty hunter), etc.
  • Motivation: Conquer the galaxy
  • Geography: Several planets and systems
  • Alliances: the Sith Order
  • Specialties: the use of the dark side of the force, the Death Star, Clone soldiers, etc.

Battles

In order to show the battles of a war in more detail before starting the creation process, I would recommend to have the world map made in advance, if the intention is to create a large-scale war. With this, we can identify strategic locations that each faction desires in order to gain points in the war.

There are several types of battles that we can write in our stories, depending on how the factions want to interact with each other. From strategic battles without any conflict to ambushes where the minority can completely turnaround a situation, or battles where thousands of soldiers confront each other on a field of blood and ashes.

Regarding the narrative, we can incorporate smaller confrontations within the battles. These confrontations can be used as a focus for our story, where important characters participate and suffer consequences.

In order to do this, another good way to create battles is to write that which will be included and the parts that will be resolved in the background.

RESULT

Finally, the outcome of the war must be significant to the plot, whether it is an expansion of a faction’s borders, the suppression of enemy forces, a radical change in the citizens’ thoughts, or any logical outcome we want to show our audience.

Technology

Just like in our world, the discovery or creation of a new piece of technology can radically change the world, evolving the culture and developing new habits for the world’s inhabitants.

This type of narrative tool is useful for propelling the development of civilizations in our world beyond their limits. It could be the discovery of an unknown metal, a new chemical reaction, or the creation of an artifact, whether it’s a weapon, a means of transportation, or medicine.

Virus

The origin of a virus can lead the world to a global catastrophe in a short time, depending on its location, effects and way of spreading, as we have been able to see it first-hand quite recently.

A notable virus in the video game industry is the T-Virus from the Resident Evil saga, guilty of a great epidemic that causes the dead to rise with cannibalistic and highly aggressive behaviors.

MacGuffin

An invention or discovery of an artifact that our characters deeply desire and would go to any length to obtain. This remarkable tool can be employed to initiate plot arcs or events of immense significance in our world, whether to acquire it or through the misuse of said artifact. The possibilities are boundless, as the allure and power of this remarkable invention resonate throughout the narrative, captivating readers and igniting their imagination.

Various examples of a MacGuffin are the One Ringthe infinity gemsthe holy grail, the Necronomicon, etc.

An important note is that a McGuffin, even though it can be the most powerful artefact on the universe, is useless by its own, so it’s importance will reside in it use on the narrative. More info on McGuffin here.

Cheat Devices

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This section will be about some of the techniques authors can use to keep the plot on track. They can be used to start or resolve conflicts, to continue the plot, etc.

Although they are very useful tools, they can be used as an escape route for authors who have been cornered by their own plot, which could demonstrate the lack of cohesion of the story.

These tools are:

  • Plot armor
  • Deus ex machina
  • MacGuffin
  • Flashback vs Racconto
  • Quibble

Plot Armor

A tool immensely criticized by the public, but at the same time totally necessary for certain situations. We talk about plot armor when we refer to the moments in the narrative where our characters receive a temporary benefit to overcome any obstacle they encounter.

There are countless examples of all kinds, from the trained soldiers who don’t hit a single bullet (Star Wars) to the character who always has the perfect tool for every situation (Batman).

Everything must be said, the use of plot armor in our stories must be measured with caution, because if it is used abundantly we can end up creating an indestructible character, practically flawless and one-dimensional; we create the archetypical Mary Sue / Gary Stu.

Should we avoid using plot armor ?

Not necessarily; this tool is useful to show the power of our characters in complicated situations, but it must be used with caution.

The main conflict about its use is that plot armor should never exceed the suspension of disbelief. Nevertheless, it can be done, but continuing to surpass the narrative’s limites time and time again will have consequences; we will only make our audience ask themselves if they want to continue with the story or leave it.

How to use plot armor ?

This narrative trap can be used correctly to protect a main character throughout the story, in flashbacks or raccontos (since nothing can happen to the subject if they are still alive) or even to create an omen about an unrevealed power of the main character; as long as it is not continuously abused, we will not create great uncertainty in our target audience.

Why not use plot armor ?

Let’s move to the other side of the spectrum and question the use of plot armor in our narrative.

We must bear in mind that defeat (to lose) is the best way to learn and improve. If we don’t provide any loses to our characters what we will achieve is the creation of linear characters, without any personal development during the story.

Does our character deserve victory? Our character may have an adrenaline rush at a time of great risk, giving him that necessary push to radiate emotion and growth. Even so, it must be taken into account that the best way to demonstrate development and learning is through defeat , because if our characters never find an obstacle in their way, we will not create any development.

First of all, in order not to use this “trap” constantly, the advice I can give is to not to get into a dead end; structure the story in such a way that we can achieve progress in our characters, their defeats and evolutions, instead of making them find themselves in an impossible situation most of the time.

Deus Ex Machina

When we talk about this tool, we refer to an external element that resolves a conflict without following the internal logic of our narrative.

We can see examples of Deus ex machina in different stories, such as in Harry Potter and the Chamber of Secrets where [spoilers!] Faux (a phoenix) appears out of nowhere with the necessary weapon to turn the situation around, giving Harry the possibility of killing the Basilisk, survive a mortal injury and be able to get the characters out of the place, all in one.

The use of this tool is associated with bad storytelling, although whether it is good or bad depends solely on its effect on our audience’s suspension of disbelief.

Deus ex machina vs plot twists

Do not confuse the deus ex machina tool with plot twists, since deus ex machina are considered artificial solutions.

A plot twist is a turn of events that may give our characters personal development, to create suspense, etc. Plot twists keep the audience engaged in our story.

When they appear near the midpoint of a narrative, they grab the audience’s attention and inspire them to look at future details more carefully. On the other hand, if they appear at the end of the narrative, they tend to form the lasting memories in our audience that they will associate with our narrative.

MacGuffin

We describe as a MacGuffin the object, event or tool necessary to advance the plot or to give motivation to the characters, that is useless on its own.

Normally we see the introduction of this narrative tool at the beginning of the story, during the first act, to disappear later without a trace or to give it more importance in the last act.

Examples of MacGufin in different genres are a dead man (it doesn’t matter who, it’s just useful to introduce the characters), a letter, a suitcase or package that has to be delivered (the content doesn’t matter, it’s just the object that kick-starts the plot) or a stolen object (the object doesn’t matter, the important thing is who stole it).

Flashback vs Racconto

The flashback and the racconto are two narrative techniques used very frequently to expose elements or events that occurred in the past.

Racconto is just the italian term for “story”, used also in my language for this type of tool, so I may use this term more often that story in this and future articles.

Both techniques, although similar in nature, have uses that vary within a narrative. Usually, flashbacks are short scenes in which a past scene is shown, arising in the present of the narrative. On the other hand, raccontos are usually the center of the narrative, slowly progressing to the present moment in the story.

An example of a flashback would be on a crime scene when the villain is revealed, a memory, or the scene shown to the player from past events. As for a racconto, two well-known examples of it are the story of The Curious Case of Benjamin Button and the Forest Gump movie.

Quibble

The quibble is a defect in an agreement that allows someone to get out of it. Thus, a person may agree to give something, but object that something inseparable from the agreement was not agreed.

This narrative trap is usually used in legal agreements and in fantasy, applying it with magic.

A great example of the use of quibble in narrative is on the Prose Eda, where Loki bets (and loses) his head to Brokk, but insists that in their bet there was no agreement on taking any part of his neck. This statement created confusion since there was no way to distinguish when the neck or head started. Due to this “agreement” Loki was able to keep his head, but Brokk was able to sew Loki’s lips together as a punishment.

Objections can also include double binds, where the plaintiff may get what they want, but also gets something that is highly undesirable, and therefore refuses to follow with the agreement,

The Octalysis Framework – Actionable Gamification Review

Summary

The Octalysis Framework is a gamification framework created by Yu-kai Chou, a gamification expert and speaker. It provides a holistic approach for designing and implementing gamification in various contexts, such as business, education, and personal development. The framework is based on 8 core drives, which are the innate human motivations that drive behavior.

These drives are: 

  1. Epic Meaning & Calling
  2. Development & Accomplishment
  3. Empowerment of Creativity & Feedback
  4. Ownership & Possession
  5. Social Influence & Relatedness
  6. Scarcity & Impatience
  7. Unpredictability & Curiosity
  8. Loss & Avoidance.

By understanding these drives, designers can create more effective and engaging gamified experiences.

The Core Drives

Core Drive 1: Epic Meaning & Calling

Refers to the human desire to be a part of something greater than oneself, and to contribute to a noble cause or purpose.

This drive is related to the sense of purpose and meaning in life, and the feeling of being part of a larger story. It can be used to motivate people to strive for a higher goal, to overcome challenges, and to make a positive impact in the world.

In gamification, this drive can be tapped into by creating a compelling narrative and sense of purpose for the player or user, and by providing opportunities for them to make meaningful contributions and have a positive impact.

