I’ve been vaguely inspired to poke at some worldbuilding, though. For a different setting entirely, of course.
I have problems doing extended generalized worldbuilding for Carouselchain. It’s so very big and it doesn’t map well, what with all the mobile skylands. It has my happy-making original elemental system, and I’ve done a lot of basic metaphysics for it but I just haven’t been able to sit down and detail out a large percentage of countries and peoples. This is kind of because it’s supposed to be able to contain, well, not everything, but an awful lot. I mean, I don’t want to set things there if I’m not comfortable with the setting having flying islands and potential access to a variety of sentient nonhumans. It’s an unbounded setting, where I haven’t even answered a lot of the basic questions I make myself answer in world-creation.
So, anyhow, I’ve been working on Calizene, home of the Alexandrine (Alexandrian?) Empire and setting of the unwritten Victoria novels. Well, when I say ‘working’, I mean that I’ve been going over old notes on it, and digging up old notes on another entirely different cosmological system that I decided to integrate into it. The setting is already the victim of one integration, because I came up with two separate magical elemental systems at two different times. (These aren’t crazy new elemental systems, just an arbitrary assignment of some of the old familiars. When I say elemental systems, I think I mean ‘fundamentals of magic’)
Integrating settings is hard but I think it will ultimately make for something richer. Something I’ve been infatuated by in recent years is obscuring the cosmology. My very oldest settings all featured a world that basically understood itself. The gods were the gods, the creation of the world and the role of humanity was all stuff that was written down and understood. After all, a lot of the stuff I read was like that. Then I started believing that all the fun came when people didn’t understand the universe. In Engines of Heaven, there are only two layers of obfuscation, and tearing away one of them is the point of the story. In Carouselchain, the happy-making elemental system is obfuscated and every culture has their own imperfect understanding of how and why magic works the way it does. However, because I tell everybody who shows the slightest interest how the setting’s magic works, it’s not a very interesting tool for storytelling. It was originally designed as a game setting.
TFN (Citadel of the Sky) has, oh, around two layers of obfuscation. Possibly a few more. As with Engines of Heaven there’s a Secret of the Universe that will never show up in any written form, but that I know and use to shape the answers to various important questions. In Engines of Heaven the other veil is important and global, whereas in TFN… well, I won’t say.
Let’s just say that TFN is a bit more complicated.
The thing is, obfuscation is hard for me. I come up with ideas I think are cool and I want to share them. The best I’ve been able to do is try to build theories around fragments of The Truth. So the more complicated The Truth is, the more theories I can come up with. I don’t think Calizene has a Secret of the Universe yet, or at least nothing I’ve come up with so far feels Secret. There are lots of lower-case secrets but they’re mostly of the ‘meant to be discussed someday’ variety. However, this may be because Calizene is most likely to have the sort of thaumaturgical physicists who dig that deep. Carouselchain is very magical but it’s fantasy-practical, Engines of Heaven is idealistic steam-punk, TFN is deconstructionist (reconstructionist?) epic. I think I’d describe Calizene as, well, for lack of a better phrase at the moment ‘old imperial gothic’.