-Blessfrey takes place between two worlds: the southern American town of Lucrest and the underground world of Blessfrey. This week, I'll explain the concept behind Lucrest, then on the 24th CST, I'll tackle Blessfrey.
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the only game set in the modern-day deep south
-Most of the worlds I make in creative writing are on the fantastical side, but Lucrest is quite mundane in comparison. It's more or less representative of a typical town, complete with a shopping center, school, church, a neighborhood, and some natural beauty. It's perfect for filling with my real experiences growing up with other people, places, and things. Looking around at other games, though, it seems like a little portal into suburban Deep South life could be somewhat novel.
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-Japanese media presents endless amounts of interesting tidbits of Japanese culture, and this window into another culture is part of what draws me in. English games feel the same way. I understand so many English cultural references because I was exposed to them through RuneScape growing up. I wonder if American-set games alienate but intrigue other people in a similar way? American culture has dominated all media channels for ages, so maybe everyone's sick of us by now, but the vast amount of broadcasts show L.A. or NYC culture anyway. American-set games are similarly narrow in how much of our country they display. I'm not even sure there's much to learn about us from games in general, since I've played countless US-based shooters that massively de-emphasize setting, characters, and mundane situations. Some are so generalized you can't even tell what city they are modeled after. This could just be my experience, though. I've played games with richly detailed settings, too, like Bloodlines's L.A, Mafia II's 1950s urban east coast, and all the Night in the Woods's and Life is Strange's out there. None of these are set in my region, though, and America is so patchwork that I've picked up on tiny cultural differences in each of these titles.
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-There's an urban vs rural divide, but there's also a regional divide. Game writers favor other regions heavily then collapse the entire South to Louisiana and Florida, which are both geographically southern but culturally divergent with stronger historic ties to France and Spain respectively than the English derivative Deep South. Wikipedia agrees. In their list of games by state, California, Alaska, the West, and the D.C. metropolitan area dominate American representation. It's not like the Deep South is the most romanticized setting, but, excluding Miami, I'm only seeing an Assassin Creed game, a Hitman game, Left 4 Dead, a Call of Juarez game, and The Walking Dead series. Most of those are too historical or post-apocalyptic to really count, either. Alabama is the least favored by writers all states: only one notable game, a random sports game from 1995, while Mississippi only has three.
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-(Honestly, seeing the stats surprises me. I always thought the patrician world where the Age of Chivalry took its last bow was just as plausible a setting for a bunch of knight errants doing quests as tired ole' medieval Europe. The Antebellum South has swords and farmers and pirates and tradesmen and everything RuneScape has, so why not? And with all the DOS-era games based on books, nobody tackled Gone with the Wind? And is there not more than one Civil War game out there when there are how many tens of random war games released every year?)
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what's there to do in lucrest?
-Functionally, it will have story events and side quests, but it will mainly serve as the hub for recovering and gearing up between dungeon crawls. I think of it as Torchlight a lot. (At least, the hub from the first game.) As for the smaller details that will be nested into the environment and character interactions, it may end up realizing some of my old game designs.
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-This isn't my first iteration of game world that's more of a personal diary for things I encountered growing up. I spend a lot of my middle school years filling out a GDD for a game named after the fictional neighborhood it was set in. The protagonist was Walker, a girl who she ripped out all the pages of her diary in a moment of grief and set them to the wind. All you did was walk around, watch events, collect diary pages, and do some basic puzzle-solving. There's an entire subdivision to explore, each neighborhood with its own flair and obstacles. As you collect diary pages, you unlock a clearer image of who Walker is and why she was sad. At the time, I was inspired by Tale-of-Tales, especially The Path and The Graveyard, but similar genres have since emerged like walking simulators and whatever those Slenderman collect-all-the-pieces-of-paper games were. The only remnant I have left of the game is an old tumblr blog. If only Unity went free earlier; I would totally be sharing an broken demo instead of a moodboard with a broken theme.
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-Sixth View's gameplay is really basic, the narrative is really linear, and a lot of it is middle school cringe, but there's a tiny glimpse of Lucrest in there. Like Sixth View neighbors, Blessfrey townspeople are going to be drawing with sidewalk chalk, having yard sales, playing Concentration 64 and Big Booty, painting clear nail polish over chiggers, avoiding water serpents in the brook, doing Bible drills, folding fortune-tellers, having class in portable classrooms, playing I Spy or license plate games, finding golden orb weavers in their gardens, my mom scaring me with stories about Wampus Cat, wondering why pairs of shoes end up hung over telephone lines and trees, wearing clover crowns, making sock monkeys, blowing dandelion puffs, VBS, finding arrowheads in the river, playing four square, cutting through cotton fields, and all the stuff I think of when I think of my childhood.
