A Good Dragon Hoard Must Have A Princess

I see a lot of "roll for character" for dnd 5e, but i start to understand its not what would suit for me, so

i make a pathfinder 1e version!

feel free to use it for art or for creating a character!!

Fantasy Worldbuilding Questions (Clothing and Fashion)

Clothing and Fashion Worldbuilding Questions:

What is considered typical or everyday dress for each region?

What values or status does society confer to clothing (or is it entirely functional, or even non-existent)?

Who is permitted to wear what? Are there taboos, superstitions, or laws governing dress? Why?

Who has access to clothing? Which fabrics are cheaper and which more expensive (and why)?

Where are fabrics and other materials used in clothing sourced, and is their production ethical or problematic in some way?

Where are specific dress codes or uniforms enforced, and what are they?

When do styles or what people typically wear change, are there seasonal, spiritual, customary or other aspects to this?

When have (or will) clothing styles change in the world, and what are the economic, environmental, or other contributing factors?

Why is clothing in this world the way it is, what are the aesthetic beliefs, meanings or symbolism ascribed to colors, and other contributing factors?

Why does gender, class or race impact what people wear (for example, a group may have spiritual or familial meaning attached to the type of jewelry or body modification members embrace).

❯ ❯ ❯ Read other writing masterposts in this series: Worldbuilding Questions for Deeper Settings

Small fantasy worldbuilding elements you might want to think about:

A currency that isn’t gold-standard/having gold be as valuable as tin

A currency that runs entirely on a perishable resource, like cocoa beans

A clock that isn’t 24-hours

More or less than four seasons/seasons other than the ones we know

Fantastical weather patterns like irregular cloud formations, iridescent rain

Multiple moons/no moon

Planetary rings

A northern lights effect, but near the equator

Roads that aren’t brown or grey/black, like San Juan’s blue bricks

Jewelry beyond precious gems and metals

Marriage signifiers other than wedding bands

The husband taking the wife's name / newlyweds inventing a new surname upon marriage

No concept of virginity or bastardry

More than 2 genders/no concept of gender

Monotheism, but not creationism

Gods that don’t look like people

Domesticated pets that aren’t re-skinned dogs and cats

Some normalized supernatural element that has nothing to do with the plot

Magical communication that isn’t Fantasy Zoom

“Books” that aren’t bound or scrolls

A nonverbal means of communicating, like sign language

A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)

I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.

How do you make your fantasy world feel lived-in?

Making a world feel lived-in requires more than just describing the landscape or architecture—it’s about creating the sense that the world has a history, a heartbeat, and its own rhythms of life. Here’s how I approach it:

Layered History: Every city, village, and ruin in my world has a past. I try to tie in subtle references to historical events, old conflicts, and forgotten legends that shape how people live today. By letting the remnants of the past—such as crumbling statues, faded murals, or cultural taboos—linger in the background, I create the impression that the world has been evolving long before the story begins.

Daily Life and Rituals: I focus on the small details of everyday life—what people eat, the music they listen to, how they celebrate and mourn. By showing the rhythm of daily activities, from bustling marketplaces to quiet moments in a temple, I give readers a glimpse into the culture and traditions of the world. These details make it feel like people are living their everyday lives outside the main plot, even if the protagonist isn’t there to see it.

Architecture and Geography: The physical layout of the world matters—how cities are built around rivers, mountains, or deserts, and how architecture reflects the culture and resources available. I like to create buildings and cities that tell stories themselves, with intricate designs, magical defenses, or decaying remnants of a once-glorious era. The way people interact with their environment adds depth to the world.

Senses: I try to engage all the senses when describing a setting—the smell of the sea, the taste of the air before a storm, the grit underfoot on a well-worn path. These sensory details make the world tangible, giving readers something they can feel, not just visualize.

The Mundane and the Magical: In a fantasy world, magic and the supernatural are often present, but I balance that by showing how the mundane aspects of life coexist with the extraordinary. Maybe magic is used casually, like enchanted brooms sweeping the streets, or it’s feared and tightly controlled. Either way, showing how the mystical fits into the everyday helps make the world feel more real.

Economy and Trade: Who trades with whom? What resources are valuable, and how do people get by in different regions? By grounding the world in economics—whether through thriving markets or resource scarcity—I give the setting a practical edge. These systems help define the way people interact, where power resides, and what drives the tensions in the world.

