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art by @enerjax.bsky.social
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that story where you challenge the fairy queen to a match of wit and skill to win back your loved one. and it goes … fine, you think? probably.
adapted from this very short Elsewhere University piece, changed slightly to be a little more self-contained.
other comics//tapastic//patreon//ko-fi
We understand that Broodmother is a reflection of the brutality of Orzammar and its use of women’s bodies explicitly for breeding, right?
In Orzammar women are always already broodmothers.
Broodmother is a narrative reflection of that use and that reality, a use of women which is justified in Orzammar as having to replenish the Warrior and upper castes due to the constant pressure of Darkspawn, but in the deep roads is stripped away of all its social pretence.
Orzammar’s narratives are entirely about people being used, abused and consumed in the service of caste and necessity, and how this particularly effects people who are assumed to be able to give birth, how it creates not just sex work but pregnancy work, and the coercive ways necessity operates on people.
It’s not at all a subtle parallel. The darkspawn do not defeat House Branka; Branka- Paragon, Noble, highest caste and most powerful woman in Orzammar- feeds her lessers to the darkspawn.
She has all her story reasons for doing it, but at the base and inescapable level, she (like all the other Dwarves of Orzammar) use and discard lower Castes because they can, because they have the power to, because the caste system organises them to be able to.
I honestly absolutely hate with a spitting seething passion the kind of analysis that sees horror, especially horror against women, being committed in a narrative and immediately becomes incapable of saying anything about media other than “it’s just edgy/gritty/grimdark” and dismissing it.
Life is edgy gritty and grimdark for a lot of us. I was a teenage sex worker. My life was edgy gritty and grimdark. I experienced some of the most vulgar expressions of how gender works in my society, and I experienced them bluntly.
And to dismiss depictions of sexual, gendered violence as “purely for shock” when they are not, when they have something to say about gender and power and violence in a setting, is to assign stories like my real life as “shock value”.
There is more feminist shit to say about Orzammar alone than anything in Veilguard, because Orzammar is actually interested in gender and in the social roles and violences that create, reinforce and are a consequence of gender systems*.
And personally, I will pick a story that clumsily tries to say something about power and violence and society over a smooth story that says nothing about those things every single time; but that doesn’t mean Broodmother isn’t worthy and deserving of criticism (it is!) but can we please at least start from a place of criticising it for what it actually is and what it is actually doing in the game? The work and text that is the game?
*I am not saying Orzammar is feminist or is doing feminism, but you can analyse it from a feminist standpoint because the cloying weight of Gender and Gender In Society as a faucet of the setting is inescapable.
the “non-sexist Thedas” thing was always kind of insane to me bc i had interpreted the in-world treatment of the broodmothers as something universally viewed as horrible/terrifying vs the acceptance Orzammar’s citizens have of its caste system societal structure as a commentary on how different irl societies often criticize each other for Things (including discrimination/violence against women) while also perpetuating those same Things in different (or even sometimes similar) ways. and idk if they thought that throwing out “sexism doesn’t exist” would make people feel better or what, but if anything it almost had the opposite effect because like, okay then what was all of THAT gesticulates towards Origins’ female city elf prologue and Orzammar’s treatment of women and broodmothers etc. even for???? because i had assumed it was intentional commentary but now y’all got me thinking otherwise which. is perchance. Not A Great Look?
there’s been such a weird shift in media overall where the assumption seems to be that people DON’T want to engage with like, basic statements or ideas that may reflect reality? and it’s really been weirding me out. and people have been using the whole “oh but i don’t like grimdark” thing as an excuse and it’s like???? that’s not what that means???
like sorry not to make everything about Star Wars on main, but take the first film (A New Hope) for example. LITERALLY the word “hope” is in the mf title! i highly doubt that if you asked anyone who’s seen it to describe the film they’d say it’s grimdark or depressing. but you know what it has?