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-The GDD it probably won't be like is the RuneScape clone set in the Antebellum South (because you know like all 90s kids, I had at least 3 RuneScape clone GDDs saved in WordPad). I wish I had a scrap of any of those GDDs because they're probably funnier to pick apart than Sixth View.
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-Last updated January 16, 2022
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designing a fantasy game world: where do I even start?
-Blessfrey takes place between two worlds: the southern American town of Lucrest and the underground world of Blessfrey. Last week, I explained the concept behind Lucrest, and now I'm tackling Blessfrey.
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blessfrey, the fantastical
-Blessfrey is functionally a vast, unknown world full of exploration, combat, gathering, and plot-driving discoveries. This is where the real game takes place, though the overworld is a nice safe place for getting your bearings. It's populated by multiple uncontacted cultures, so artistically, it's a chance to do whatever I want without having to ground it firmly in real world logic.
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-That also makes Blessfrey a white sheet of paper. With Lucrest, I can model society and all its components after my own. In fact, the more I lean on my local surroundings, the more unique the setting will be. With Blessfrey, I don't have a lot to start with.
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-The earliest vision of the setting illutrated Blessfrey as a vast world under Lucrest. In Podunk, Alabama, you shouldn't expect more than farmland, a general store, and a church, but rural Lucrest florished under its current mayor beyond believability, stocking all the luxuries and exotic goods you would expect from a big city, albeit at a tiny scale and population. Tourism off-sets a little, but the local population doesn't support all this - the mayor propped up the entire local economy through conquering a pocket of Blessfrey and establishing it as a secret micro mercantilist colony.
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-Initially, Blessfrey was defined by Lucrest's needs, and the impulse doesn't go far beyond "subterranean" and "alien." It needs to have rich natural resources equal to a nation to solely support a town. It needs a full-bodied manufacturing and supply chain. (In contrast, the town will have next-to-zero above ground areas dedicated to industry.) It needs a population that can be subjugated and perform labor. It also needs a population that would seldom be seen by anyone above ground.
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-However, Blessfrey existed long before Lucrest. The mayor learned about it through Civil War era historical records, so it was technologically advanced 150 years old ago, while Lucrest is a small Alabama town and couldn't have been founded much earlier than that. The world, or at least the region beneath the town, is positioned to be culturally rich, visually intricate, and descended from a comprehensive history. Since this is a game, I don't need a worldbuilding bible to rival the real Bible, but there needs to be enough to support a cast of characters, a host of locations, story events, and a general sense of depth for the players. Where do I start?
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character-driven approach
-The first Blessfreian I designed was the main cast member Rune. He's a young castaway of his people living in the buffer zone between civilization and the outside world. His class is the first special class the player will encounter. The humans will have access to the expected RPG classes: melee, magic, ranged, healing, etc, but Rune and the other subterranean people will have different and apparently more powerful classes: teleporting, shape-shifting, mind reading, time manipulation, etc. He's pale, thin, very tall, with expressionless red eyes. He also has rigid keratin horns that blend into his dark hair, a little like G-Dragon from the Monster video.
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-He's intended to be a project for the player, like a Princess Maker ward, Geralt's adoptive son in The Witcher 2, Brother Martin in the original kingmaker concept for Oblivion, or Shandra Jerro in Neverwinter Nights 2 if you could multiclass her. You can turn him away or take him in and train him up, critically branching the game's trajectory. He'll start out undersocialized, monosyllabic, and ignorant of most of the world, and hopefully the player helps him to become human, expressive, and capable.
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-Rune is a member of a dominant Blessfreian race, so this gives me some ideas what the rest will look and act like and possibly even some ideas about the prevailing culture. Semi-rigid keratin horns made from hair is a trait the race can have, and every member can have a different style. Rune's are long and curve harshly to rest on his head like a halo, while GD's are short and slightly curved at the top. Individualized horns make me think of Homestuck, which isn't my favorite webcomic, but honestly most horned races offer this variety. Rune's an outcast, so there's a potential in-group/out-group culture at play here, be it resulting from legal disputes, religion, or his personal appearance. It's also possible his society would find his abandonment reprehensible, and it's due to a negligent mother or tragic accident.
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environment-driven approach
-Just because a world is underground doesn't mean it has to be all caves or hellscapes. If I do learn on the familarity of spelunking through local caverns here, though, it gives me a foothold. There's crystals, bottomless pits, and underground waterfalls and rivers. There's solutional caves, tectonic caves, and volcanic caves. There's eyeless fish, bats, and cave swallows. People have built mines, entire cities, escape routes, secret passageways, and metros underground. Certain indigenous people groups have lived underground or tell stories of ancestors who once did.
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-I can also be inspired by what is not underground. The sun, passage of day to night, weather patterns, seasons, star patterns, migration patterns, fresh air, chlorophyll, and countless other things don't fit as logically into an isolated subterranean civilization.