Flawed Systems: No world is perfect, and by including corrupt governments, failing infrastructures, or struggling populations, I show that this world isn’t static—it’s evolving, sometimes deteriorating. Conflict isn’t always about the grand battles; it’s also about the slow decay of a once-great city or the quiet resistance of a village against an oppressive regime.

By combining these elements, I make my worlds feel like places that exist beyond the plot—places with their own stories, lives, and rhythms that readers can immerse themselves in fully.

Worldbuilding Tips: Religion

With religion in stories specifically fantasy, I feel as though the extent in which we see it explored is the characters will in dialogue or in thought curse saying things like gods, by the gods, or other curses. Hey, I do it to so know I’m not judging but I do want more expansion on these religions. If you want to expand on your world-building just research religions in our lives.

Think about it: in Christianity (I’m only using this because it’s what I’m most familiar, but feel free to get inspiration from other faiths) the church provided multiple services throughout history, priests and nuns often took care of orphans, were literate, recorded births, recorded deaths, performed weddings rites.

The religion should also have practical functions for example, in my own work their is a goddess of death. I had to think how this god would be worshipped and how the faith would get money to continue functioning and feeding their clergy. They’d do religious ceremonies, funeral rites, eliminate undead, and tend to burial grounds.

In secrecy though, if your a fan of secret religions, this same religion also works with assassinations and kills the people the god demands to die.

What I’m saying is that the religion in your own story should have some function in society whether it is widely known or not. This allows the world to feel more fleshed out and worked on. Also show the negative aspects of the religion and positive aspects.

Questions you should ask yourself:

What does a healthy relationship with that religion look like?

What does a toxic one look like?

What aesthetics are involved in this religion?

(The lamb of god): lamb symbolizes Jesus so think about the symbols in your story. If there is a holy animal is it a sin to kill it. Is it used in sacrifice?

Polytheistic? If so what does each god represent? Aspects of nature or society? (Think Titans vs the Olympians in Greek mythology)

Additionally, what values are important to the said culture the religion springs from?

If there are scriptures or sayings from the religion what are they?

Some religions are ethno-religions meaning only people of an ethnicity can be in the religion, if a religion has this what are the implications that would have in your world?

Can just anybody convert to the said religion and how?

What sacraments are in the religion?

How is somebody venerated in the religion (like sainthood)?

What environment do people worship in?

In Christianity, there was a movement namely baroque, renaissance, and medieval period to show the glory of god through how the buildings looked. The Protestant movement challenged this making more humble churches. Think about that when making your own religion. How do they present holy places?

Remember that religion is used to explain what philosophy and science can’t explain. Depending on when the religion is started and the extent of technology in the world they might have myths for anything like why animals exist? The seasons? Weather? And more conceptual things like why people began fighting wars? Why people die and where we go after we die?

Now this can all seem like a lot and you don’t have to include all of this but it is helpful when creating a world because religion affects aspects of culture, how the characters were raised, government, and even wars.

If you like posts like these, I have more and comment what you’ve done in your own works or what you’d like to see!

The Taste of the World: Writing Food as Storytelling

Food is never just food. It’s culture, history, survival, and, perhaps most importantly, a language that characters and worlds use to speak when words fail. The way food is grown, prepared, and consumed reveals the structure of a society—its priorities, its fears, and its memory. And in storytelling, the smallest detail about what’s eaten or how it’s shared can carry a world’s worth of meaning.

When used well, food becomes a subtle but powerful tool. It can reflect emotional tension without anyone saying a word, or quietly thread deeper themes through the narrative. It doesn’t have to overwhelm your story with excess description; it works best when it’s an organic part of the world, shaped by the same forces that drive everything else.

Let’s break down how to think about food as more than a detail, crafting it as an integral part of the characters, the setting, and the stakes.

Why Food is Fundamental to Worldbuilding

Culture and Identity

Food defines a culture as much as its language or traditions. The ingredients people rely on are determined by the land they inhabit, the technology they have access to, and the values they hold. It’s not just about what is eaten, but how—and why.

Think About:

What ingredients are unique to this region, and how did they come to rely on them?

How is food served—shared communally or divided by status?

Are there specific rituals tied to preparing or consuming meals?

These questions help frame food not as a decorative detail, but as a way to demonstrate how a culture lives and interacts with its environment.

Food as Survival

Food exists on a spectrum from abundance to scarcity, and its availability often tells the story of who holds power and who doesn’t. This doesn’t need to be stated outright—simple contrasts in what’s on the table (or missing from it) can highlight social divides or tensions.

