Post by TheUdjat on Jul 14, 2008 15:02:42 GMT -5
Themes and Patterns
I should've written this first. Herein are collected various themes and goals I had in mind when designing Venus. I may add to them as I remember ones mistakenly left out, but for the moment, I think these are it.
Others are welcome to add thoughts and ideas, or work with me in further defining some of these thoughts.
Categories:
- Female Dominance
- Numbers
- Water
- Exploration
- Imperialism and ‘Savagery’
- Enlightenment vs. Religion
- Primal Venus
Female Dominance:
Venus is the planet of femininity—the only planet in our solar system, in fact, represented by a woman (unless you consider Earth to be Ceres/Demeter). The symbol for it is the same as the symbol for women, for crying out loud. Thus, it’s been my belief that women should play an important world for the human societies on the planet.
To represent this, I considered the actual Victorian era. In this era, the opposite was basically true—despite a female monarch, men tended to wield most of the power. There was, in fact, an overabundance of women (so-called ‘Superfluous Women’) in England, which served to further reduce their overall importance and value.
I want to try the opposite. Suppose, for whatever reason, there just aren’t as many women walking on Venus? This makes them more important and valued, and gives them a measure of power over men, allows them a greater ability to choose a mate—let that stew a few hundred years, and why shouldn’t society be largely matriarchal? I’m not saying there can’t be male leaders on Venus, but it should be the exception rather than the rule.
This shouldn’t change the dynamic of the era, however—the setting is still set to be modeled after the Victorian era. Men will still be more active in the areas of exploration and conquest, but for far different reasons (not necessarily, for instance, out of choice). Women will have the option to get as involved as they like (though it may still be considered ‘improper’ by the standards of other women), and will certainly be more active and influential in the realms of politics, art, and science (including magic).
Maybe all of that is extremely controversial talk and will upset people, but that’s what I’ve been thinking. I am open to reconsidering it, if suitably convinced to—maybe it’s a bad idea.
Numbers:
As a fan of numerology and alchemy and other obsolete philosophies, I pay attention to numbers. No matter what I do, I tend to edge towards certain numbers being more prominents or important than others, or symbolizing different things.
Venusian Skies gets this treatment, too, and so we're all on the same page, I thought I'd share my views here. My original intent was for the number 7 to be significant, but I think Venus was decided on its own that the number is unsuitable. Three, instead, has become very important--particularly for time--and others, like 4 and 20, have become important. 60 is also fairly important, both as the duration of each Light and Dark period, and as the age in which a child is considered 'adult'.
It goes on--but 3, 20, 4, 60 all tend to be important, and should continue to do so when possible. For instance, there are now 9 Towers (3x3).
Water:
Venus is wet—lots of water, and clouds of vapor hanging overhead constantly. It rains daily (sometimes acid), and the Venusian equivalent of a day is based on the rise and fall of the tide. Ironically, though, travel by water is considered extremely dangerous at great distances, for creatures lurk in the deep ocean that prey on ships.
Water is important to Venus, and thematically so. The world of Venus is as dynamic and fluid as the substance, both nurturing and destroying those that depend on it. Water is often associated with the feminine aspect, thus making it doubly appropriate for the setting.
When possible, this should be considered in the development of Venusian Skies—after all, even the skies are full of water.
Exploration:
Venus is dangerous but beautiful, full of wonder and mystery, tempting many an explorer to their demise. The world is untamed, perhaps untameable—but this only drives explorers to greater lengths to traverse the globe and find out what lies over the horizon.
Even intellectually, mankind is immersed in unveiling new and better technology, and in further defining the capabilities of magic and religion. College of the arcane study magical interaction, transmuting substances and researching everything they can about the world and its functions. This is the Age of Discovery, in more ways than one, and it should be abundantly obvious.
Imperialism and ‘Savagery’:
Perhaps this is simply an expansion on the previous theme. The people of Aphrodite, their provinces, and their immediate neighbors (Ashtoreth and Kemet) are people who consider themselves ‘civilized’—Aphrodite more than anyone else. They believe they are superior, that it is their duty to colonize, spread their precious knowledge, and—to some extent—to subjugate other, lesser tribes.
Not everyone thinks of it in such brutal, arrogant terms, but it is the truth of matters. Aphrodite wields more power than any other nation, and they are not afraid to use this. Aphrodite’s thirst to expand its power is another major theme of the setting, and it should often be contrasted with the supposed savagery of other cultures—but in many cases, the unspoken question should arise: Who is truly savage?