Examples of this are people contributing to Wikipedia because they believe they are protecting humanity’s knowledge, or when people feel the “Beginner’s Luck”, believing that they have some type of gift that others don’t.

Core Drive 2: Development & Accomplishment

Refers to the human motivation to improve one’s skills, knowledge and abilities.

This drive is closely related to the sense of mastery and self-improvement that comes with learning new things and achieving goals.

In gamification, this drive can be engaged by providing opportunities for players to learn new skills, set and achieve goals, and to experience a sense of progress and accomplishment as they progress through the game.

As said by Yu-kai Chou, this core drive is  the easiest to implement and is where the majority of PBLs (Points, Badges and Leaderboards) mostly focus.

Core Drive 3: Empowerment of Creativity & Feedback

Refers to the human motivation to express oneself, create something new and be recognized for it.

This drive is related to the sense of agency over one’s actions and the feedback received as a consequence.

In gamification, this drive can be employed by providing users with the ability to create and personalize their experience, or give them the freedom to explore and experiment with the game mechanics.

Core Drive 4: Ownership & Possession

Refers to the human motivation to own and possess something, be it a virtual good, an idea or a physical object.

When designing a gamified experience, designers can tap into this drive by giving users the ability to collect, earn or trade virtual items or digital currency, or by giving them the sense of ownership and control over their progress or environment.

Core Drive 5: Social Influence & Relatedness

Refers to the human motivation to be a part of a group, connect with others, and to influence others.

This drive is related to the sense of belonging, acceptance and value.

In gamification, this drive can be engaged by creating opportunities for social interaction, collaboration and competition.

Core Drive 6: Scarcity & Impatience

Refers to the human motivation to want something because it is difficult to obtain.

This drive is related to the sense of urgency. People are motivated to act when they feel that they will be missing out on something if they do not get it now (this can be seen in offers, such as the Black Friday)

In gamification, this drive can be used by creating limited availability of items or rewards, offering promotions or giving players exclusive access to certain features.

Core Drive 7: Unpredictability & Curiosity

Refers to the human motivation to learn, explore and understand the world around them.

This drive is related to the sense of adventure and excitement, and to the concept of novelty seeking.

In gamification, this drive can be explored by creating a sense of mystery, adventure and experimentation, through features such as hidden rewards, locked content, open-world exploration and allowing users to try new things, to tap into the user’s desire for novelty, surprise and stimulation.

Core Drive 8: Loss & Avoidance

Refers to the human motivation to loss aversion.

This drive is related to the idea that people are motivated more by FOMO than by the hope of gaining something.

In gamification, this drive can be used in gamification by creating a sense of risk and potential loss, through features such as penalties for failure, loss of progress or virtual currency and creating a sense of competition.

It’s important to note that designers should be careful, as too much of this drive can lead to frustration instead of motivation, getting the opposite effect of what is intended.

Left Brain (extrinsic) vs Right Brain (intrinsic) drives

This section explains why the Octalysis is built like an octagon; the Octalysis Framework’s Core Drive placements determine the nature of the motivation.

Left Brain drives are most commonly associated with logic, analytical thought and ownership, while Right Brain drives are focused on creativity, self-expression and social dynamics..

Furthermore, Left Brain Core Drives tend to rely on Extrinsic Motivation whilst Right Brain Core Drives are associated with Intrinsic Motivation.

It’s important to note that both Left and Right Brain Core Drives are important and should be considered when designing a gamified experience. By understanding and balancing the different drives, designers can create a more engaging and motivating experience.

White Hat vs Black Hat Gamification

Following along with the position of the Core Drives, the Octalysis Framework also differentiates the top drives from the bottom ones. The top Core Drives are considered positive motivations, while the bottom Core Drives are considered to be more negative.

Techniques that heavily use the top Core Drives are named by Yu-kai Chou “White Hat Gamification”, while the ones that heavily rely on the bottom Core Drives are names “Black Hat Gamification”.

White Hat Gamification is typically used to achieve specific business or educational goals, such as increasing productivity, improving learning outcomes, or promoting healthy behaviors. It is designed to be engaging, motivational and meaningful, while being respectful of the users. It encompasses Core Drives 1, 2 & 3.

Examples of White Hat Gamification include fitness apps that use game elements to encourage users, educational apps gamified to make learning more engaging, and corporate training programs that improve employee performance.

Black hat gamification is typically used to achieve specific business goals, such as increasing revenue or generating leads, but it is often done at the expense of the users. Unlike White Hat Gamification, it is not designed to be beneficial to the users or society as a whole, but rather to maximize profits for the companyIt encompasses Core Drives 6, 7 & 8.

An example of its usage can be seen in some mobile games, where users are encouraged to make micro-transactions or to spend a large amount of time on the game, even if it’s harmful for them.

The Hidden Core Drive 9: Sensation

Note that this Core Drive is not included in the Octalysis Framework since Yu-kai Chou wanted to primarily focus on psychological motivators instead of physical ones.

The main differentiation here compared to other Core Drives is that Sensation deals with physical feelings that bring pleasure to our touch, hearing, sight, smell and taste.

Uses of Sensation as a motivational drive are the feeling of physical acceleration on racing simulators, or Massages as a reward benefit in a company.

Levels of Octalysis

Yu-kai Chou explains in the book that there are up to 5 levels of mastery on the Octalysis Framework, describing the 3 initial levels.

Level 1 Octalysis is to analyze the strengths and weaknesses of the product with respect to motivation, by thinking about how that product utilizes each of the 8 Core Drives, and identify all the game mechanics and techniques that are used to activate them.

Level 2 Octalysis is when we try to optimize the experience throughout all four phases of the player journey: 

  • Onboarding: The phase where users are introduced to the system and learn how to use it.
  • Scaffolding: The phase where users start to engage with the system and develop their skills and knowledge.
  • Endgame: The phase where users have become advanced users and are focused on achieving mastery and long-term engagement.
  • Retirement: The phase where users start to disengage from the system

Level 3 Octalysis goes beyond by adding Bartle’s Four Player Types (Achievers, Socializers, Explorers and Killers) over the four phases mentioned above.

Core Drive 1: Epic Meaning & Calling

Generally best communicated during the Discovery and Onboarding Phase of a Player’s Journey. As designers, we want to communicate very early on exactly why the user should participate in our mission and engage.

One good example of a company that understands this Core Drive is Apple. Customers of their devices will not think twice about buying one of their phones or other devices just to have an Apple, since having one will make the person feel self-identified as an Apple Person, therefore they need to do what “Apple People” do: buying the newest devices from the company.

Game Techniques

Narrative

Give context to the user for a higher meaning through interacting with the product. 

Example: 

  • “Zombies, Run” app motivates the user to do a troublesome task such as running through the city / exteriors by adding a narrative in the form of a podcast which immerses the player in a post-apocalyptic world where they will need to outrun the zombies during each run.

Humanity Hero

Incorporate a world mission into the product, such as planting a tree for each [task].

Example:

  • “FreeRice.com” donates 10 grains of rice for every correct answer to the educational questions posted on their site.

Elitism

To allow users to form a prideful group based on common interests also makes them feel they are part of a larger cause.

Example:

  • University rivalries in the real world or Clan gatekeeping in virtual games are good examples of this. In games, elitism can be seen in games where people want to be part of a highly competitive group, which will make them feel more engaged.

Beginner’s Luck

Make people feel like they are one of the few chosen to take action; make them feel like they are uniquely destined to do something.

Example:

  • In games with a loot system, when a player gets a legendary item upon the first day of playing the game, or on gacha games, where the player gains a great pull on their first tries.

Free Lunch

To give freebies (that are normally not free) to selected people in a way that it binds them to a larger theme.

Example:

  • Gift a premium reward to players that registered during the first week of a game.

Core Drive 2: Development & Accomplishment

The most common implementation of gamification we see in the market, since PBLs (points, badges and leaderboards) appeal heavily to this drive.

Gamification aims to integrate that feeling of Development & Accomplishment into everyday experiences within our product or service.

An example of this drive usage is in Goodreads, where users can keep track of their progress from books and set reading goals for the year. This simple implementation has its users hooked to the website, while also creating some sense of urgency (Core Drive 8) when they are “behind” from its yearly goal. 

Game Techniques

Progress Bars

To add a way to keep track of progress made by the player

Example:

  • Goodreads implements it right, as seen above.

The Rockstar Effect

To make a user feel like everyone wants to interact with them.

Example:

  • Twitter, back in the day, was one of the first social networks to implement a one-way follow, a feature that made many people saw getting many followers as an achievement.

Achievement Symbols

Also known as badges; to implement an item that embodies an accomplishment.

Note: using this game technique “too much” may have the opposite effect, resulting on a lower value to achieve the goals

Example:

  • Steam offers its clients a way to implement achievements easily in their platform.

Status Points

To keep score of progress. Internally, it allows the system to know how close players are towards the win-state. Externally, it gives players a feedback system to track progress.

