>>5341013indeed, I think Hume was the first philosopher to claim that all imagination consists of just augmenting, diminishing and transposing various things in combination.
But as mentioned on past qtg threads, what I like to do is take a real world situation and shadow every phenomena with a sort of fantasy encoding, so that everything in the game world corresponds to something in the real world. This is essentially what is at work with that Seeling Night spell I mentioned here
>>5338582>>5339510Or my Song Of The Oath And Wild game, where the hidden skill checks were decided by the SPX hehe.
If you get the correspondences really close... maybe anons will pick the choices that predict or align with our real world future like a Delphic Oracle. This same process is at work in my Shakespeare game setting experiment.
The reason why you obscure the names and places with fantasy is to create a sense of detachment (not just: You are Donald Trump, the game etc).
Originally I had a completely insane idea about literally overlaying all three of my speculated settings:
- the inverted good-evil Tolkien setting
- the grimdark mesoAmerican Ixachitlan setting, conquistador stuff. But it is like Dying Earth by Jack Vance + Elric of Melnibone
- the Shakespeare inspired setting
create AZTEC SHAKESPEARE SWORDS AND SORCERY, where everyone speaks in Elizabethan lol in some sort of grimdark Dying Tolkien Earth
(Sadly this is not even as original or insane as it sounds. Basically Solomon Kane from the Conan author?)
I mentioned on the other qtg a while back I try to create Kojima Death Stranding tier l'autisme now lol because to be quite honest, if you want a conventional fantasy game the graphics and game experience of Elden Ring or Baldur's Gate 3 (argh) is probably better. Ideally the qst format should create genres and experiences that you cannot find anywhere else.