among other things:
oppressive authoritarian fascist government
a scene in which the main character’s parental figures are burned alive in their own home
a scene in which a captive character is heavily implied to be tortured
a cybernetic death samurai who kills people with his evil-colored laser sword for Breathing At Him Wrong
and if you took any one of those things out of the narrative it wouldn’t hit the same. they’re important to the narrative at least in part because even though they’re negative or uncomfortable, they’re reflections of things that are real, and the narrative takes those reflections and holds them up in front of you and says “i think we should talk about what America is doing in Vietnam” (George Lucas was hugely anti-Vietnam war and it shows in his depiction of a fascist government fighting to exterminate a rag-tag group of Rebels) or “i think we should talk about how Western society’s idea of love is actually kind of possessive, and sometimes love is about letting go and moving on and that’s ok” (George Lucas is Buddhist and again it comes across in his depiction of the Jedi and their philosophy). and while i personally think he was extremely valid for saying those things, whether or not George Lucas was correct or even if he made those points well is not the point, the point is that he was willing to engage in the discussions in the first place.
you can have discussions about things that are sometimes hard to have discussions about without dismissing them as “edgy”/“grimdark.” that is a thing that you can do. i can’t help but feel as though we’ve gotten to a very strange point in time where so many creators and consumers are just fully unwilling to do that (op’s initial point about Broodmothers being an excellent example of that imho) and it sucks.
The Glorious Dreams of Eight Cursed Swords One of two cards i drew for the fifth eidolon folio in Swords without Masters.
Softlaunching my Mamma Mia Ace Attorney musings I'm opening up about in my upcoming Aapw Sketch zine.... Phoenix can do Legally Blonde and Beanix can do Mamma Mia if we don't get into the semantics of it all
You guys I just realized that what I’ve always wanted out of werewolf fiction is a story where lycanthropy isn’t a purely human condition
Like this dude wakes up from his wolfbender and his room is full of all these fucking chickens from local farms that he initiated into his pack. They all start clucking and crowing at the moon and when it’s full they all transform into these tiny little weird bipedal wolves with wings.
I don’t remember making this post but it’s going around again and I’m losing my shit
Imagine becoming a werewolf because you got attacked by a fucked up chicken
A wildlife rehab centre discovers that one of its patients is a lycanthrope when the full moon hits and their wolf transforms into a slightly different wolf.
Okay, hear me out.
One of the quiet background realities of the Star Wars galaxy is that it is spectacularly bad at labor. Not just “late-stage capitalism” bad, but structurally, culturally, and institutionally allergic to the idea that workers should have enforceable protections. You’ve got child soldiers, child labor, debt slavery, corporate fiefdoms, and a Republic that can field a galaxy-spanning bureaucracy but somehow never gets around to standardizing “maybe don’t enslave people.” The Empire of course doesn’t fix this; it industrializes it.
So in that environment, formal labor law is either nonexistent, unenforced, or actively hostile. Which means if you’re operating in a sector where the state either can’t or won’t protect you, you get a classic historical pattern: workers build their own rules.
Enter the gray economies.
Groups like the Smugglers' Alliance (Legends) and the Bounty Hunters' Guild (new canon) look, at first glance, like professional associations for criminals. But if you squint at them through a labor history lens, they start to look a lot like early, proto-union structures — especially the kinds you see in maritime or extralegal industries on Earth.
Think pirate codes (yes actual ones, Pirates of the Caribbean didn't make that up). Think matelotage agreements. Think dockworker brotherhoods that predate formal unions.
Because what do these groups actually do?
They:
set norms for compensation and contracts
regulate competition to prevent destructive undercutting
provide a framework for dispute resolution
establish reputational systems (“you don’t honor contracts, you don’t get work”)
That’s industry self-governance in the absence of law.
Take bounty hunting. Without something like the Bounty Hunters' Guild, the field collapses into chaos: clients don’t pay; hunters underbid each other into oblivion; jobs get duplicated, interfered with, or sabotaged. And nobody trusts anybody!
The Guild steps in and says: here are the rules of engagement. Here’s how claims work. Here’s how you get paid. Here’s what happens if you break contract.
That’s basically a union crossed with a licensing board and a regulatory agency, just without any moral pretense.