Example:

  • Reddit’s Karma system adds value to your comments and posts in the site, increasing when you are valued positively, and decreasing when otherwise.

Leaderboards

A game element to rank users based on a set of criteria that is influenced by the users’ behaviors towards the Desired Actions.

Example:

  • Duolingo has a leaderboard system implemented where highly engaged users can rank up by using the app normally.

Core Drive 3: Empowerment of Creativity & Feedback

This drive emphasizes on what most people refer to as “Play”. It resides in the upper right “golden corner.” This implies that it is White Hat – meaning it has long-term positive emotions, as well as Right Brain – emphasizing Intrinsic Motivation. Unfortunately, this Core Drive is also possibly the hardest to implement correctly.

Game Techniques

Boosters

A limited upgrade that ​​ allows a user to either move quicker, have additional power or skip forward through barriers in the system. 

Example:

  • Candy Crush uses this game technique for players to not drop motivation from a difficult level, as a way to make it easier to complete.

Milestone Unlock

To  open up an exciting possibility that wasn’t there before that milestone was reached.

Example:

  • In RPG Games, players can unlock a new set of skill when leveling up, which can open up new possibilities in their way to play.

Poison Picker / Choice Perception

To add the sense of choice for the user, even though it may not have any impact to the game.

Example:

  •  To decide what to pick first between two activities; “Do you want to eat vegetables before or after the main dish”

Plant Picker / Meaningful Choices

The process of being able to select many options, each with its unique strengths and weaknesses, and resulting in a variety of style and creativity-based strategies.

Example:

  • Plants vs Zombies offers players different options with the selection of plants at the start of the game. To select plants is to choose how the player will play during that stage, having a unique experience compared to another strategy.

Core Drive 4: Ownership & Possession

It is the primary drive that compels us to collect stamps or accumulate wealth. On a more abstract level, Core Drive 4 is connected to our investment of time or resources into customizing something to our own liking.

This drive relates to analytical thinking. Decisions are mostly based on logic and analysis, reinforced by the desire for possession as the primary motivating factor.

Game Techniques

Built-From-Scratch

To give players the option to add value to the product from the beginning, instead of getting the entire setup.

Example:

  • IKEA may be using this drive as its main motivator since people often prefer the experience of building rather than getting an expensive high-end furniture.

Collection Sets

To create items, characters, badges, etc. and let the player know these are part of a bigger part, aka a collection.

Example:

  • Scrabble GO has a whole feature based on this concept, where players need to collect unique cards to complete an album, which will give them coins or a Tile as a reward.

Monitor Attachment

To allows people to develop more ownership towards something, such that they are constantly monitoring or paying attention to it.

Example:

  • Fitness apps use this game technique by giving its users a way to monitor their actions, such as step counter, health status and daily progress of their goals.

The Alfred Effect

When users feel that a product or service is so personalized to their own needs that they cannot imagine using another service.

Examples:

  • Amazon does it when displaying the most interesting products for the player, based on their previous purchases and preferences.

Core Drive 5: Social Influence & Relatedness

A Right Brain Core Drive that bases its success off our desires to connect and compare with one another. Many companies are now focusing on this drive during the Discovery and Onboarding Phases.

Game Techniques

Mentorship

To offer old users a way to engage with new users and help them.

Example:

  • Universities usually have old students be mentors for newcomers, with them getting something by offering their time.

Brag Buttons

A Desired Action that users can take in order to broadcast what they feel accomplished about.

Example:

  • Games that have a quick access to share how much a user has progress use this game technique.

Trophy Shelves

An obvious display that exhibits the achievements of the user.

Example:

  • PlayStation games shows the amount of achievements a player has completed (and their difficulty) in the form of trophies of different kinds (bronze, silver, gold and platinum).

Group Quests

To add collaborative play in order to achieve a goal.

Example:

  • World of Warcraft focuses a great part of their development in the creation of such group quests, named as Raids.

Social Treasures

Gifts or rewards that can only be given by friends or other players.

Example:

  • Dislyte offers its players a way to earn Hearts by connecting with other players and claiming them. These can be used afterwards to buy items in a specific shop.

Social Prods

An action of minimal effort to create a social interaction, often a simple click of a button. 

Example:

  • Facebook and Instagram likes, or Google’s +1 are good examples of this game technique.

Conformity Anchor

To display how close users are to the social norm through Feedback Mechanics.

Example:

  • oPower discovered that the best way to motivate households to consume less energy was to show them a chart on how their best neighbors are consuming, and what their neighbors are consuming.

Water Coolers

To add a place where users can stop focusing on the main flow of the game.

Example:

  • Add a Forum feature to the game 

Core Drive 6: Scarcity & Impatience

It is the drive that motivates us simply because we are either unable to have something immediately, or because there is great difficulty in obtaining it.

Backing it with examples, Yu-kai Chou argues that our brains have a tendency to pursue things just because they are exclusive, something that can be seen in our current society with the infamously-known NFTs. 

Game Techniques

Dangling

To tease the user with what they could achieve, until they take the desired actions to achieve it.

Example:

  • At in-game offers, where users can pay some amount of money to “save” time and effort to get the item.

Anchored Juxtaposition

To offer two options side-by-side, with one being a shortcut to the second option, that needs a big amount of effort.

Example:

  • A site giving two options: a) pay 20$ now or  b) complete a group of Desired Actions. The Desired Action can be “Invite your Friends”, “Upload Photos” and other examples.
    • It can be noted that some users will complete all of the Desired Actions because they feel they have “saved” 20$ in the process by investing their time and effort, but after some time they will value the time and effort it costs to maintain this routine. Then, users will feel that option a) is a more appealing investment.

Magnetic Caps

To limit the number of times a user can perform a Desired Action, which then stimulates more motivation to commit them.

Example:

  • Pokemon Go uses this technique by limiting the amount of time a lure is active when it is activated.

Appointment Dynamics

A trigger to cause users to take action on a predetermined schedule.

Example:

  • Farmville uses this, forcing the user to return at a set time to harvest crops. Failing to return on time causes damaged crops.

Torture Breaks

A sudden and often planned pause during the user’s gameplay.

Example:

  • Candy Crush uses this in the form of lives. If a player loses all lives they will need to wait 30 minutes before getting another life.

Evolved UI

To have a simple User Interface that expands over the Player’s Journey; gradually expose users to complexity rather than overwhelm this with a big bang approach.

Example:

  • World of Warcraft User Interface adds elements gradually in relation to the player’s progress.

Core Drive 7: Unpredictability & Curiosity

The drive is closely related to the usage of chance and the human nature of looking to experience novelty.

It is triggered when a person experiences unexpected events or encounters new information, leading to a feeling of curiosity and the need to explore further.

Game Techniques

Glowing Choice

A tool to guide players in the right direction; usually on the Onboarding Phase.

Example:

  • World of Warcraft uses this technique to display where a Quest can be started, in the form of a yellow exclamation over a character.

Mystery Boxes / Random Rewards

To give a reward after accomplishing a Desired Action, with the reward being unknown to the player.

Often what drives players to the Endgame Phase.

Mystery Boxes are more gameful, while Random Rewards are more technical.

Example:

  • Loot boxes are the most thorough example.

Easter Eggs / Sudden Rewards

To add surprises that are given out without the user acknowledging it beforehand.

Example:

  • Hidden Achievements in games use this game technique.

Lottery / Rolling Rewards

A game whose outcome is based on luck and not on skills or efforts required from the player.

The key idea of rolling rewards is the rule that somebody has to win during each period. Therefore, as long as the user “stays in the game,” the chances of you winning increase linearly.

Example:

  • Some online Raffles use this technique by letting the user know that if they do a Desired Action, such as following them in their socials, they will get x tickets; the more tickets a user has, the better their chances of winning.

Core Drive 8: Loss & Avoidance

This drive motivates players through the fear of losing something or having undesirable events transpire.

Even new opportunities that are perceived as fading away can exhibit a form of Loss & Avoidance. If people do not act immediately on this temporary opportunity, they feel like they are losing the chance to act forever.

Game Techniques

Rightful Heritage

When a system first makes a user believe something rightfully belongs to them, and then makes them feel like it will be taken away if they don’t commit the Desired Action.

Example:

  • In User Acquisition offers, such as “Sign-up now to receive 3.000 gems”

Evanescent Opportunities

An opportunity that will disappear if the user does not take the Desired Action immediately.

Example:

  • Diablo 3’s Treasure Goblin offers players great value for defeating this creature in a certain time frame; if they do not, the goblin will disappear.

Countdown Timers

A visual display that communicates the passage of time towards a tangible event. Sometimes the Countdown Timer is to introduce the start of a great opportunity, while at other times it’s to signify the end of the opportunity.

Example:

  • Live Operated Events use this technique to motivate players to complete the event in a certain amount of time until it fades away.

Status Quo Sloth

To have users create a tendency to not change their behavior in-game. As designers, our goal is to build Status Quo Sloth into the Endgame phases of our products by developing highly engaging activity loops that allow the user to turn Desired Actions into habits.