Consider:

What foods are considered everyday staples, and what are reserved for moments of celebration or mourning?

How do people preserve food in harsh climates or through difficult seasons?

What compromises are made when survival is at stake?

Survival shapes cuisine, and cuisine, in turn, shapes the people. Food that may seem unremarkable to outsiders can carry in-depth meaning for those who rely on it to live.

Food as Memory

Meals are tied to memory in ways that few other experiences can match. They evoke places, people, and moments that might otherwise be forgotten. For characters, food can serve as a reminder of what was lost or what still needs to be protected.

Ask Yourself:

What does this food remind your characters of?

How does this memory shape their present choices?

What foods do they miss, and why can’t they have them anymore?

The emotional weight of food often lies in its connection to something larger—home, family, or an ideal that has slipped unreachable.

Integrating Food Into Your Narrative

The Subtle Art of Symbolism

Food works best as a storytelling element when it doesn’t announce itself. It’s not about drawing attention to the dish for its own sake but letting it naturally reinforce the scene or the character’s state of mind.

Example in Practice: A meal served quickly, with little conversation, could underscore a sense of unease or urgency. Meanwhile, the deliberate preparation of a dish might reflect care, control, or tradition.

It’s less about describing what’s on the plate and more about how the act of eating—or not eating—interacts with the story.

Building Tension Through Meals

Sharing food is inherently social, and like any social act, it can carry undercurrents of conflict or connection. Meals can be settings for negotiation, subtle power plays, or suppressed resentments. What’s not said during a meal can matter more than what’s served.

Think About:

Who prepares the food, and what does that say about their role or status?

What’s the mood at the table? Is the act of eating itself a kind of performance?

Are there unspoken rules about who eats first, how much they take, or what they avoid?

Food as tension is about the surrounding interaction, not the food itself.

Grounding the World in Small Details

Food is a powerful tool for grounding your world in a sense of place. By focusing on how ingredients are sourced, prepared, or consumed, you create an ecosystem that feels real without needing an info dump. A brief reference to a seasonal delicacy or the preparation of a daily staple can communicate volumes about the setting.

Use Sparingly: The best world building happens in glimpses. A short mention of pickling methods during a harsh winter or the fragrance of a common herb can paint a vivid picture without dragging the narrative down.

Applying Food to Character Development

What Food Says About Relationships

Meals are a social construct as much as they are a necessity. Who characters eat with, what they share, and how they interact during a meal reveal their connections—or lack thereof.

Consider:

Do your characters share food equally, or does one person dominate the meal?

Is a meal an act of kindness, a manipulation, or an obligation?

How does the way they eat reflect their personality?

Preferences, Habits, and Rituals

The foods a character gravitates toward can say as much about them as how they speak or dress. Perhaps a soldier instinctively chooses ration-style meals even in peacetime, or a merchant avoids exotic imports as a quiet protest against their origins.

Ask Yourself:

Does your character have a ritual or habit when it comes to food?

How do they react to unfamiliar dishes?

What’s their relationship with food—joy, necessity, or something else?

The Absence of Food

Every so often, what’s missing can be more telling than what’s present. A lack of food could signify poverty, oppression, or desperation. Even in abundance, what isn’t served can carry weight—certain foods might be taboo, seasonal, or too painful to prepare because of their associations.

The absence of food doesn’t need to be highlighted directly. Instead, its weight can be felt through the absence of conversation, the careful rationing of resources, or the visible strain it places on characters.

Final Thoughts: Food as a Storytelling Tool

Food is one of the most powerful yet understated tools in your storytelling arsenal. It connects your world to its people and its people to each other, revealing layers of culture, memory, and emotion without needing to over-explain.

When used thoughtfully, food doesn’t just flavor your story—it deepens it, grounding your world in something tangible and human. Instead of asking, What do my characters eat? ask, Why does it matter? Because when food becomes more than sustenance, it transforms into something far greater—a story in itself.

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@slenders1ckn3ss @lucistarsfire @fond-illusion @p00lverinecentral

Some of the biggest fantasy worldbuilding fails that I see, in no particular order

Gods without religion. The Gods are real and a known historical fact, but virtually nobody is religious.

Cultural racism/discrimination without structural racism/discrimination. Discrimination that exists only in microagressions or mean comments, without existing in any sort of structural way.

Secret history with no clear reason for it to be secret and no clear method for maintaining that secrecy. Major parts of the world's history are kept entirely secret, even though there's not an obvious reason to do so and even when history has shown this is virtually impossible to enforce (especially in a world with any movement or communication across borders).

