Reading fantasy setting description

>reading fantasy setting description
>it doesn't have a comprehesive and consistent set of non-physicalist metaphysics backing it up
>MFW

Shut up stupid.

No u.

As much as I adore making and classifying metaphysics for fantasy settings, most people don't really care. As creating a setting with a social objective is, in fact, a socially-oriented task, then catering to a niche is not an indicator of objective quality unless it's designed to be so, at which point it's irrational to consider it anything but a niche.

Read something by Nasu Kinoko then. I recommend Tsukihime.

>caring about what's good for the masses in your artistic endeavours

That kind of shit is what resulted in fucking everything being a massive cinematic universe.

Mainly, I just think it's weird that every fantasy setting seems to implicitly assume reductive materialism everywhere magic isn't expressly said to be touching, when you have a limitless budget to include whatever weird metaphysical assumptions you like and thus not be bound by a scientific understanding of our universe.

>That kind of shit is what resulted in fucking everything being a massive cinematic universe.

And there's nothing necessarily wrong with that, niches are for people who don't want to follow the crowd, mainstream entertainment is to continue to entertain the masses. Or are we going to disregard the enjoyment of millions on the simple grounds that 'my way of doing it is better?'

Regardless, I agree with you on your second statement, but once again it's not what most people care for. There are stories out there for you to enjoy that particular aspect of a fantasy setting, but don't expect most writers to include it just because a niche like us wants it, that's the opposite of fair production.

>And there's nothing necessarily wrong with that, niches are for people who don't want to follow the crowd, mainstream entertainment is to continue to entertain the masses. Or are we going to disregard the enjoyment of millions on the simple grounds that 'my way of doing it is better?'

Nah, I'm gonna disregard it because that approach basically strips all the artistic merit out of these films and makes them into the product of an assembly line. People should be more willing to say "this doesn't have to be enjoyed by everyone" and others more willing to say "maybe I shouldn't be enjoying this mass-produced pap."

Also I'll expect whatever the hell I want out of writers, they can keep doing what they do, my opinion makes no difference to them so I'm going to opt to keep it.

>others more willing to say "maybe I shouldn't be enjoying this mass-produced pap."

Why?

>inb4 you start pretending that absolute objective standards of artistic merit exist

>Why?

You remember that bit in 1984, where the mass music was produced by the government via machine and was more or less regurgitating the same bland concepts over and over again without asking new questions or daring to stir any abnormal thoughts? That's where basically all forms of media are headed at this rate and we're gleefully gobbling it up.

>absolute objective standards for artistic merit

I know I don't have those, but I do now that people typically use subjectivity as a crutch to avoid actually questioning what they value and enjoy, and I do know that artistic merit isn't found in an assembly line designed to regurgitate stories.

>People should be more willing to say "this doesn't have to be enjoyed by everyone"

not if they want to get it in theaters... Hollywood is so afraid of taking risks they almost never release anything original, you think they are gonna release something that they think isn't going to be enjoyed by as many people as possible?

not that I don't agree with you, but its just not really possible to do that right now

Nor is it necessarily found in whatever it is you enjoy. Fantasy settings with strictly delineated and defined metaphysics, I guess.

>read fantasy setting description
>they spell magic "magyck"
>they spell fairies "faerees"
>they spell magical "majyckul"

>Reminding me that TES is the best fantasy setting.

>majyckul

nobody does this but i laughed anyway

>meet the first NPC
>ask what his name is
>Eryn'jyrshykll nar Filijnr'faln

Do its metaphysics stand up to philosophical scrutiny?

>MMNFFPHH modern media is just so shallow it's not at all nuanced or enlightened like what I like UNPHH yes

Definition of self masturbatory hipster

People still love new things, it's corporatism stifling innovation from fear of loss, or quite frankly the 'new' thing just isnt that fucking good: looking at you Jupiter Rising

Yes, but only because it's all a dream

Well, no I mean like is it built on a relative cohesive philosophical framework like Platonic realism, Aristotlean essentialism, or Spinozaist pantheism?

>hipster

Meaningless phrase. Basically a young man's way to say "fucking young people." You should question the merit of things you enjoy and seriously ask yourself if you *should* be enjoying them.

Why should I care if I "should" be enjoying things?

>Basically a young man's way to say "fucking young people."