More info on how to integrate this technique in the Hook Model by Nir Eyal.

Example:

  • F2P Strategy Games have created this kind of user profiles by adding simple routines to perfectionate their units in-game, where players need to spend their daily stamina in the same repetitive actions for a chance to better their chances in other sections of the game.

FOMO Punch

To challenge players that are stuck in a routine into leaving, since not doing so will cause a loss.

Example:

  • When a game gives a preview of what could happen if a players would choose a specific path.

The Sunk Cost Prison

When a player invests so much time into something, that even when it’s no longer enjoyable,they continue to commit the Desired Actions because they don’t want to feel the loss of giving up on everything.

Example:

  • A person who has invested a lot of money into a stock, but the stock’s value has been steadily decreasing.
    Despite this, the person continues to hold on to the stock because they have already invested so much money into it, and they don’t want to sell it and realize the loss. They believe that the stock will eventually go back up and recoup their investments. However, this could lead to further losses and the person becomes trapped in a sunk cost prison, unable to make a rational decision and move on from the losing investment.

Left Brain vs Right Brain Core Drives

The Left Brain Core Drives involve tendencies related to logic, ownership, and analytical thought. They are expressed in the following three Core Drives:

  • Core Drive 2: Development & Accomplishment
  • Core Drive 4: Ownership & Possession
  • Core Drive 6: Scarcity & Impatience

The Right Brain Core Drives are characterized by creativity, sociality, and curiosity. The next Core Drives follow this principle:

  • Core Drive 3: Empowerment of Creativity & Feedback
  • Core Drive 5: Social Influence & Relatedness
  • Core Drive 7: Unpredictability & Curiosity

This structure also allows designers to differentiate and design for the differences between extrinsic and intrinsic motivation.

The Left Brain Core Drives are result (goal) focused, while the Right Brain Core Drives are process (journey) focused.

Extrinsic vs Intrinsic Motivation

Extrinsic Motivation is derived from a goal, purpose, or reward. The Task may not be interesting by itself, but because of the reward or goal, people become driven and motivated to complete the task.

An example of extrinsic motivation is a repetitive job, where people may not enjoy working in, but are driven to do so, since that will ultimately lead to an end, such as eating, progressing in their career and paying rent.

On the other hand, Intrinsic Motivation is simply the motivation you get by inherently enjoying the task itself; when we act without any obvious external rewards.

An example of intrinsic motivation is when people do activities such as studying a language for fun, where people may get motivated by the sense of self-improvement.

White Hat and Black Hat Gamification

The White Hat Core Drives are represented by the Core Drives at the Top of the Octalysis diagram:

  • Core Drive 1: Epic Meaning & Calling
  • Core Drive 2: Development & Accomplishment
  • Core Drive 3: Empowerment of Creativity & Feedback

The Black Hat Core Drives are represented by the Core Drives at the Bottom of the Octalysis diagram:

  • Core Drive 6: Scarcity & Impatience
  • Core Drive 7: Unpredictability & Curiosity
  • Core Drive 8: Loss & Avoidance

Quoting Yu-kai Chou directly:

“ It seemed like the games that go viral but then have shorter shelf-lives utilize Core Drives that create obsession, urgency, and addictiveness. Players would become glued to the game but then towards the Endgame Phase, the joy and fun no longer persists as strongly, yet the player mechanically continues to grind through many hours “laboring” through them. Due to the Sunk Cost Prison covered in Core Drive 8, players feel demoralized, but are unable to quit. ”

White Hat Core Drives are motivation elements that make us feel powerful, fulfilled and satisfied, while Black Hat Core Drives make us feel obsessed, anxious and addicted. It’s a clear contrast between the feelings of agency and loss of control.

Black Hat does not mean “bad”

Even though Black Hat Gamification may seem as the “bad” motivation of the specter, it does not necessarily mean that.

Some people may use this kind of gamification to force themselves to live healthier and achieve their short and long term goals. This can be seen in fitness apps that keep control of your daily progress and can make the user feel that they have to reach their daily quota to feel better at the end of the day.Black Gamification is a very powerful tool for tasks that people want to do, but lack enough willpower to do so.

Geography and mapmaking

This article will touch the most fundamental part of our world, the world itself. The first thing most authors think of as soon as they start to create a world, the place (or places) where the action takes place. In the case of this article, it will be about the creation of a planet.

Many times when we try to create the location of our narrative we try to think of everything, which can make the process take forever. My advice, to begin with, is to ask yourself if you need to give the world more depth than necessary.

Will the audience see outside of where the main events of the story take place? If not, the main thing is to start by creating the world inside out, creating in greater detail the places visited and expanding from there.

If, instead, you want to create a world with great detail, I recommend starting by tracing the general geography of the place and expanding its interior being aware of its surroundings.

In a way, there are some pieces of essential data for the creation of the world’s geography. Terms such as habitability, day and night cycles, gravity, etc. With this data we can begin to consider what to do with our world, be it a fantastic planet, where there are floating mountains, or realistic landscapes at a scientific level.

The planet

The location where our story is going to happen can vary from little countries, a ship or even a galactic system. We can always expand the depth of the location we decide our characters will live in.

Geography is one of the most important aspects to look at when creating fictional worlds, and is one of the factors responsible for the immersion of the narrative; a world that could exists makes the audience think of that place as a possible world, therefore increasing the immersion.

On the other hand, it is your world, and you decide the rules that it has. If you want rivers that go upstream and mountain ranges that go from coast to coast, just do it. There are no limitations whatsoever to one’s imagination, and in fantasy worlds this is the feature authors need to create their worlds.

Science fiction worlds are also inventions of the author’s imagination, but if your story is not very compelling, the fantastic aspects of the world could overwhelm it. For example, Star Wars has a large variety of planets with completely different ecosystems; some more accurate to nature than others.

Tatooine is a desert planet part of a binary star system that lacks water and has no vegetation on the surface. This may seem uninhabitable at first sight, but the population manages to survive by gathering water from the atmosphere via moisture farms, a small piece of worldbuilding that helps the world’s immersion and enriches the universe.

Geographical features

Continental masses and tectonic plates

The first thing to do during the creation of our world is the basic shape that it will take geographically, the continental mass where the nations of the planet will settle.

If what we want is to make a world with several continents, one piece of advice is to keep in mind that before there are several continental masses, it is most likely that they originated from a single one, separated over time due to the movement of the tectonic plates.

To do this, a good practice is to create the shadow of a supercontinent and divide it into possible continental masses, just like our world, which emerged from the supercontinent called Pangea.

Once that is done, what remains is to separate the different masses and decide if the water level has also influenced the disappearance of land.

Coastlines

Once the basic shape of our continents has been created, the next step would be to define with greater detail the perimeter of these, what we call coastlines.

For a world map, a good tip is to draw the coastlines using fractals; make them irregular.

When we create coasts in our world we must take into account how varied they can be depending on the ecosystem they are in, details that we can use in our favor to give some uniqueness to the created coast.

Examples of different coasts are fjords, beaches, cliffs, dune coasts, deltas, etc.

World of Petram (I)

Mountains

The mountains are created by the collision of the tectonic plates, or through the volcanic activity of the place.

Keep in mind that mountains are always accompanied, we do not find a single mountain formed naturally in our world. On the other hand, we can use this to our advantage to create a place of fantastic character.

Tectonic plates
World of Petram (II), mountains

Deserts and tropics

Deserts are usually located far from the coast, away from the humidity of the ocean, although there are unique cases in which a desert can form near the sea thanks to what geographers call orographic shadows, a meteorological phenomenon caused by the dry air of discharged clouds by the obligation to overcome a topographical obstacle (such as a mountain).

According to the discoveries of geographers, deserts tend to be created near the 30° latitude of both hemispheres.

Tropics, on the other hand, form near the planet’s equator, a fact that tends to be confused with deserts. These areas tend to be very humid, with heavy rainfalls and good for agriculture.

Bodies of water

Rivers

Some important rules about rivers to keep in mind when we decide to incorporate them into our world (they are not law, you can break them if you wish):

  • Rivers, generally, do not divide, but rather combine. The exception to this rule are the deltas, where the river flows into the sea.
  • There are no rivers that go from one point of the coast to another. That is not a river, it is a separation between two bodies of mass.
  • Rivers always follow gravity. They start at a high point and go down to the coast. You can make exceptions in fantasy worlds, of course, but that is already a matter of the fantasy level of the setting.
  • As a general rule, only a river can flow out of a lake into the ocean, since the water chooses the lowest point to fall. It would be strange to find a lake with two equally low points, where two rivers would be born.

Lakes

Lakes are bodies of fresh water far from the sea, formed by rivers, rainfall or wells; they can also be artificially created by building dams.

We can create several types of lakes: conventional lakes, where a river flows from them, provide a source of freshwater and sustain aquatic life within their ecosystems. In addition, closed seas, which are grand lakes that lack an outlet to the sea, offer unique and isolated environments for diverse species to thrive.

