Ada Nnamdi

Igbo writer telling stories of love, power, and quiet tension. Romance, fantasy, and layered narratives. Enter if you’re ready to feel something. https://inkitt.com/chiamaka188

[adannamdi]

Good morning everyone ☀️

I recently used Inkitt’s experiment feature to test a new cover for The Princess’s Manservant—and the results are in!

The winning cover received 133 views, 7 clicks, and 1 read, and I’m excited to present it to you officially ✨

Thank you to everyone who interacted with the test—it really helped! 🤍

What do you think of the new look? 👀

The Princess's Manservant https://www.inkitt.com/stories/1636341

[adannamdi]

How to Make Your Victim the Heart of Your Mystery Story

Victims

Victims are complex characters that a mystery investigation story thrives on. They are the motivation, the cause, and the climax—in other words, the backbone of any mystery investigation.

A story can start with one victim and expand to many, or begin with multiple victims but focus on one key case that either starts the mystery or brings it to a close. However, victims can sometimes be overlooked, either by the writer or the reader, making them weak and forgettable within the narrative. They are crucial—without a victim, there’s no case, no investigation, and no story. It's that simple.

So, how do you make your victims feel relevant and integral to your story? Here, I will share what I did to make my victim, Adaora, seem like the main character.

Introduction Or Entrance

Let’s use Adaora, Adebayo's deceased daughter, as an example. I introduced her into the narrative when Adebayo was reminiscing about going to the market to buy fish and prepare for her return from school.

This is a casual way of introducing her into the story as an individual, rather than immediately as a victim. In my opinion, the victim needs to be seen as a person—either before, during, or after their death is announced.

Next, you need to understand how a character is introduced as a victim.

Adaora was introduced as a victim when the police visited Adebayo's home and delivered the tragic news:

Unfortunately, a knock on his black iron gate startles him. Frowning, he stares at the gate, hoping whoever it is will just leave. But Somto rushes out.

“Open the gate for them,” Adebayo instructs, setting down his newspaper and taking a sip from his cup.

Somto quickly unbolts the gate, letting in two young men. Adebayo leans forward, squinting to recognize them, but when he doesn’t, he eases back into his chair.

“Good evening, sir. Are you Barrister Owolabi?” the man on the right asks, bowing slightly.

“I’m Mr. Owolabi now,” he replies. “Retired.” He pauses, eyeing them suspiciously. “But who’s asking?”

The second man bows. “Good evening, sir. I’m Officer Aliyu, and this is Officer Chuka. We’re here to deliver some news.”

Adebayo raises an eyebrow. “News?”

“When was the last time you saw your daughter?” Chuka blurts out, but Aliyu elbows him sharply.

Adebayo, unfazed, answers, “A few months back before she left for school. I’m expecting her next week.”

Officer Chuka mutters under his breath, “You’ll be seeing her sooner than that.” Aliyu nudges him again, this time harder.

“What does he mean by that?” Adebayo’s frown deepens as he looks at Aliyu for an explanation.

Aliyu shifts uncomfortably. “Sir… I’m sorry, but your daughter… she is no longer with us.”

Adebayo’s brow furrows in confusion. “What do you mean? If my daughter is back, shouldn’t I be welcoming her myself? Why are you two here?”

Chuka speaks up. “Sir, to put it plainly… your daughter is dead.”

From this moment on, the investigator reacts according to their relationship with the victim, their impression of the victim, and their own personality.

For example, an abusive parent who saw their child as an investment would react differently from one who worshipped their child, or even a parent with a more neutral relationship. These different perspectives allow the writer to explore the victim further—their relationships, their reputation, and their place in society—so they are not just a background character or a plot device, but the heart of the mystery.

Identity

Next, you need to give your victim a strong identity. These are the basic traits, characteristics, and personal history that define them. In many cases, the victim has more background detail than the investigator or main character.

For example, Adaora is a 22-year-old university student in eastern Nigeria. She is the only child of her father, and her mother died when she was three, leaving her with only memories passed down by her father. Despite this loss, she never lacked love or care.

Adaora is friendly, extroverted, and energetic, but she keeps her deepest thoughts in her diaries—three of them, to be precise. She shares traits with her father, including stubbornness, a love for fish (as a meal), and an analytical mind. She is studying History and International Studies at the university.

By breathing life into the victim, readers care about them even after their death. It makes the mystery feel personal and relevant. It also ensures that every clue tied to them matters within the narrative.