Young man's way of saying "fucking smug people" actually

>Why should I care if I "should" be enjoying things

If you can't understand why you've got serious developmental problems

Yes, in Elder Scrolls all of existence is the dream of a slumbering godhead.

>The planets are the gods and the planes of the gods, which is the same thing. That they appear as spherical heavenly bodies is a visual phenomena caused by mortal mental stress. Since each plane(t) is an infinite mass of infinite size, as yet surrounded by the Void of Oblivion, the mortal eye registers them as bubbles within a space. Planets are magical and impossible. The eight planets correspond to the Eight Divines. They are all present on the Dwarven Orrery, along with the mortal planet, Nirn.

>Nirn (Ehnofex for 'Arena') is a finite ball of matter and magic made from all of the god planets at the beginning of time, when Lorkhan tricked/convinced/forced the gods to create the mortal plane. Nirn is the mortal plane and the mortal planet, which is the same thing. Its creation upset the cosmic balance; now all souls (especially the Aedra-Daedra/Gods-Demons) have a vested interest in Nirn (especially its starry heart, Tamriel).

>Small planets, insofar as one infinite mass of infinite size can be smaller than another. Planets do have orbits, or at least lunar orbits are perceived to happen by mortals. Moons are regarded by various cultures as attendant spirits of their god planet, or minor gods, or foreign gods. The moons of Nirn are Masser and Secunda. Moons are not represented in the Dwarven Orrery.

>Masser and Secunda ('Jone' and 'Jode' in the Ehlnofex), the moons of Nirn, are the attendant spirits of the mortal plane. They are like the mortal plane in that they are temporal and subject to the bounds of mortality; in fact of this, the moons are dead and died long ago. The moons used to be pure white and featureless, but today their 'skin' is decaying and withering away. Their planes are likewise dying. Mortals perceive this as the moons being spheres with patches of their 'surfaces' completely eaten away; as the moons spin, they seem to become slivers or ragged crescents. These are not caused by shadows, because you can see stars through the black patches of the lunar spheres.

Space is the interpretation of Oblivion, which is black and empty and surrounds the mortal plane. Space is infinite, but it acts just like a planet, in that Oblivion is 'surrounded' by Aetherius. You can see Aetherius by the stars.

>The stars are the bridges to Aetherius, the magic plane. They are perceived as holes on the inside surface of space. Because they are on the inside of a sphere, all stars are equidistant from Nirn. Larger stars, therefore, are not closer to the mortal plane, they are just larger tears in Oblivion. The largest tear in Oblivion is Magnus, the sun.

>Shooting stars are bits of matter and magic, either from Oblivion or Aetherius, that sometimes move through the cosmos. The largest shooting stars are really planets with independent orbits, like Baan Dar the Rogue Plane.

>Constellations are collections of stars. Since each star is a bridge to magic, constellations are very powerful phenomena, and are revered. There are generally accepted to be thirteen constellations. Nine of these are made up completely of stars. Three others are called guardian constellations, as they are each governed by a Dominion Planet. The Dominion Planets are Akatosh (eye of the Warrior), Julianos (eye of the Sage), and Arkay (eye of the Thief). The last constellation is made up of unstars, and is called the Snake.

>Magnus is the sun, the largest hole in Oblivion, and the gateway to magic. Magnus was present at the creation of the mortal plane, and, in fact, was its architect (Lorkhan was its advocate and inspiration). Prehistoric (before ME2500, startyear) Nirn was a magical place, and highly unstable to the first mortals. Magnus then left, some say in disgust, and Oblivion filled in the void with the Void. His escape was not easy, and tatters of Magnus remain in the firmament as stars.

>The sky is another visual phenomenon caused by mortal mental stress, the night sky in particular. The sky is as impossible as planets; in essence, when you look into the sky, 'you look outside the material plane'. At night, Nirn is surrounded by Oblivion. The day sky is the multicolored elemental cloak of Magnus the sun. It changes colors as elemental influences rise and fall. Thus, when one looks at the day sky, they see into the raiments of Aetherius, and stare at magic.

Why does Nirn have variable climate?

It's under debate. Rain is literally the tears of Kynareth. Tidal systems aren't understood, heat is presumed to be magic coming from Magnus

You could spend your entire life trying to make that and you'd never succeed.