Furthermore, lakes formed by dams showcase the wonders of human engineering, as these bodies of water provide not only recreational opportunities but also serve important functions such as water storage, flood control, and power generation.

Another intriguing type of lake is the underground lake, hidden beneath the surface, often discovered in caves or caverns, possessing a mystique that fascinates explorers and scientists alike. These enchanting lakes underscore the planet’s hidden treasures and serve as a reminder of the vast interconnectedness of our natural world.

Indeed, the range of lake types is vast and varied, offering a captivating glimpse into the diverse wonders of nature.

LAND

Forests

Ecosystems where the predominant vegetation are trees and shrubs. These ecosystems provide habitat for numerous species, help regulate the climate, and contribute to the overall water cycle.

When we want to add forests to our world, we can consider the technological level of the place. Do they have an advanced technological level? If so, it is highly probable that the place has developed an automatic logging system, which may result in a reduction in tree density. Conversely, if the population is less technologically advanced, it is more likely that the forests will be more abundant and expansive.

Expanding and enhancing the natural environment with forests is a multi-faceted task that requires careful consideration and adaptation to the specific circumstances of the place in question.

Swamps

Swamps are shallow stagnant waters in which dense aquatic vegetation grows, the bottom of which is more or less muddy.

These are typically found in close proximity to rivers, on flat terrains that possess limited drainage capacity.

Plains

Large tracts of land that do not present strong unevenness, perfect for the development of crops and pastures.

They may have formed from deposited lava, water, or ice that flowed down hills and mountains, or from wind erosion.

Tundras

Cold climate regions whose vegetation is low-growing. It is characterized by its frozen subsoil.

In these lands we can find bodies of water and soil in a state of permafrost.

World of Petram (III), bodies of water
World of Petram (IV), land

Steps to follow

Once the map has been created with its geographical characteristics, the next thing to do would be to expand the world inside. By this I mean creating nations, placing settlements, adding points of interest on the map, naming places, and many more features of our world.

I’ll touch on nation building in more detail in a future article, although a good thing to keep in mind when creating settlements is to ask yourself if the area where you choose to put a town, port, or city is habitable enough.

  • Do you have a water source nearby?
  • Are the weather conditions right?
  • Where do you get the materials to build?
  • How do they manage to feed the inhabitants? Can you create farms in that environment?
  • Are there other nearby settlements?
  • What commercial capabilities does the place have?
World of Petram (V)

Languages

In this section we will touch the bases for the creation of a language in our worlds, the foundations to make a communication system for some of our civilisations; a small excerpt from my thesis on Worldbuilding from the Design and Development of Videogames bachelor degree.

Fictional languages have few uses as a narrative tool. We can use them to name people and places, where we would only need a brief outline and a wordlist. On the other hand, we could use it to translate small or large texts, or even for the creation of an artlang (a constructed language designed for artistic purposes); for that you will need a full grammar, with a length that depends on how complete the language is.

In the case of this article, I will create the basis of a naming language, in which the most necessary thing is to know how the sounds will be combined to create words of a similar nature to be used directly in our world, without the need to develop a very complex grammar.

An example of this type of language in fiction is the Black Tongue, used by Sauron’s servants in the Lord of the Rings, of which we have little more than the following fragment:

Ash nazg durbatulûk, 
ash nazg gimbatul, 
ash nazg thrakatulûk agh burzum-ishi krimpatul.

One Ring to rule them all,
One Ring to find them,
One Ring to bring them all and in the Darkness bind them.

By reading this fragment we can learn quite a bit about the grammar of the Black Speech. For example, there are many closed syllables (syllables that end in a consonant) and there are plenty of stops.

Moreover, we can extract the meaning of the words of this fragment by looking at the common elements, such as the next ones:

ash nazg
ash nazg
ash nazg
agh
kriumpatul

one ring
one ring
one ring
and
bind them

durbatulûk
grimbatul
thrakatulûk
burzum-ishi

to rule them all
to find them
to bring them all
in the Darkness

Next, the verbs which have “them all” in their glosses share a common element, atulûk, and the two that just have “them” share the element atul. Therefore, we know at least two more bits of morphology:

-atul-
-ûk

them
all

Even more, we could guess that -atul- has actually two elements: -at + -ul. As all the verb are infinitives, we could guess that this language, like in English, marks infinitives. Therefore we could hypothesise that verbs from the Black Speech are marked as infinitive when the morpheme at is added as a suffix (or interfix).

Creating the language

There are six notable steps for a writer to create a conlang:

  1. Select the sounds our language will use.
  2. Create a lexicon.
  3. Create grammar.
  4. Design a writing system.
  5. Modify the alphabet for handwriting; create cursive.
  6. Begin writing and translating text in our language; get into the usage of the language.

Sounds

When writing about sounds for our language we will need to decide which of those are we going to use. Different sounds are used depending on what kind of feel we want, either English-like languages or a more fantastical one will depend on that decision.

Some writers will often start with the alphabet and add a few apostrophes and diacritical marks, but we can get better results the more we know about phonetics and phonology.

It is recommended to write down the words and how are they pronounced so that we avoid future annoyances. In my case, I will use IPA symbols in this section (and highly recommend to do the same thing) in brackets. i.e.- sh [ʃ].

It may get scary, but do not worry, I will not even use half of those symbols for our example. A good way to know how do these symbols sound is to check the next website, http://www.internationalphoneticalphabet.org/ipa-sounds/ipa-chart-with-sounds/, where you can hear each of the pronunciations.

Now, for our naming language example, I will be designing with the phrase less is more in mind. Subtracting sounds to an existing language can make the new one look more exotic or foreign for our audience.

First, the consonants for our language, which can be pulmonic or non-pulmonic. By removing some of the sounds we don’t want for our language I get the next:

On the other hand, we need to write down our vowels too, which are notably confused with /aeiou/. Contrary to that notion, there are way more vowels that we can produce with our mouth.

The figure at the right shows the vowels I have selected for the language.

Phonotactics

Now that we have our basic sounds written down, we need to decide what will be the composition of the words of our language; also known as phonotactics, a branch of phonology that deals with restrictions in a language on the permissible combinations of phonemes.

Let’s start by deciding how will the syllables be structured, which are divided in three parts:

  • Onset
  • Nucleus
  • Coda

Looking at the English language, the structure is the next one (C)3V(C)5, which means that syllables in English can start with a maximum of 3 consonants (strong /strɔŋ/), followed by a vowel and end with a maximum of 5 consonants (angsts /æŋksts).

For my language I will use the structure (C)2V(C), that is two maximum consonants at the start followed by a vowel and a maximum of one consonant at the end of the syllable.

Next thing to do is to decide which sounds are we going to accept in the Onset, Nucleus and Coda. In this conlang I will use the next ones:

Onset

We will allow every consonant to be on the onset, with some exceptions. A table down below shows the possible combinations of two consonants for the onset position.

Nucleus

For the nucleus we will allow all vowels. Diphthongs will be counted as one vowel too.

Coda

Every consonant is allowed at the Coda position.

Pulmonic consonants
p t k ʔ m n ŋ ʙ r ɾ ɸ β f v θ ð s z ʃ ʒ x h ɹ j l ʎ
Non-pulmonic consonants
ɓ ɗ
Vowels
a i u e o ə æ
Diphtongs
ai au ae ao ia iu ie io ua ui ue uo ea ei eu eo oa oi ou oe

Lexicon

Roots

There is no one correct way of constructing words, but it could be recommended to start by creating root words, run them through a derivation system and, lastly, log them alphabetically in a spreadsheet.

To avoid the annoyance of translating each and every word in a dictionary I create the words when there is a necessity.

For example, I’ve created a mountain range, but there is no word for “mountain” logged. My process starts by shortening the structure to CV or CVC, since “mountain” is a word that can derive to other kinds of meanings later on, as it can be useful to have the roots of our language shorter.

After that, we would need to select sounds. A good way would be to think symbolically. Which sounds remind me of “mountain”? Plosive /ptk/, Trills /ʙr/ and Fricatives /ɸβfvθðszʃʒxh/ come to mind. Then, I will select some of the sounds until getting one that sounds good to me. In my case I will use /tak/.

Moreover, words often have several meanings, ande even completely different ones if compared to other languages, such as the case of mountain in both English and Spanish.

In English, mountain could mean:

  1. A large natural elevation of the earth’s surface rising abruptly from the surrounding level.
  2. A large pile or quantity of something.

On the other hand, in Spanish, mountain could mean:

  1. Difficulty, or something that is difficult to resolve.
  2. Region or territory where these elevations abound.

Therefore, it is good to take that in account and log various meanings that share a word on the spreadsheet.

WordTranslationCategoryMeaning
/tak/Mountainn.1. A large natural elevation of the earth’s surface rising abruptly from the surrounding level.
2. A large pile or quantity of something.
3. Difficulty, or something that is difficult to resolve.

Derivation

After having the root, we can create derivate words; affixation is a good way to start deriving the root into new words.