Echoes

These are the traces left behind by the victim or at the crime scene—the investigator's tools for unraveling the mystery. They also serve as emotional connections, keeping the victim's presence alive in the story.

Adaora, for example, is primarily expressed through her diary, but what truly pushes Adebayo to investigate is a scar he finds. The diary is a major plot-driving clue, but it only gains importance when its contents hint at deeper secrets.

To write effective diary entries, I transitioned Adaora's tone from lighthearted and joyful to dark and mysterious, planting questions with no immediate answers. Adebayo's initial curiosity turns into paranoia and obsession as he uncovers more about his daughter's fate.

A well-placed series of clues ensures the reader shares the investigator’s urgency and emotions. Objects like a victim’s clothing, shoes, wallet, phone, or even favorite brand choices can all serve as key pieces of the puzzle.

Ending

There is no rule that says a mystery must be solved to have a satisfying ending. Unresolved mysteries can leave readers unsettled, challenge their thinking, or set up sequels. A story can end with a shocking reveal, an emotional conclusion, or even a flat line—as long as it leaves an impact.

What do you think? Did I miss anything? Let me know your thoughts!

[adannamdi]

Hey 👀✨

I’m currently doing a Disney-inspired Rewrite Challenge on my WhatsApp channel and I’d love your votes 😭📖

The audience gets to decide:

✨ Which classic story I rewrite

✨ Which genre twist it gets

Then I’ll rewrite the winning story in weekly bite-sized updates 👀

Please vote, share, and drag your friends into the chaos 😂✨

Tap this to get redirected to the channel: Ada Nnamdi Writes

[adannamdi]

A political marriage.

A hidden identity.

A prince forced to serve the very woman he’s meant to deceive.

In a palace filled with secrets, alliances shift, trust is fragile… and one mistake could cost everything.

But what happens when the line between duty and desire begins to blur?

👀 Secrets. Betrayal. Slow-burn tension.

Now ongoing for FREE on Inkitt.

Start reading The Princess’s Manservant today.

[adannamdi]

The Princess’s Manservant now has 17 chapters and is still ongoing for free—click the link to start reading. You wouldn’t want to miss anything 😉

THE PRINCESS'S MANSERVANT

[adannamdi]

Seeing my characters through a reader’s eyes = pure joy ☺️💖🥹

[adannamdi]

The Bloom Journal (Volume 1) is designed to help you move away from "performance-based" reading and into true presence. Through a guided study of the Pentateuch, we provide the structure you need to document your lessons, prayer points, and personal insights. It’s time to stop rushing and start blooming.

Tag a friend who needs a more intentional quiet time this year! 🌿

[adannamdi]

When Setting Gives Birth to Geography

I have a friend from a completely different life. We often talk about writing, and since I have a bit more experience, I welcome her questions—including this one.

Is setting the same thing as geography?

She’s adorable when she gets chatty, even though I can’t always keep up with her energy. But the questions she asks are good ones. Some people might see them as overly simple, yet they’re the kind of questions that matter in the long run.

So let’s get into it.

Setting is like the parent of geography.

It determines the era, location, climate—and by extension, everything that grows out of those choices.

When you decide to write a story, one of the first things you begin tinkering with is the setting. And once the setting is chosen, it quietly gives birth to several other attributes—geography being only one of them.

CULTURE AND RACE AS PRODUCTS OF SETTING

One of those attributes is racial and cultural context.

This includes periods of segregation, racism, racial diversity, racial unity, and the timelines associated with them. For example, eras of slavery or racial emancipation aren’t just historical facts—they’re setting-driven realities that shape how characters move through the world, what opportunities they have, and what conflicts exist.

These elements don’t float independently. They are anchored to time, place, and societal structure.

ENVIRONMENT AND DAILY LIFE

Then there’s the environment.

The environment includes animals, the economy, labour systems, and climate. A Victorian-era setting produces a completely different world from the 21st century—and both differ drastically from a futuristic or sci-fi setting.

The work people do, how wealth circulates, what resources are scarce or abundant, and even how far characters can travel in a day are all consequences of setting. Geography reflects this, but it doesn’t originate it.

RELIGION AND BELIEF SYSTEMS

Religion also integrates deeply with the setting.

Belief systems shape laws, moral expectations, rituals, and social behaviour. Whether it’s Igbo spirituality with Chukwu, Hindu traditions in India, Buddhist philosophies in China, or Islam with Allah—these systems are not decorative details. They influence how characters understand life, death, duty, power, and community.