Same with the Smugglers' Alliance. Smuggling is inherently risky, decentralized, and dependent on trust networks. If everyone is constantly betraying everyone else, the whole system stops functioning. So instead, you hash out agreed-upon routes and territories, informal protections against betrayal, mechanisms for information sharing, and consequences for breaking the code
Again: not altruism. Stability.
And the reason this emerges specifically in gray/illegal sectors is because they have to. The Core Worlds might pretend they have laws, but those laws don’t meaningfully protect the people actually doing dangerous, itinerant, high-risk work. So the margins of the galaxy — where enforcement is weakest and risk is highest — become the places where labor organization evolves first.
Which is very historically grounded.
On Earth, some of the earliest labor protections didn’t come from governments; they came from workers in dangerous, decentralized industries—sailors, pirates, miners—who literally wrote their own rules because no one else was going to save them.
Pirate codes, for example, often included:
compensation for injury
shared distribution of loot
limits on captain authority
Which is … shockingly progressive compared to a lot of contemporary working conditions (cough Amazon cough).
So in the galaxy far, far away, you end up with this ironic inversion:
The “legitimate” systems — Republic, Empire, megacorporations — are exploitative, inconsistent, or indifferent.
The “illegitimate” systems — smugglers, bounty hunters — are the ones building functional labor frameworks, because they need to survive.
And that feeds back into why the galaxy feels so unstable overall. There’s no universal baseline of rights. Everything is hyper-local, network-dependent, and contingent on whether you’re inside a system that has rules you can rely on.
If you’re a clone trooper? You are literally property.
If you’re a factory worker on a corporate world? Your protections are whatever your employer feels like offering.
But if you’re a smuggler or a bounty hunter?
You might actually have clearer expectations about your pay, your risks, and your recourse — because your “union” is the only thing standing between you and total chaos.
So yeah: the Smugglers’ Alliance and the Bounty Hunters’ Guild aren’t just flavor. They’re a glimpse of what labor organization looks like in a galaxy where the state has fundamentally failed to provide it.
Which is both deeply funny and a little too real.
#you're telling me han solo is a union man? (via @professorsparklepants)
Han Solo look SO MUCH like a union man.
I just really love how human this mission feels. Both the crew and the ground making fun jokes and references ("amaze, amaze, amaze!") or things like Glover saying "hello baby!" to his family back on Earth, or how "moon joy" has become the team's favorite phrase, or those craters being named "Integrity" and "Carroll," or the astronauts being encouraged to describe how seeing the moon makes them feel (and doing so to a moving degree), and also describing how much working and talking together improves their capabilities on all fronts, and both sides constantly telling each other how excited they are and that there's "smiles all around" Not that missions like Apollo never had stuff like this, but it's different hearing it all live. Wonderful experience all around.
They want to name the crater Carroll because it's a bright spot.
I cried about that for like ten minohno I'm crying again
For those who missed Amaze Amaze Amaze here it is - from the same wonderful person who brought us “moon joy.”
The JOY of this mission! The love, the caring, the sheer humanity of quoting books and floating Nutella! The whole world watching with eagerness and excitement!
Opera plot: Local Noble realizes that his affections for Pretty Village Girl have a rival in the form of Honest Laborer. Having read enough romances to know that a girl asked to choose between a rich man and a poor man will always pick the poor man, whereas in a love triangle between two rich men it's anyone's game, he decides that his chief object must be to elevate his rival's wealth and status as quickly as possible. What the Compte de Genre-Savie over here forgot to account for, however, was the overwhelming power of the Pygmalion Effect, and now he has to deal with watching two people he's in love with develop ever-stronger feelings for each other. Eventually all of this resolves via...I don't know.