Large, homogeneous countries. Even without immigration, virtually no country larger than the Vatican will be fully homogeneous in terms of culture, dialect, beliefs, traditions, etc., much less a large one with limited communication technology as is often seen in fantasy. The Planet of Hats problem.

I love it when magic systems exact a price!!! I love it when magic systems require you to give up something, to be less human, to cause deaths of others or to risk the chance you will go mad or destroy yourself!!!! I love when the epic workings of great and powerful magic come with a horrific cost!!!!

That shit RULES!!!!!!!!

Could you give me some ideas for currencies and the measurement of time, preferably both in a more dark fantasy setting involved with nature?

Currency and Time Measurement in a Dark Fantasy Setting

-> feel free to edit as you see fit.

Currencies

Leaf Coins: Thin, pressed coins made from the leaves of sacred trees. The type of leaf determines the coin's value, with rarer leaves being more valuable.

Bloodstones: A currency made from dark red gemstones that are said to be formed from the blood of fallen warriors.

Shadowshards: Small, dark crystals that absorb light and shimmer with a ghostly glow. They are collected at dusk and are traded as currency, often used in shadowy dealings. The more shadow a shard absorbs, the higher its worth.

Grave Dirt: A unique form of currency, this is literally dirt taken from sacred burial grounds. It is believed to contain the power of the dead. Merchants trade small pouches of it, and its value increases based on how many souls it has been touched by.

Wyrm Scales: Scales from mythical serpents that once roamed the land. Each scale has a distinct pattern and is highly valued due to its rarity and the protective magic it is said to bestow upon its holder.

Fungal Credits: Small, luminescent fungi that can be harvested at certain times of the year. Their glow indicates their value.

Measurement of Time

Moon Phases: Time is measured in moon phases, with each cycle representing a month. Each phase is associated with different rituals and events in nature, such as the “Blood Moon” for harvest and the “Waning Moon” for reflection and atonement.

Nightfall Cycles: Instead of days, time is counted in cycles of nightfall, where each cycle is divided into periods marked by darkness and light. A cycle may last for varying lengths of time based on seasonal changes, with longer nights in winter.

Sundrop Hours: Each hour is marked by the position of a special sundial that has been enchanted to reflect the essence of the sun. During certain times, the sundial emits a soft glow, indicating a magical time when rituals can be performed.

Eclipses: Significant events are measured by the number of eclipses that have occurred since a pivotal moment in history.

Blood Seasons: Time is divided into seasons based on nature’s cycles and the harvesting of life. For example, “Bloomspring,” “Darksummer,” “Crimsonfall,” and “Frostbite,” with each season lasting as long as it takes for specific plants to grow or animals to thrive.

Night’s Breath: This measures time through the cycles of natural events, such as the sounds of nocturnal creatures or the rustling of leaves in the wind. Each breath is a period marked by significant changes in the environment, like the blooming of nocturnal flowers.

How to Make Worldbuilding Easier and More Efficient

Hey everyone! I recently found a method that makes worldbuilding much more efficient and structured, so I thought I’d share it here. Maybe it’ll help some of you! :)

Step 1: Approach Your World with a “Why?” Mindset

Whenever you add an element to your world, ask yourself **why** it exists. Keep questioning it like a curious child. This method prevents inconsistencies and ensures that every part of your world is connected.

Step 2: Use a Checklist to Stay on Track**

To make this process easier, you can create checklist of key questions to answer. Here’s an example:

• Does your world have magic? → Yes?

THEN:

• Why do people have magic?

• Does everyone have it, or just specific groups?

• Where does this magic come from?

• Are there rules or restrictions for using magic?

• Are there different types of magic?

• Are there beliefs tied to magic (e.g., religious, cultural, or political conflicts)?

If, for example, magic comes from gods, then suddenly you have:

✔ A mythology

✔ Different groups with different beliefs

✔ Possible conflicts between those groups

Step 3: Use Worldbuilding to Shape Your Plot

Once your world has structure, it naturally helps shape the plot

For example:

• If there are different groups with opposing beliefs, you already have a conflict

• If magic is restricted, maybe your main character wants to change the system

• If there’s a prophecy, maybe someone wants to break or fulfill it.

Instead of creating random events,each event should naturally lead to the next

A → causes → B → causes → C

This makes your plot more organic and keeps everything connected!

Hope this helps! Let me know if you have any other worldbuilding strategies that work for you! :)