Sometimes the answer will be obvious. More often, it should not.
Enlightenment vs. Religion:
Another related theme. Aphrodite tends to rely heavily on logic, thought, and intellect for its way of life—inventions, cultivation, complicated magical theory, and so on. The Empire has a religion, at least on the surface, but it has largely been reduced to calendar dates and mythology—many scholars suggest that the gods are merely concepts, or primordial forces of magic made manifest, or so on. In essence, they are an increasingly atheistic or agnostic culture, and tend to frown on intense religious belief (even while it forms the foundation of much of their society).
The other cultures, civilized and not, tend to be oriented differently. Even Ashtoreth and Kemet, the other great nations, are very concerned with religion. They fervently believe that the gods are there, they are watching, and they care. Tribal cultures embrace this even more powerfully, and their ability to wield magic through such religious ceremony only lends to their faith (though Aphrodesians, of course, suggest this is merely the form magic takes).
Which side is right? It should never be clear. For all that Aphrodite has accomplished, there will always be things they can never know, and for all that the so-called primitive societies seem to understand religion, they can just as easily mistake a masterful Alchemist for a god.
Knowledge is in the eye of the beholder.
Primal Venus:
Venus is everything and nothing. All things are built of Venus, but Venus is merely the backdrop for the story—or is it?
Venus is something special in my head. The world itself has some vast, uncertain importance in the grand scheme of things, and though many may suspect it, none truly are aware of it. The planet has come alive, some side-effect of the terraforming process, and it is aware of those that walk upon it. Will she be benevolent? Will she strike out at those that violate it? Will she do anything at all?
This is the great, underlying mystery of everything—for only few things on the world of Venus are truly, natively Venusian. Perhaps the world knows this. There is always be a quiet, subtle conflict between that which is native and those that have colonized and invaded the world, some thousand years ago or more.
What exactly Venus is and what role it will play are completely unknown, and I will only seek to loosely define. I have some ideas, but those I may keep to myself—as any individual DM or storyteller should. But the quiet mystery of Venus should lie beneath every aspect of the world, just waiting to be unleashed.
I should've written this first. Herein are collected various themes and goals I had in mind when designing Venus. I may add to them as I remember ones mistakenly left out, but for the moment, I think these are it.
Others are welcome to add thoughts and ideas, or work with me in further defining some of these thoughts.
Categories:
- Female Dominance
- Numbers
- Water
- Exploration
- Imperialism and ‘Savagery’
- Enlightenment vs. Religion
- Primal Venus
Female Dominance:
Venus is the planet of femininity—the only planet in our solar system, in fact, represented by a woman (unless you consider Earth to be Ceres/Demeter). The symbol for it is the same as the symbol for women, for crying out loud. Thus, it’s been my belief that women should play an important world for the human societies on the planet.
To represent this, I considered the actual Victorian era. In this era, the opposite was basically true—despite a female monarch, men tended to wield most of the power. There was, in fact, an overabundance of women (so-called ‘Superfluous Women’) in England, which served to further reduce their overall importance and value.
I want to try the opposite. Suppose, for whatever reason, there just aren’t as many women walking on Venus? This makes them more important and valued, and gives them a measure of power over men, allows them a greater ability to choose a mate—let that stew a few hundred years, and why shouldn’t society be largely matriarchal? I’m not saying there can’t be male leaders on Venus, but it should be the exception rather than the rule.
This shouldn’t change the dynamic of the era, however—the setting is still set to be modeled after the Victorian era. Men will still be more active in the areas of exploration and conquest, but for far different reasons (not necessarily, for instance, out of choice). Women will have the option to get as involved as they like (though it may still be considered ‘improper’ by the standards of other women), and will certainly be more active and influential in the realms of politics, art, and science (including magic).
Maybe all of that is extremely controversial talk and will upset people, but that’s what I’ve been thinking. I am open to reconsidering it, if suitably convinced to—maybe it’s a bad idea.
Numbers:
As a fan of numerology and alchemy and other obsolete philosophies, I pay attention to numbers. No matter what I do, I tend to edge towards certain numbers being more prominents or important than others, or symbolizing different things.