And if we choose to write within real belief systems, respect matters. Setting is not just about accuracy—it’s about responsibility.

CLOSING THOUGHT

Geography is not just land, maps, or scenery.

It is the visible outcome of invisible decisions made by the setting.

So no—setting and geography are not the same thing.

One gives birth.

The other tells the story of what was born.

[adannamdi]

From What Was to What Worked

Why the Cultural Foundation of The Princess’s Manservant Changed

I’m not sure if this is important, but I wanted to share the original setting I had in mind for The Princess’s Manservant.

After The Divine Priestess / Nduzi Nso, I found myself increasingly excited about blending Igbo elements into my storytelling. I had already expressed interest in mixing the Victorian era with Igbo influences—but I never shared what the story was originally meant to be.

Surprisingly, it began as a debate between two ideas: a Greek–Igbo mix and an Egyptian–Igbo mix. I eventually leaned toward the Egyptian–Igbo concept, partly because I was still intrigued by theories linking Igbo history to Israel—though I later realized those claims were largely unfounded.

To explore the idea visually, I generated AI images to see what the world might look like and whether it was worth pursuing long-term.

AI-generated visuals exploring an early Egyptian–Igbo cultural blend, combining ancient Egyptian silhouettes with Igbo-inspired patterns and symbolism.

In the end, I let it go.

The attire and overall aesthetic felt… off. And more importantly, I didn’t have the capacity to dive deeply into yet another culture and history with the care it deserved. So I made a conscious choice to step back and simplify.

That’s when I turned to a Victorian–Igbo blend.

AI-generated visuals depicting a Victorian–Igbo cultural blend, merging 19th-century European fashion with Igbo textures, colors, and symbolism.

Using AI-generated visuals again—this time with that direction—the results surprised me. The moment I saw the images, I was hooked. I fell in love with every single one.

That shift helped the world feel clearer, more grounded, and more sustainable for the story I wanted to tell. I did my best to reflect that era and influence throughout the narrative, and I’d love to hear your thoughts.

The Princess’s Manservant is still available on Inkitt.

Read it and let me know what you think in the comments.

Ink & Bloom is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

[adannamdi]

I used to think my sister was just stressed.

Then I tried designing a medical study journal for her.

I didn’t realize how structured and relentless medical school actually is.

Now I’m building something that might actually help.

Med students — what do you wish your notebooks had?

[banzaboiieatskilishi]

TRIBE OF THE DAY : Igbo tribe

The Igbo people also spelled Ibo and formerly also Iboe, Ebo, Eboe, Eboans, Heebo are a meta-ethnicity native to the present-day south-central and southeastern Nigeria and also Equatorial Guinea. 

There has been much speculation about the origins of the Igbo people, as it is unknown how exactly the group came to form. Geographically, the Igbo homeland is divided into two unequal sections by the Niger River an eastern (which is the larger of the two) and a western section. The Igbo people are one of the largest ethnic groups in Africa.

Igbo-speaking peoples can be divided into five geographically based subcultures: northern Igbo, southern Igbo, western Igbo, eastern Igbo, and northeastern Igbo. Each of these five can be further divided into subgroups based on specific locations and names. The northern or Onitsha Igbo are divided into the Nri-Awka of Onitsha and Awka; the Enugu of Nsukka, Udì, Awgu, and Okigwe; and those of the Onitsha town. The southern or Owerri Igbo are divided into the Isu-Ama of Okigwe, Orlu, and Owerri; the Oratta-Ikwerri of Owerri and Ahoada; the Ohuhu-Ngwa of Aba and Bende; and the Isu-Item of Bende and Okigwe. The western Igbo (Ndi Anioma, as they like to call themselves) are divided into the northern Ika of Ogwashi Uku and Agbor; the southern Ika or Kwale of Kwale; and the Riverrain of Ogwashi Uku, Onitsha, Owerri, and Ahoada. The eastern or Cross River Igbo are divided into the Ada (or Edda) of Afikpo, the Abam-Ohaffia of Bende and Okigwe, and the Aro of Aro. The northeastern Igbo include the Ogu Uku of Abakaliki and Afikpo.

now for some fun entertainment I found !

The kim-kim or Udu is a plosive aerophone (in this case implosive) and an idiophone of the Igbo of Nigeria. In the Igbo language, ùdù means 'vessel' or 'pot'. This is a hand percussion instrument and it is one of the most important instruments in Igbo music.