Using the root we can form various words related to places, animals, collectives or even an abstract meaning. Moreover, we can decide where to use affixation by looking at the various cases (a special grammatical category of a noun, pronoun, adjective, participle or numeral whose value reflects the grammatical function performed by that word in a phrase, clause or sentence) in other languages.

Nominative: –
Genitive:
Adjectival: -əɾ
Nominal: (raíz)
Verbal: -ol
Dative: (recipiente)-ul
Vocative: -o

Diminutive: -əɾ
Augmentative: -au
Comparative: -əɾa
Superlative: -əɾau
Accusative: -əŋ

Compound: raíz + raíz

Prepositions

Now that we have a root and its affixations, we may need to create translations for prepositions. For my language, I will translate the more common single-word prepositions used in English.

With those prepositions and roots we can start creating some names for our world such as /takəɾau/, that would be translated as “the highest mountain”, or even “the highest challenge/difficulty”.

Pronouns

Pronouns would be the last thing we need to add (if we want to use them). In my case, the pronouns on my language do not have a specific gender, to simplify it as much as possible; there are only 1st, 2nd and 3rd person, singular and plural.

1st person singular: /o/
2nd person singular: /ai/
3rd person singular: /ea/

1st person plural: /oaz/
2nd person plural: /aiaz/
3rd person plural: /eaz/

Extra: Numeral system

One last thing that is very useful for our language is the use of numbers, either to count or to be paired in conjunction with other words.

As per numeral systems, we can find several types, such as binary (exclusive use of 1 and 0), decimal or hexadecimal (0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B, C, D, E, F), but there are other somewhat more complicated ones, which at first glance do not seem so because of habit, such as the one we use globally to measure time, called a mixed radix numeral system.

In the case of my constructed language, which I’ll be naming as Yandu /ʎanðu/, I have decided that the civilisation has a hexadecimal numeral system, meaning that they count in groups of 16.

Each number has a different glyph associated to it, which represents the values ​​from 0 to 15. As it can be seen below, the system actually goes in pairs of 8, first from 0 to 7 and, then, the following glyphs are the combination of the 8th with the ones above it. For example, 9 is a combination of 8 plus 1, making mathematics the basis of this numeral system.

HEXCardinalOrdinalCounting Objects
0ipip
1memeθka me
2neneθka ne
3mamaθka ma
4nanaθka na
5momoθka mo
6nonoθka no
7xaxaθka xa
8ŋaŋaθka ŋa
9meŋameŋaθka meŋa
Aneŋaneŋaθka neŋa
Bmaŋamaŋaθka maŋa
Cnaŋanaŋaθka naŋa
Dmoŋamoŋaθka moŋa
Enoŋanoŋaθka noŋa
Fxaŋaxaŋaθka xaŋa
10vanvanaθka van
11me vanme vanaθka me van
12ne vanne vanaθka ne van
13ma vanma vanaθka ma van
1Fxaŋa vanxaŋa vanaθka xaŋa van
20nesnesaθka nes
21me nesme nesaθka me nes
22ne nesne nesaθka ne nes
23ma nesma nesaθka ma nes
2Fxaŋa nesxaŋa nesaθka xaŋa nes
30masmasaθka mas
40nasnasaθka nas
50nosnosaθka nos
60xasxasaθka xas
70ŋasŋasaθka ŋas
80meŋasmeŋasaθka meŋas
90neŋasneŋasaθka neŋas
A0maŋasmaŋasaθka maŋas
B0naŋasnaŋasaθka naŋas
C0moŋasmoŋasaθka moŋas
D0noŋasnoŋasaθka noŋas
E0xaŋasxaŋasaθka xaŋas
F0meʔaumeʔauaθka meʔau
100naʔaunaʔauaθka naʔau

Grammar

Since Yandu is a naming language there won’t be a very complex grammar, therefore I have decided for the language to have only past and non-past tenses.

In most languages the present tense is the default conjugation of a verb, without any kind of affixation. This is the same case for my language, which will maintain the stem in the non-past tense and will have affixation in the past tense of the verb.

  • Pronoun + Verb + (suffix) for Present and Past tenses
  • Prefix /ðə/ for continuous actions
  • Pronoun + Verb /koʔa/ (to go) + Verb for the Future tenses
  • Pronoun + Verbo /koʔa/ + Suffix /ka/ + Verb for Conditional tenses
  • Pronoun + Prefix /ðə/ + Verb /koʔa/ + Suffix /ka/ + Verb for Conditional perfect tenses

Conjugation example

For this example I’ll sue the verb takol (to climb), using koʔa (to go) as an auxiliary verb.

Present

o takol
ai takol
ea takol

I climb
You climb
It climbs

oaz takol
aiaz takol
eaz takol

We climb
You climb
They climb

Past

o takolka
ai takolka
ea takolka

I climbed
You climbed
It climbsed

oaz takolka
aiaz takolka
eaz takolka

We climbed
You climbed
They climbed

Present continuous

o ðətakol
ai ðətakol
ea ðətakol

I climbing
You climbing
It climbing

oaz ðətakol
aiaz ðətakol
eaz ðətakol

We climbing
You climbing
They climbing

Past continuous

o ðətakolka
ai ðətakolka
ea ðətakolka

I was climbing
You were climbing
It was climbing

oaz ðətakolka
aiaz ðətakolka
eaz ðətakolka

We were climbing
You were climbing
They were climbing

Future

o koʔa takol
ai koʔa takol
ea koʔa takol

I will climb
You will climb
It will climb

oaz koʔa takol
aiaz koʔa takol
eaz koʔa takol

We will climb
You will climb
They will climb

Future continuous

o ðəkoʔa takol
ai ðəkoʔa takol
ea ðəkoʔa takol

I will be climbing
You will be climbing
It will be climbing

oaz ðəkoʔa takol
aiaz ðəkoʔa takol
eaz ðəkoʔa takol

We will be climbing
You will be climbing
They will be climbing

Conditional

o koʔaka takol
ai koʔaka takol
ea koʔaka takol

I would climb if…
You would climb if…
It would climb if…

oaz koʔaka takol
aiaz koʔaka takol
eaz koʔaka takol

We would climb if…
You would climb if…
They would climb if…

Conditional perfect

o ðəkoʔaka takol
ai ðəkoʔaka takol
ea ðəkoʔaka takol

I would have climbed if…
You would have climbed if…
It would have climbed if…

oaz ðəkoʔaka takol
aiaz ðəkoʔaka takol
eaz ðəkoʔaka takol

We would have climbed if…
You would have climbed if…
They would have climbed if…

Writing system

I won’t go into great detail in this article, as this can easily be a lengthy piece of work, but the foundations of a writing system can be achieved by answering a number of questions we can ask ourselves:

  • How do speakers draw the glyphs (if there are)?
  • Where are they writing them? Do they use hard surfaces or are they drawing with brushes?
  • How much has technology developed? Does it change the way of writing?
  • In which directions does the civilisation write?

The most notably known writing systems are: Alphabets, Logograms, Syllabaries and Featural systems.

Alphabets

Alphabets have a glyph for each phoneme. There could be variations for upper and lower case in an alphabet, like r and R.

Logograms

Logograms are the earliest writing systems; Egyptian, Sumerian, Chinese and Mesoamerican were all logographic.

Syllabaries

A syllabary contains a glyph for each possible syllable. A good example is Hiragana, one of the Japanese writing systems. This kind of writing system are very appropriate for languages with a simple syllable structure.

Featural systems

A featural script represents phonetic features instead of phonemes. Korean’s Hangul is essentially a featural system.

For our Yandu, I will create a featural system inspired by Hangul, making glyphs that represent the positions the speakers do with their mouth to pronounce the phonemes.

The language is written by adding the phonemes from top to bottom in the order (C)2V(C)

The word Yandu /ʎanðu/

Hints for naming languages

  1. Write down the sound your language will use (or at least those different from your spoken language). Keep the list small so it does not get cumbersome or contradictory.
  2. Start with geographical or elemental terms, such as city, mountain, sea, fire, earth, etc.
  3. Add some adjectives that combine easily like big, high, new, old, small, etc.
  4. Not all languages work the same way. We can change the order in a sentence; use compounds instead of separate words.
  5. Do not add names to everything. If it does not have a meaning to your story, you will regret it later.

Narrative hooks + Introduction to the plot

To write a story is like sculpting a statue, it is necessary to have certain tools in order to achieve the desired result. Among those tools, in our case narrative resources, we have hooks, a powerful creative weapon that can help us capture our ideas during brainstorming, kick off the beginning of an adventure and even create expectations for future plots.

Narrative hooks, as the name suggests, hook the reader, viewer, or player into the action. We can play with them to create expectation, anticipation, suspense, interest, etc.

Commonly, narrative hooks are used as an introduction to new plots, although they could also be used to tie together past plots or to end a story with the intention of keeping the target audience interested in some kind of sequel, creating a new plot for the future.