Venusian Skies gets this treatment, too, and so we're all on the same page, I thought I'd share my views here. My original intent was for the number 7 to be significant, but I think Venus was decided on its own that the number is unsuitable. Three, instead, has become very important--particularly for time--and others, like 4 and 20, have become important. 60 is also fairly important, both as the duration of each Light and Dark period, and as the age in which a child is considered 'adult'.
It goes on--but 3, 20, 4, 60 all tend to be important, and should continue to do so when possible. For instance, there are now 9 Towers (3x3).
Water:
Venus is wet—lots of water, and clouds of vapor hanging overhead constantly. It rains daily (sometimes acid), and the Venusian equivalent of a day is based on the rise and fall of the tide. Ironically, though, travel by water is considered extremely dangerous at great distances, for creatures lurk in the deep ocean that prey on ships.
Water is important to Venus, and thematically so. The world of Venus is as dynamic and fluid as the substance, both nurturing and destroying those that depend on it. Water is often associated with the feminine aspect, thus making it doubly appropriate for the setting.
When possible, this should be considered in the development of Venusian Skies—after all, even the skies are full of water.
Exploration:
Venus is dangerous but beautiful, full of wonder and mystery, tempting many an explorer to their demise. The world is untamed, perhaps untameable—but this only drives explorers to greater lengths to traverse the globe and find out what lies over the horizon.
Even intellectually, mankind is immersed in unveiling new and better technology, and in further defining the capabilities of magic and religion. College of the arcane study magical interaction, transmuting substances and researching everything they can about the world and its functions. This is the Age of Discovery, in more ways than one, and it should be abundantly obvious.
Imperialism and ‘Savagery’:
Perhaps this is simply an expansion on the previous theme. The people of Aphrodite, their provinces, and their immediate neighbors (Ashtoreth and Kemet) are people who consider themselves ‘civilized’—Aphrodite more than anyone else. They believe they are superior, that it is their duty to colonize, spread their precious knowledge, and—to some extent—to subjugate other, lesser tribes.
Not everyone thinks of it in such brutal, arrogant terms, but it is the truth of matters. Aphrodite wields more power than any other nation, and they are not afraid to use this. Aphrodite’s thirst to expand its power is another major theme of the setting, and it should often be contrasted with the supposed savagery of other cultures—but in many cases, the unspoken question should arise: Who is truly savage?
Sometimes the answer will be obvious. More often, it should not.
Enlightenment vs. Religion:
Another related theme. Aphrodite tends to rely heavily on logic, thought, and intellect for its way of life—inventions, cultivation, complicated magical theory, and so on. The Empire has a religion, at least on the surface, but it has largely been reduced to calendar dates and mythology—many scholars suggest that the gods are merely concepts, or primordial forces of magic made manifest, or so on. In essence, they are an increasingly atheistic or agnostic culture, and tend to frown on intense religious belief (even while it forms the foundation of much of their society).
The other cultures, civilized and not, tend to be oriented differently. Even Ashtoreth and Kemet, the other great nations, are very concerned with religion. They fervently believe that the gods are there, they are watching, and they care. Tribal cultures embrace this even more powerfully, and their ability to wield magic through such religious ceremony only lends to their faith (though Aphrodesians, of course, suggest this is merely the form magic takes).
Which side is right? It should never be clear. For all that Aphrodite has accomplished, there will always be things they can never know, and for all that the so-called primitive societies seem to understand religion, they can just as easily mistake a masterful Alchemist for a god.
Knowledge is in the eye of the beholder.
Primal Venus:
Venus is everything and nothing. All things are built of Venus, but Venus is merely the backdrop for the story—or is it?
Venus is something special in my head. The world itself has some vast, uncertain importance in the grand scheme of things, and though many may suspect it, none truly are aware of it. The planet has come alive, some side-effect of the terraforming process, and it is aware of those that walk upon it. Will she be benevolent? Will she strike out at those that violate it? Will she do anything at all?
This is the great, underlying mystery of everything—for only few things on the world of Venus are truly, natively Venusian. Perhaps the world knows this. There is always be a quiet, subtle conflict between that which is native and those that have colonized and invaded the world, some thousand years ago or more.
What exactly Venus is and what role it will play are completely unknown, and I will only seek to loosely define. I have some ideas, but those I may keep to myself—as any individual DM or storyteller should. But the quiet mystery of Venus should lie beneath every aspect of the world, just waiting to be unleashed.