Early Udu drums were simply water jugs with an additional hole and were played by Igbo women for ceremonial purposes. Legend says that the Udu drum was made accidentally because a punched hole was on the side, making it useless. Instead of throwing it away, the owner started to drum it.(note I listen to a sample of this instrument its fire I wish I could add an audio file here but I'll but that in a different post)

now the music is fire what about the arts?

Masks have been used for a variety of purposes within Igbo culture in both historic and modern times. For specific segments of the Igbo population, some mask pairs have been traditionally interpreted as representing the duality of beauty and ugliness. The former being depicted as the maiden spirit and the latter as the elephant spirit.Anthropologist Simon Ottenberg also ties masquerade performances to a duality, but he sees their function as primarily relating to gender difference and the initiation ritual during which Igbo boys become men. Young women are excluded from performing and are, therefore, passive witnesses. The rituals associated with mask-wearing establish and maintain gender difference. Additionally, the experience of ritual mask-wearing is related to the alleviation of sexual and social anxieties that result from the boy moving from his childhood home and away from his mother.

Within some portions of northern Nigeria, Igbo communities continue to utilize masquerade events in order to maintain connections with the deceased. Masks become physical embodiments of those no longer living which facilitates the flow of blessings and knowledge between generations. Knowledge of the secret aspects of the ritual are limited to initiated men who then have access to the supernatural tools necessary to contend with pressing socio-cultural concerns. Overall, however, the ceremonies serve as the site for important processes of communal healing, continuity, and connection. Joy is intermixed with grief as the living are able to again interact with those that have been lost

The use of masks within Igbo culture has been usually portrayed as an uninterrupted tradition or as a tradition impossibly altered by cross-cultural interactions. More recent scholarship, however, perceives contemporary Igbo masquerade performance to be the product of selectively-adapted external influences that perpetuate the traditional aims of the activity. As such, they should not be considered new and unique art forms but rather the result of the adaptation of imported elements. Pre-colonial conceptions of aesthetic experience and artistic goals were re-worked and understood through new paradigms introduced by cross-cultural movements.

For contemporary viewers of masks within the context of museums, the inability to see such sculptures in motion as part of performances makes understanding difficult. The effect intended by the artist in terms of experience is limited to the one static perspective that display permits. The exhibiting of masks emphasizes the object itself which is not always the most important aspect of the multimedia and multisensory ritual performance.Without the full costume and the atmosphere of music, spoken or sung word, and physical movements, the full meaning of masks is lost. The same physical object, when placed in different performance contexts, can symbolize different things which makes interpretations difficult after collection.

Eze Nwanyi mask

Otherwise known as the Queen of Women, this mask represents a wealthy, senior wife and grandmother who commands enormous respect in the village. She embodies the ultimate feminine ideals of strength, wisdom, beauty, stature and dignity, and is a leader among women.

This mask is worn in performances that occur at funerals and ceremonies that purify the village and other communal places

Agbogho mmuo

Agbogho mmuo, or Maiden Spirit masquerades perform annually during the dry season in the Nri-Awka area of northern Igboland. At these performances men dance as adolescent girls, miming and exaggerating the girls' beauty and comportment. The performance is also accompanied by musicians who sing tributes to both real and spirit maidens. The following are examples of quotes that may be heard during a performance :

Mmanwu si n’igwe: The masked spirit from the sky

Udemu na lenu: My fame is potent

These masks showcase an ideal image of an Igbo maiden. This ideal is made up by the smallness of a young girl’s features and the whiteness of her complexion, which is an indication that the mask is a spirit. This whiteness is created using a chalk substance used for ritually marking the body in both West Africa and the African Diaspora. The chalky substance is also used in uli design, created and exhibited on the skin of Igbo women. Some maiden spirit masks have elaborate coiffeurs, embellished with representations of hair combs, and other objects, modeled after late 19th century ceremonial hairstyles.

(the art is amazing and it shows in the masquerades)

i do recommend checking out the different festivals yourself but ill talk about one here.

the new yam festival (this has multiple variants the one I was sent was the Abia igbo version)

Usually, at the beginning of the festival, the yams are offered to the gods and ancestors first before distributing them to the villagers. The ritual is performed either by the oldest man in the community or by the king or eminent titleholder. This man also offers the yams to god, deities, and ancestors by showing gratitude to the supreme deity for his protection and kindness in leading them from lean periods to the time of bountiful harvest without deaths resulting from hunger.After the prayer of thanksgiving to their god, they eat the first yam because It is believed that their position bestows the privilege of being intermediaries between their communities and the gods of the land. The rituals are meant to express the gratitude of the community to the gods for making the harvest possible, and they are widely followed despite more modern changes due to the influence of Christianity in the area. This, therefore, explains the three aspects of the Igbo worldview, that they are pragmatic, religious, and appreciative.