#first of all: ''comte de genre-savie'' is PERFECT. just great. absolutely no notes.#I would love an opera with this exact plot. bonus points if the comte is genuinely genre savvy#he keeps bringing up opera tropes only for the other characters to look at him like he's insane.#the score is diagetic to him; when he points out reoccurring themes or transitions to minor keys#the other characters ask him what the hell he's talking about. the whole chorus gets together to sing about how#comte de genre-savie is going mad. the comte tries to sneak away and keeps getting pulled back in.#I wonder if you could even push it further - have it so that only the comte can speak or 'hear' spoken words;#all other characters communicate in recitativo secco or formally composed songs#then you can have scenes where the comte is speaking but the other character in the scene can't hear him.#this can be played for laughs (the comte tries to order something from a shopkeeper; the shopkeeper walks away as he's talking)#and for dramatic effect (the Honest Laborer is singing a heartfelt duet with the Pretty Village Girl#and neither of them can hear the comte saying 'I love you' in between their lines)#........I am into this actually. I had to convince myself that this wasn't just cyrano de bergerac but no. it isn't. I'm into it.#upon the stage (via @notbecauseofvictories)
Needle Felted and Embroidered Art Hoops
Yuliya Krishchik on Etsy
[ID: Embroidery hoops with black fabric that show flower fields under vivid night skies featuring planets and galaxies close to the horizon. The flowers are colorfully embroidered, and the spacescapes are done in needle felt, their fuzzy texture giving them a dreamy quality. End ID]
MORE OF THEM
Mountains, winding rivers, and meadows bursting with colorful flowers are beautifully set against vivid night skies filled with stars, swirl
Praying that $1500 randomly comes to you when you need it the most this year.
Okay inflation is crazy.
We bumping up the price to $15,000 for 2026.
basically I think that if your protagonist doesn’t want to fuck someone so bad it makes them look stupid, then there probably isn’t enough energy in your story. “Fuck someone” isn’t literal btw—they can want to uncover the secrets of their parent’s death, they can want to prove their worth, they can want a donut from one particular bakery—it can be anything so long as they want it so bad that they’ll make decisions that make any sane person go “are you a moron??”, with little to no forethought, or even tons of forethought and this is still the option they chose. Because they want to fuck that thing so bad.
wait isn’t that just giving your characters a motivation???
You’d be surprised at how many people fail to give their characters motivation, and so write a story that’s less good than it could be.
It’s surprisingly easy to come up with an incredibly cool plot and characters without giving the characters enough motivation to make it actually compelling enough to read or even write. If you have a cool af idea that you somehow just can’t bring yourself to write, ask yourself what the main character wants, and how is that driving their decisions?
They need to want it so bad that it makes them look stupid. They need to impulse-buy a half-broken spaceship by mortgaging radioactive land, because they’re just that desperate to prove themselves more than a discarded scrap of a far greater history. They need to want their home and their people safe so much that they’ll risk their own soul to march across hundreds of miles of unknown and terrible danger to throw a cursed ring into a volcano. They need to love someone so much, and need them to know it, that they’ll blurt it out in the middle of a press conference or royal ball, or surrounded by enemies with a garrote at their throat or about to be frozen in carbonite or in the middle of a storm-tossed sea battle between pirates, British Navy, and the undead—or, they need to love someone so much that they’ll swear fealty to an evil emperor and kill a bunch of friends and children for the power to save them. They need to be so balls-to-the-wall insane in at least one regard that the plot isn’t just happening to them, they are in some way causing the plot.
Also keep in mind! When it comes to character development, “WANT” is NOT the same as “NEED”! Sometimes a character knows what’s good for them, what will truly often make them happy, but more often they don’t. They want the acclaim and adoration of the crowds, but really they need the recognition, acceptance or love of one particular person—and maybe that person is their own self. They want to avenge the loss of their loved one, but really they need to accept the loss and move on. A refusal to accept what they need is usually going to get in the way of what they want—and sometimes they figure it out just in time to go forward and climactically achieve their goal, or maybe they double down on their character flaws in a classic display of Greek tragedy!
so....do i make a post about other (re: better) magic school/wizard books or what?
because i have strong opinions!
i want to read....