We can see the aforementioned in any medium that does not use self-conclusive periodic serialisation, using such narrative hooks to keep the audience waiting for the next chapter, game or episode. Furthermore, these hooks do not have to conclude in the next instalment, but rather be used as an introduction to a mega-plot. An example of this are the post-credit scenes that we can find in Marvel movies, which expose in a few minutes what can happen in the following instalments of the established cinematic universe.

In media res, Ab ovo and In extrema res

Most of the time, if we start analysing how old stories start, we are able to see that they share some topics; lots of old stories start at the beginning of the character’s story, be it when they are born or before the conflict is created.

This kind of narrative technique is called ab ovo, which means “from the egg”. A story that starts ab ovo is one that kick-off the narrative at the beginning, before the protagonists receives their call to action.

Let’s take a look at Hercules (the Disney one!), a clear example of a story that starts ab ovo. The movie starts with the muses explicitly dropping the backstory of the greek mythos (kid-friendly), way before the main protagonists is born.

How would the story be told if, instead of starting off at the beginning, we are introduced to the narrative at the midst of the plot? This kind of narrative technique is named in media res, translated to “into the middle of things”. By doing this we are able to force our target audience into action as soon as they enter the story, which can be an interesting narrative hook by itself.

Lastly, there’s a third way to start a story, by setting our audience at the conclusion of the narrative using a narrative technique called in extrema res. At first, it may seem to be self-defeating to start the narrative at the end, since we may think that our audience could lose interest since they will know that the main characters will be able to resolve any conflict put on their way. Nevertheless, I have to say that these kind of stories can be very powerful when written with great detail, making the audience completely invested on understanding how the characters have come to such conclusions.

An example of stories that start in extrema res is H.P. Lovecraft’s The Shadow over Innsmouth where the protagonists starts telling what he discovered on the ancient seaport of Innsmouth, and how he alerted the authorities, resulting in the burning and bombing of the area.

  During the winter of 1927–28 officials of the Federal government made a strange and secret investigation of certain conditions in the ancient Massachusetts seaport of Innsmouth. The public first learned of it in February, when a vast series of raids and arrests occurred, followed by the deliberate burning and dynamiting—under suitable precautions—of an enormous number of crumbling, worm-eaten, and supposedly empty houses along the abandoned waterfront. Uninquiring souls let this occurrence pass as one of the major clashes in a spasmodic war on liquor.

  Keener news-followers, however, wondered at the prodigious number of arrests, the abnormally large force of men used in making them, and the secrecy surrounding the disposal of the prisoners. No trials, or even definite charges, were reported; nor were any of the captives seen thereafter in the regular gaols of the nation. There were vague statements about disease and concentration camps, and later about dispersal in various naval and military prisons, but nothing positive ever developed. Innsmouth itself was left almost depopulated, and is even now only beginning to shew signs of a sluggishly revived existence.

  Complaints from many liberal organisations were met with long confidential discussions, and representatives were taken on trips to certain camps and prisons. As a result, these societies became surprisingly passive and reticent. Newspaper men were harder to manage, but seemed largely to coöperate with the government in the end. Only one paper—a tabloid always discounted because of its wild policy—mentioned the deep-diving submarine that discharged torpedoes downward in the marine abyss just beyond Devil Reef. That item, gathered by chance in a haunt of sailors, seemed indeed rather far-fetched; since the low, black reef lies a full mile and a half out from Innsmouth Harbour.

  People around the country and in the nearby towns muttered a great deal among themselves, but said very little to the outer world. They had talked about dying and half-deserted Innsmouth for nearly a century, and nothing new could be wilder or more hideous than what they had whispered and hinted years before. Many things had taught them secretiveness, and there was now no need to exert pressure on them. Besides, they really knew very little; for wide salt marshes, desolate and unpeopled, keep neighbours off from Innsmouth on the landward side.

  But at last I am going to defy the ban on speech about this thing. Results, I am certain, are so thorough that no public harm save a shock of repulsion could ever accrue from a hinting of what was found by those horrified raiders at Innsmouth. Besides, what was found might possibly have more than one explanation. I do not know just how much of the whole tale has been told even to me, and I have many reasons for not wishing to probe deeper. For my contact with this affair has been closer than that of any other layman, and I have carried away impressions which are yet to drive me to drastic measures.

  It was I who fled frantically out of Innsmouth in the early morning hours of July 16, 1927, and whose frightened appeals for government inquiry and action brought on the whole reported episode. I was willing enough to stay mute while the affair was fresh and uncertain; but now that it is an old story, with public interest and curiosity gone, I have an odd craving to whisper about those few frightful hours in that ill-rumoured and evilly shadowed seaport of death and blasphemous abnormality. The mere telling helps me to restore confidence in my own faculties; to reassure myself that I was not simply the first to succumb to a contagious nightmare hallucination. It helps me, too, in making up my mind regarding a certain terrible step which lies ahead of me.

After this brief introduction to the story, Lovecraft goes back in time and moves the narrative to the beginning of the story, before the protagonist faces the main conflict. By doing this he already has invested the audience on the story, making them want to understand how the story unfolds to end so drastically.

Source of Power

When building worlds for our stories we will surely fall into this section. Magic systems and science are the two of the most plot-heavy items during the creation of the world, since that will be the factor that may differentiate them from the rest.

From civilizations that use magic for their daily activities to worlds where a scientific experiment acts as a catalyst for our plot; power sources are diverse, limited only by our imagination.

We should take care of our creations, for a source of power where there is no control only creates chaos on the narrative. Chaos that most of the time is set aside or saved by a Deus Ex Machina.

On the other hand, limiting a source of power may have some side effects on the plot, resulting on more predictability due to the lack of the narrative to create surprises for the observer without them questioning de credibility of the system.

Then? If black and white are the extremes… why not go gray? A good way to work around the “problem” found above is to cautiously mix both extremes; create a power source with limits but leave certain gaps where we can create unpredictability (failed spells, introduction of unknown materials, etc.).

Compelling origin for the source of power

The source of power can depending on the setting of our world, although it should not be completely tied to it. In science fiction settings it is advisable to look for scientific references, since the genre is closely tied to technological advances, while in high fantasy settings we can go the way of magic and sorcery.

That said, we can always innovate in terms of the source of power, the stories do not have to be 100% tied to a genre. However, a source of power tied to the genre of the story will make the narrative more believable to the audience.

For example, in the case of Mistborn, Brandon Sanderson created a magic system based on materials, where the use of said metals provides the user with different abilities. The list of usable materials are introduced to the reader, however. it is left up in the air that other materials can also be “burned” (the name given to the use of power), although the results may be null or harmful to the user. This creates on the reader the sense that the Mistborn magic system is one with its limited base, but with room to grow and create surprises, creating suspense and anticipation in regards to the appearance of new kinds of metals, and what type of power will those result in.

On the other hand, games like Final Fantasy I introduce magic as a type of attribute anchored to a specific game class, be it black magic for black wizards and white magic for white wizards. Still, a system as simple as this can add some more complexity with the introduction of a red mage, a class that can use (in a more limited way) both types of magic, or years later include new types of magic classes, such as the blue mage, time mage, bards and many more.

Inspiration

Sometimes inspiration never comes to us, but that is no problem. Not everyone can create new types of powers, abilities and technologies. There are lots of worlds with similar sources of power, so do not feel bad to start with a common magic-system as in Dungeons & Dragons; these shine by themselves and can be used as a good foundation for a different concept.

The next table provides a list of various elements that can be used as an inspiration for the power-system of the world being created:

Source of PowerDescription
TatoosUsers mark themselves with symbols which provides different effects.
Otherworldly essenceUsers can use essences from other planes of existence to their advantage, either through divine gifts or science
Change of traitsThe users trade one of their traits temporarily to enhance greatly another.
i.e.: a warrior that goes berserk, giving up their intelligence to enhance their strength and improve their resistance to pain
Nature elementsUsers can create materials and weapons by using elements of the environment
TechnologyUsers are able to modify their bodies through technology, replacing them with machinery
The elementsUser can manipulate elements, such as water, fire, earth, wind, etc.
UnobtaniumUser of that magic need a certain fictional material to cast their spells. An example of this is the One Ring, from The Lord of the Rings
WillpowerUsers cast spells or summon spirits with their willpower
GlyphsUsers cast spells by drawing glyphs in the air or in materials
SanityUsers trade part of their sanity every time they cast a spell
Self-restrictionUsers need to put rules into their spells. The more restrictive or dangerous to the user the more powerful.
i.e.- a user limits its power by the next rule “I will only use it for a certain group of people, and if I break the rule, I will lose my life”Vec
VectorsUsers materialize the forces of the universe by drawing arrows in a certain direction
AbsorptionUsers absorb materials from the world and can use its properties or mix with other absorbed materials

Sanderson’s Laws of Magic

There are countless of ways of creating a magic-system, but a recommendation is to set rules to them and start by classifying how much fantasy-like will that magic-system be inside of your world.