The day is symbolic of enjoyment after the cultivation season, and the plenty is shared with friends and well-wishers. A variety of festivities mark the eating of new yam. Folk dances, masquerades, parades, and parties create an experience that some participants characterize as "art"; the colorful festival is a spectacle of exhibited joy, thanks, and community display.

information from wikipedia and 101lastribes and the people that I mentioned below

There is must more to say about the Igbo people but I can't fit it all in one post but lets support some!

@prolaxzo247

@adannamdi

@ch1mmy-error

LETS CELEBRATE THE IGBO PEOPLE

[adannamdi]

Side Characters And Mirror Roles

By now, you’ve probably noticed that more characters are entering the story. I wanted to take a moment to explain why they exist and what I’m using them for—without spoilers, and as sequentially as possible.

First, a quick reminder of the two kingdoms:

DURACRETE, the prince’s kingdom, carries the signature colors of brown, gold, and purple—chosen to express strength, richness, and vibrancy.

AETHELGARD, the princess’s kingdom, is marked by silver, grey, and green, reflecting restraint, intelligence, and quiet elegance.

These contrasts matter. They inform behavior, values, and how characters move through the world.

Now, the side characters.

Some roles are intentionally unclear for now—especially the prince himself. His importance unfolds later, and revealing too much would ruin the experience.

Osita William Obodoike, cousin to the royal family, exists to embody entitlement. He is privileged, self-centered, and unaware of how little power he actually holds—making him both frustrating and revealing.

Obinna Ethan Okafor sits somewhere between main and secondary character. He is a trusted assistant, a witness, and a quiet stabilizer. For now, that’s all I’ll say.

Adaora, the princess’s personal maid and confidant, appears well-suited to her role—and she is. But she is not as transparent as she seems. There are hints, though I’m not sure yet how noticeable they are.

Then there’s Lady Oriaku.

She is the character I wrestle with the most. She was added with a purpose, but her role is still evolving. Whether she becomes a villain, the daughter of one, or something less obvious is part of the story’s ongoing discovery—for me as much as for you.

That’s all for now.

Keep reading The Princess’s Manservant on Inkitt, and don’t forget to leave a comment or a like. 👍🏽

[adannamdi]

When Words Are Unbound

Letters are one way of carefully constructing words to appear a certain way to someone. I know this because I used to use the Slowly pen-pal app.

In The Princess’s Manservant, letters are the only form of communication that do not bind the characters. And that is intentional.

When the princess writes first to the prince, she is attempting to claim ownership of her own life—separate from what others expect of her. It may not be the ideal beginning, and the connection may feel uncertain or even forced, but it is hers.

The letters also allow the prince to understand her thoughts and decisions, even with limited information. What is left unsaid matters just as much as what is written.

More importantly, the letters exist to create a pause. They soften the tension that constantly fills the story’s air. They slow things down.

They may seem unnecessary—but they were necessary for me.

[adannamdi]

Happy Friday

Hey everyone!

I hope you’re enjoying the story so far, even though it’s only just begun 🤍 Happy Friday! I just wanted to wish you all a lovely weekend and let you know to keep an eye out for more updates on Wednesdays and Saturdays.

Thank you so much for reading and supporting — see you soon ✨

[adannamdi]

Servitude Is Not the Same as Submission

I’ve always been curious about the difference between submission and servitude in relationships—and how those ideas apply to both genders.

What does it actually mean to submit? How is that different from simply serving someone? And who gets to decide who does which?

Traditionally, society places submission on women. Some accept this without question, others reject it entirely. But what happens when that expectation is reversed? What happens when a man is the one placed—willingly or unwillingly—into a submissive role?

That question sits at the heart of The Princess’s Manservant.

If a man is forced into submission, what does that mean for the woman who holds power? Is she less accountable for her actions? Does authority cancel respect—or does it demand more of it?

These questions don’t exist in isolation.

Beyond the main characters, there are other relationships within the story that mirror this dynamic in reverse—where the roles of power, service, and submission are flipped. Their journeys are secondary to the central narrative, but they face their own challenges as they wrestle with expectations and attempt to step outside the roles assigned to them.