something that pre-dates jkr
young wizards by diane duane
wizard's hall by jane yolen
a wizard of earthsea by ursula k leguin
the worst witch by jill murphy
the dark is rising by susan cooper
something for adults that is darker and edgier
the scholomance by naomi novik
magic for liars by sarah gailey
rivers of london by ben aaronovitch
an unkindness of magicians by kat howard
babel by rf kuang
vita nostra by marina and sergey dyachenko
ninth house by leigh bardugo
something for middle schoolers
witchlings by claribel a. ortega
the last fallen star by graci kim
the school for good and evil by soman chainani
the marvellers by dhonielle clayton
charlie bone by jenny nimo
maya and the rising dark by maya barron
something for young adults
hex hall by rachel hawkins
the old kingdom by garth nix
the left-handed booksellers of london by garth nix
the whispering dark by kelly andrew
in other lands by sarah rees brennan
the demon king by cinda williams chima
how to succeed in witchcraft by aislinn brophy
witch haven by sasha peyton smith
legendborn by tracy deonn
dark rise by cs pacat
a lot of books in the Valdemar series by Mercedes Lackey show the young Heralds as students at school
Nsibidi Scripts series (Akata Witch/Warrior/Woman) by Nnedi Okorafor (highly recommend)
Equal Rites by Terry Pratchett is about Esk who inherited a wizards staff even tho she's a girl. it's an odd one tho, ngl.
the ones below are teacher and apprentice stories rather than off to a school to learn with the masses.
Master of the Five Magics by Lyndon Hardy (is old so might be showing its age)
the Mancer books by Don Callander (Pyromancer, Aquamancer, Aeromancer, Geomancer, Marbleheart) might be hard to find but they were cute.
And the Tiffany Aching quintet by Terry Pratchett starting with the Wee Free Men, which has Tiffany being apprenticed with different witches after a big adventure to save her baby brother. (love these books)
The Enchanted Forest series by Patricia C Wrede
More adult-oriented stories;
The Fairy Godmother by Mercedes Lackey (500 kingdom series) (has romance)
The Elemental Masters by Mercedes Lackey
Mairelon the Magician by Patricia C. Wrede
The Cecilia and Kate novels by Patricia C Wrede (victorian epistolary books)
the Glamourist Histories by Mary Robinette Kowal (Austenish setting but with magic)
Riddle-Master series by Patricia A McKillip
The Warlock of Gramarye series by Christopher Stasheff (sci-fi with magic, probably hasn't aged the best but I haven't read them in ages)
A Wizard in Rhyme series by Christopher Stasheff (old, sci-fi with magic, alternate history)
The Dragon and the George by Gordon R Dickson (again, old)
I'm sure I've got more but I can't remember lol
how the hell did I forget the Circle of Magic series by Tamora Pierce??
And her Immortals series!
And Chrestomanci by Diana Wynn Jones! (ty @gothfirefaerie for reminding me!) And Howl's Moving Castle
Late Spring; a short wlw comic about finding love late in life and under some mysterious circumstances.
So the creator titled this "Caveman Cooking," but I have decided that it is Grug the Orc making Peanut Butter Squares. Link to original post.
Sound on. Trust me.
reminder to worldbuilders: don't get caught up in things that aren't important to the story you're writing, like plot and characters! instead, try to focus on what readers actually care about: detailed plate tectonics
@dragonpyre any chance you could elaborate on this
I grew up learning about land formations. Seeing fictional maps that don’t follow the logic and science of them makes me upset
What are the most common sins you’ve seen relating to this? I wanna know
Mordor.
Why is the mountain range square. How did the mountain range form. Why is there one singular volcano in the center. Why does it act like a composite volcano but have magma that acts like it’s from a shield. If it’s hotspot based volcanic activity why is there only one volcano.
And then the misty mountains!!!! Why isn’t there a rain shadow!! And why is there a FOREST where the rain shadow should be!!!!!!!!
So what is a rain shadow?
Wind blows clouds in from the sea, but mountains are so tall the clouds can't get past 'em, so you get deserts on the windward side of mountain ranges because clouds can't get there to water the land, or do so only very rarely.
Oh yeah nothing is more annoying than fantasy maps that can't get mountains, rivers and rain shadows right.
May I recommend my new favorite tool: Mapgen4. You start with a random seed and then add mountains, valleys, shallow water, or oceans as you like. You can adjust the wind direction to make wind shadows off the mountains fall where you want. You can adjust overall raininess to make the rivers larger or smaller, or have more or fewer tributaries. It works best for small, isolated landmasses (think islands more than continents) but as there’s no scale bar and it’s all slightly abstracted anyway you can do whatever you want with it. I’ve only just started playing with it but it’s SO FUN.