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-Using these reference points, I can start piecing together a world. How is time measured? The concept of an hourglasses still works, but rotation-derived hours do not. What is the fashion? Perhaps roots, asbestos, or fine metallic threads dominate over animal derived fibers...unless they use their own hair. If this isn't a vast inner world but rather cavernous pockets, how is their waste managed? Do they have designated dumping tunnels or use bottomless pits?
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genre-driven approach
-I can refer to others who explored the concept of an inner world.
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-As for games, I already mentioned Torchlight, which isn't too dissimilar to Blessfrey, with a town supported by a dungeon that involves some other worldly power. Persona 3 exists between two worlds, an ordinary Japanese town and the shadow dungeon Tartarus that only appears in the school at a certain time of night. SMT IV is set in an apparently Edojidai Japanese town with a demon-filled dungeon.
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-As for entirely subterranean games, Arx Fatalis is an apocalyptic game where the world's population was driven underground and their war continues. Avernum is an prison planet game (like Gothic), but the prisoners are kicked through a portal that leads somewhere underground, a place inhabited by prisoners, hostile subterranean natives, dragons, and lots of mushroom-based life like trees and cows. I think Wizardry and Ultima Underworld games take place in an underworld, too, but I've never played them lol. There's also infinite JRPG dungeoncrawlers out there, of which I've played very few.
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-For books, there's endless iterations of this idea. I'll guess Divine Comedy or Journey to the Center of the Earth are the most famous, but there's a full genre of hollow earth exploration written by sci-fi authors, pseudoscientists, theosophists, followers of Eastern philosophies, and schizophrenics. I've read a few of these already, like William R. Bradshaw's The Goddess of Atvatabar and Ingersoll Lockwood's Baron Trump's Marvellous Underground Journey. Poe and C. S. Lewis have incorporated this idea into their books, The Narrative of Arthur Gordon Pym of Nantucket and The Silver Chair. The youth fiction series Artemis Fowl featured an magical underground world full of fairies. There's also the manga Made In Abyss and all the countless dungeoncrawl, dungeon isekai genres out there.
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-Subterranean worlds also appear in myth and folklore. Hades, Patala, Shamballa, Jigoku, some of the Norse 'heims. The Tuatha Dé Danann live underground, and so do dwarves, asura, and naga. The Hopi people originated from underground, and so did the Lakota, Navajo, Apache, and Zuni. It's possible Eden is underground now.
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-Plenty of reference material. Each has its own interpretation of a giant dungeon, which can spur questions about Blessfrey's worldbuilding. Why does the dungeon exist? How does it interacts with the surface world, and why did surface-dwellers explore it? Who lives there, and what factions are at play? What's at the bottom of the dungeon? Some of them get pretty deep, asking what the dungeon represents and how it mirrors the surface world.
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altogether
-Designing a fantasy world, like the subterranean world of Blessfrey, from scratch can feel like an overwhelming blank on a page. If you're already in the midst of writing your story or designing your game, the page might not be as blank as you think. I have a surface world that has active and prior interaction with this fantasy one. I have a character who lives in this world.
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-Also merely by placing it underground, that connects my world to a wealth of material to reference. Analyzing other worlds will begin to fill your once blank page with questions to answer. You can always skip this step and jump straight into a pre-made questionnaire, but building off of other entries in your genre is an inspiring personal process to undergo that will tip you off to audience expectations. Whether you serve them or deconstruct them is up to you.
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-At the end of the day, what will really draw your players into your game are fun levels that make clever use of your game's mechanics and your characters. If all your world does is justify a crowd-pleasing level and favorite character, it's perfectly adequate. After all, an almost lore-less released game is more successful than an epic-length worldbuilding bible with less than a demo to show for it.
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-Good luck worldbuilding!
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-Last updated January 16, 2022
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factions
-march 24, 2022
-#factions
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out of the norm
-RPGs are all about the stats that define their characters. The values of each stat are constantly being jostled around by buffs, debuffs, enchanted equipment, environmental effects, and perks. If you allow each
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when does a character become hostile?
-NPCs generally will not seek out the player for combat. They will either stand stationary or follow their patrol route, oblivious of the player until becoming hostile.
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-Usually, if an NPC is hostile, that means a threat got too close. Currently, proximities in Blessfrey mirror Edward T. Hall's zoning for interpersonal distances. Intimate distance is the range for physical interaction and melee attacks and social distance is the range for assessing hostility and ranged attacks.
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-(By WebHamster - Own work, CC BY-SA 3.0, Link)
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-Last updated January 12, 2022
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march 2022: demo skills
+april 1, 2022
+#diary
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tuesday, march 1
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...I'll document this soon.
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+Last updated April 7, 2022
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