Together, these parallel stories ask a larger question: Are these roles natural—or are they learned, enforced, and protected by tradition?

I’m not interested in handing you tidy conclusions. Where’s the fun in that? 😉

Instead, the story invites you to watch these dynamics unfold—slowly, sometimes uncomfortably, and often in ways that challenge assumptions.

There are moments in the story that mark clear turning points in these interactions—moments where power shifts, boundaries are tested, and something deeper begins to surface. I have a feeling you’ll enjoy those very much.

And just a little reminder: The Princess’s Manservant is now available on Inkitt, with updates every Wednesday and Friday.

The Princess'S Manservant - Free Story by Ada Nnamdi

The kingdoms of Duracrete and Aethelgard have been at odds for years, but a single contract promises to change everything. Its purpose: uni

The first post is live. The journey has begun.

[adannamdi]

Power & the Manservant

I mentioned previously that the story carries some non-explicit BDSM elements within its narrative, and I’m sure some of you may be wondering how 🤍

Well, I was at a phase where I became fascinated with power play — not in a sexual sense, but in how power dynamics can be reversed, challenged, and reshaped.

While many stories explore BDSM through intense sexual tension, I wanted to focus on the emotional, psychological, and structural side of it 🧠✨

So instead of making it optional, I made it institutional.

A system.

A test.

In this world, the manservant is forced into a role he is unfamiliar with, one that strips him of authority rather than granting it.

Just a sneaky reminder 👀 — the manservant is actually the prince of a neighboring kingdom, betrothed to the princess through politics he knew nothing about. His position as her aid was… entirely unintentional.

The institutional system requires two participants:

The Lead (master / mistress / dom / domme)

The Aid (submissive)

Together, they are expected to form a bond — a way to test the competence, restraint, and leadership of the new generation of royals and high-ranking nobles ⚖️

There are tests, games, strict rules, and yes — moments of abuse.

However, the system does protect the aids if they file a formal complaint, which can lead to reassignment and punishment. Without that complaint, nothing happens.

So what’s the reward for participation? 🤔

Trust.

In a society riddled with scandals, illegitimate heirs, and abuse of power, this system exists as a way to create accountability among nobles and royals — though not everyone even knows it exists.

Most peasants are unaware of the institution, and its existence is kept hush-hush and tightly controlled 🤫

The manservant must now navigate the strangeness of another kingdom while learning a new form of leadership — one that demands humility, restraint, and submission to someone he initially finds distasteful.

📅 Release is on the 23rd

Follow to stay updated when it arrives — and if you’d like BTS updates even after release, let me know in the comments or by reacting 💬🖤

See you next time ✨📖

[adannamdi]

BEFORE THE CROWN

Igbo - Victorian Era… 🌿👑

Yeah, it’s not a very common fusion in fiction. When I browsed cultural fusions, most were Caribbean + Western 🌍.

Being one of the prominent ethnicities in Nigeria, the Igbo didn’t evolve like the English — which made writing this world more challenging ✨.

The year I used specifically: 1800 🕰️

Their attires and setups were so eye-catching. Dresses caught my attention — I was strongly drawn to them 😍. Why not make it fun?

I could have created multiple kingdoms, but I didn’t want to divide resources, economies, and policies yet — too much work 🏰.

So I decided to focus the story through the lens of the two main characters, one from each kingdom. If other kingdoms are added, it will happen gradually as the story progresses.

This image was taken from Wikipedia

Here’s how I imagined this era:

FASHION: Igbo fabric with 1800s English styles. Women wore corsets over Ankara, decorated with beads and cowries ✨👗. Men’s tunics blended modern African native styles with English suits 👔. Fabrics ranged from fine George to hemp and sisal for working clothes.

NAMES & LANGUAGE: Igbo and English names used according to politics. Igbo terms often come with English explanations 📝.

WEATHER & TECH: Igbo climate, with some English-inspired tools or tech 🌦️⚙️.

TRADE: Kingdoms traded by sea 🚢 — cloth, manilas, iron tools, spices — connecting one kingdom of strength & meat with one of strategy & farming 🍖🌾.

MAGIC (UKA): Rare, spoken-word blessings or curses. 1 in a million can use it. Priests and priestesses often pray in Igbo, nobles mostly speak English 🔮.

There are still many things I’m figuring out — titles, spells, place names — but I think I’ve found a balance so far.