I do think this could be useful for writers! ...Caveat, if you're going to use this for making a map for anything published (digital or paper, even if it's only in a fanfic archive or whatever), please, please credit the creator and their program as how you made that map! The more ways information like this gets out there, the more useful it'll be to other writers, roleplaying game DMs/GMs, creators, etc.
One of my favourites for mapping plates, biomes, etc is Tectonics.js. If you're familiar with how tectonics shape a planet, you can guess where the features go by toggling plates, crust thickness, etc. Between Mapgen4 and Tectonics.js, we've got some pretty sweet tools at our disposal.
More stuff!:
European Geosciences Union Blog — Beyond Tectonics: Building fictional worlds to better understand our own
Reshaping Reality's Worldbuilding Tips
Worldbuilding pasta's series, An Apple Pie from Scratch also check their resources page!
R/worldbuilding's Reading List. Also check out their collected resources link. This basic geology guide from 11 years ago is still nice.
Creating an Earth-Like Planet, and The Climate Cookbook (aka Geoff's Climate Cookbook) technically the climate cookbook is a part of Creating an Earth like Planet I think.
Related: Worldbuilding Workshop's "Working Out Climates Using Geoff’s Climate Cookbook." Which goes through using the resource in order to map make. Also just the Worldbuilding Workshop in General.
Madeline James Writes's Worldbuilding Guide
Worldbuilding 101 (this links to the Biomes section but there's like...everything.)
Also I would recommend looking into Landscape Archaeology as well! That's because Landscape archeology is basically adding the social/cultural layer on top of all that geology and geography. Environments change when communities live in them, and communities likewise adapt to various environments.
This is a short free introduction to the concept: "Notes on Landscape Archaeology." To summarize, Landscape archaeology sort of like...studies the relation of people to places/spaces (that is, landscapes) in time.
Also this paper [An Archeology of Landscapes] breaks down/introduces the key concepts that I learned which is first that you can form the "construct paradigm" of a landscape from settlement ecology, ritual landscapes, and ethnic landscapes.
And then the highlights of their summary of what constitutes defining a landscape:
Landscapes are not synonymous with natural environments. Landscapes are synthetic (Jackson, 1984, p. 156), with cultural systems structuring and organizing peoples’ interactions with their natural environments ...
Landscapes are worlds of cultural product ... Through their daily activities, beliefs, and values, communities transform physical spaces into meaningful places. ...
Landscapes are the arena for all of a community’s activities. Thus landscapes not only are constructs of human populations but they also are the milieu in which those populations survive and sustain themselves. A landscape’s domain involves patterning in both within-place and between-place contexts ...
Landscapes are dynamic constructions, with each community and each generation imposing its own cognitive map on an anthropogenic world of interconnected morphology, arrangement, and coherent meaning ...
Basically a "landscape" is made by a community living in an environment. Once you have a geological environment that makes sense, landscape archaeology is like... Basically how I feel confident knowing where trade routes would be on a map, where there are areas of continual high conflict, what kinds of agriculture exists where, etc. once the geological stuff is hammered out, it's like...I know how that would influence the local cultures and vice versa. At that point, it's easy to start marking the natural borders, settlements, trade/port cities, and even strategic fortresses. If you have properly put rivers on a map, then marking your port cities is effortless, basically.
Also:
This course syllabus for a Landscape Archaeology class is freely accessible. It includes an online resources page.
Place, Landscape, and Environment: Anthropological Archaeology in 2009
(Landscape Biographies is open access, as is Landscape Archaeology between Art and Science: From a Multi- to an Interdisciplinary Approach. But I wouldn't try to read every essay.)
If you are like me and find it helpful to have video reference for a process/activity in addition to a written guide, Artifexian is a YouTube channel that does a LOT of world building stuff and specifically he's in the process of creating a world following a lot of Worldbuilding Pasta's methodology!