Brandon Sanderson described at his masterclasses and on some articles at his page three laws for the usage of magic systems in writing, which are subjective to him but are a useful tool for the creation of our sources of power.

Sanderson’s First Law

An author’s ability to solve conflict with magic is DIRECTLY PROPORTIONAL to how well the reader understands said magic

Brandon Sanderson, Feb 2007

When a character solves a problem by the usage of magic, the reader should understand how that problem was solved with that kind of magic. Otherwise, a Deus Ex Machina is created, which can be a huge plot hole and cause doubts to the reader later with similar problems.

Ideally, magic should be explained to reader before it is used to resolve a conflict. Understanding how magic works in the world will help the reader the actions of a character and the consequences of these.

Soft Magic (flexible magic)

Soft magic is a system which has no clearly defined rules, although it may create them during the story. This kind of source of powers gives the observer a sense of tension and uncertainty of the dangers the world can provide to the characters, or to themselves.

Stories that makes the observer feel that the world has unimaginable powers surging and moving beyond their sight are cases of this system’s usage.

Examples of good usage of this type of magic system are Tolkien’s The Lord of the Rings and George R. R. Martin’s A Song of Fire and Ice, where the majority of problems are created by magic and people try to solve these problems by mundane means on their own, without much magic involved.

Hard Magic (firm magic)

On the other side, we have what is called hard magic. This type of magic system explains all the rules of the world explicitly, meaning that the reader can understand the magic; solving problems with it does not seem far-fetched.

This is done so that the observer can get more involved in the story, feeling like themselves are part of the story and will be more susceptible to twists and turns in the way the magic works.

A hard magic system does not mean that the source of power will follow the laws of science, or that there will be any explanation to why people can use this kind of magic. This refers to how much the reader understands what the magic can do.

The Middle Ground

Most writers and somewhere in the middle of these extremes. The observer comprehends some of the limits and possibilities of the magic but doesn’t understand its workings fully.

In Star Wars, we can describe The Force as a highly soft magic system when we look at the specific usages thought all media. On the other hand, it has very strong rules that make the watcher/reader do not doubt the workings of this magic system.

Sanderson’s Second Law

Limitations > Power

Brandon Sanderson, Jan 2012

Usually, writers describe their magic systems by explaining what it can do. Brandon exposes that it is more interesting to know what it can’t do.

Limitations create problems and can make overpowered characters more human than gods, hence creating more immersive systems where the reader knows what can’t be achieved by the main cast.

This form of thinking can ease the creation of twists and problems inside the world, playing with the cognition of the observer whom the story is directed to.

An excellent limitation on a magic system is able to perform great results, summarized in the next three keywords: Struggle, Tension and Depth.

Struggle

It will help the characters work for their goals, which makes the public empathize better with the main cast.

The usage of limitations forces the characters to be more clever when overcoming their problems.

Tension

Constraints create tension in the story, as the outcome of a conflict is not completely obvious. We can play around with it to create more drama in the scene.

Depth

Limitations makes the author create more depth to the world and its characters.

For example, a magic system that causes the user to lose sanity for each use makes the casting of said magic intertwined with the plot and the character’s personality.

Limitations vs Weaknesses vs Costs

In short sentences: limitations are what the magic can do, weaknesses are vulnerabilities to the power and costs are what the user gives up for the usage of the world’s magic.

For example, a world where the magic can only be casted effectively only when the user is calmed (limitation and weakness, while slowly losing the capacity to feel anything when the magic is used (cost).

Sanderson’s Third Law

Expand on what you have already, before you add something new

Brandon Sanderson, Sep 2013

One common danger of creating sources of power is to not expand an existent magic system, creating depth, but adding multiple types of flat powers to the world instead. This can make the writing of the world (and the world itself) chaotic and boring.

The best magic systems are the ones that twist the existent rules and expand the uses of it, surprising the observers of the narrative.

An example of this is the Avatar series, where the magic system is based on the control of 4 basic elements of the world: Earth, Wind, Fire and Water. Over the course of the story, more kinds of bending (name of the magic system) are introduced to the watcher, expanding the basic elements. Some water-benders are capable to manipulate ice, or introducing earth-benders that can manipulate metal. At the end of the main arc, a new type of power is introduced, with its rules clearly established and applying the second law explained above:

  • Limitation: The main character is the only one that can use it.
  • Weakness: If the bender’s spirit is even slightly weak, the user can be damaged or die when using it.
  • Cost: Manipulation of the bender or the target’s life energy.

Sanderson’s Zeroth Law

Err on the side of AWESOME

Brandon Sanderson, Sep 2016

In his online lectures, Sanderson described this rule as that of creating magic by preceding “awesomeness” over the obedience of the other three laws.

Science (techbuilding)

On the other side of the scale we have the science and technology of the world, another type of source of power that can work individually or in conjunction with magic.

Throughout the creation of a science system in our world we will have to solve several questions depending on the style that we want our world to take in reference to technology, since we can create worlds that go from the mundane use of basic tools to the creation of mega-structures used to travel between planetary systems.

Keep in mind that the use of science in our works is what helps the reader to know at what point in history the events take place, whether in a medieval or a futuristic era, as opposed to the real world.

In this article I’ll expose two types of paths to follow when building a tech system: basing it on a specific piece of technology from the real world’s history or creating a futuristic setting.

History-based technology

Simple, especially used in worlds that take part in existing places on earth or during a specific era. We refer to a history-based technology system when we create technology, or rather in this case actual references are used as inspiration for the inventions or tools in our story.

A good way to branch from existing real-world locations is to create a parallel world, where we might find portable long-distance communication devices in the 1920s of an analogous earth.

Future-based technology

Commonly, when we create new pieces of technology for our world, we tend to expand the existent technologies of the real world by thinking how these can evolve in certain environments.

We should be taking in account the geography and time of the story for the creation process of the technology system. Otherwise, the science behind can make the observer think it is out of place, and question how the civilization has been able to create these pieces of tech.

Questions to answer

  • What powers technology?
  • Is your technology needed for survival?
  • Who created these technologies?
  • Is there any kind of technology to control the population?
  • Is the technology affordable? By whom?
  • What technologies do people use to communicate?
  • Do people travel in your world? How?
  • Are there any weapons? How do these weapons work?
  • Which are the limits of your technology? Is there someone trying to figure out a way to break these limits?
  • What materials do we need to create it?

Techbuilding from existent technologies

When there is a need for the creation of new technologies of a setting in the past (or the current era) there are two paths I follow: Evolution and Expansion.

Evolution

Evolution means adapting technology to the surrounding world

Evolution is to keep the purpose of the piece of technology and tweaking the design of it. As in the evolution of some species, which means adapting the piece of technology to the world we create.

This can be seen in all kinds of media; one notable example is Star Wars‘ lightsabers, which are the futuristic evolution of swords. Making these adapt to the universe makes the viewer not think of these weapons as an outdated piece of technology when put against guns and the like; different from the real world.

Expansion

Expanding a piece of technology is to add new uses and purposes to it

Expansion is what it seems, to add more purposes to the original piece of technology. We can see this kind of behaviour with the applications we have on our smartphones: a piece of technology with the original purpose of communication now has more than one use, from texting to reading to even entertaining the user.

Common techbuilding practices

In this section I will outline certain common practices used in the creation of technologies.

Megastructures

A common thing authors do in futuristic settings is to create what we call a megastructure: large artificial objects, product of megascale engineering or astroengineering.

Creating this kind of structures means that it should have a heavy implication to the plot or that at some point the characters will be passing through one of these (read about chekhov’s gun for more info).

A good example of such structures is the Mass Relay, huge devices scattered throughout the Milky Way in the Mass Effect universe, used to form an enormous network that allows interstellar travel at faster-than-light velocities.

Unobtanium

Frequently in fictional worlds there is an extremely rare, non-existent or impossible material. It is not necessary a material nor a piece of technology, but a plot device used to fulfil a role inside the story.

Known examples of unobtanium are Superman’s Kryptonite, Mass Effect’s Element Zero or Start Wars’ Kyber crystals.

Travel

How does the inhabitants of your world travel between locations? Do they use some kind of transportation device? These questions often appear when we are at the creation process of our technologies.

Some worlds use what we know as “normal”, by ground, air and water, but other worlds excel in their navigation systems. From ways of traveling throughout galaxies in incredibly fast times (faster-than-light traveling technologies) to the creation of supplementary technologies that help its travelers not feel how much time did the journey need to get to their destination (cryo-travel).

Hybrid Sytems

Some authors think magic and science are contraries, but they are two side of the same coin. The usage of magic and technology in the world should, ideally, be linked when creating a system that uses both systems as the main source of power of the world.

For example, the substitution of gunpowder in weapons by using the magic established in the world for that purpose. Even the basics can be replaced by swapping the way the piece of machinery is charged by making the magic users create lightning instead of the usage of batteries.

Another common use of hybrid systems is to make the magic system only possible by the application of the world’s technology, linking these two.