So honestly Id like to see documents connected throughout but mostly for me campaign which is religious/political intrigue; much of the in game religious lore has religious texts that have spawned any number of traditions. I cannot properly link to them because its not an option. If you support this you can sound off here: [https://www.worldanvil.com/community/voting/suggestion/cfbdf20f-577f-4c78-b5d7-ad0062a3add1/view\](https://www.worldanvil.com/community/voting/suggestion/cfbdf20f-577f-4c78-b5d7-ad0062a3add1/view)

World Link: [https://www.worldanvil.com/w/espen-wexley\](https://www.worldanvil.com/w/espen-wexley)

After the world generator, the next thing I wanted was to zoom in on one town. So I built a free town generator.

You pick a size (hamlet up to capital), one of 14 building styles (heartland, Mediterranean, desert, dwarven, orcish, and three new ones: High Elven, Arcane and halfling burrows), and the land around it: coast, river, forest, mountains, marsh, dunes, snow or volcanic. You get a full town map with the streets, districts, tavern, temple, keep and gates already named. Click anything on the map to rename it.

The AI part is light and optional. The map and all the street and district names come from a procedural generator, not AI. If you want a story for the town, one click has the AI write its history, what's going wrong there right now, a line for every district and place on the map, four people worth meeting, and some tavern rumours. It uses the names on your map, so the story points at real places in your town. Or skip it and write your own; every field is editable.

Example from one I made: Gorta, an arcane city in the mountains. Floating isles of rock drift over the roofs, and its rune ward has started to flicker along Crown Avenue. Someone is stealing rune-stones from under the Warrens.

​

No sign-up needed. You can download the map as a big PNG with everything labelled, the lore and names as a Markdown file, or a town file to open again later.

https://worldtable.gg/fantasy-town-generator

I'd love feedback from people who build worlds:

- Are the town layouts believable for each style, or do any look off?

- Is the AI story useful as a starting point for a town, or too generic?

- What would you want on the downloaded map that isn't there?

Honest criticism welcome, same as last time.

Edit:

New updates

Day and night
Every town map has a dawn, day, dusk and night switch, in the town generator and in the game.

Who lives there

tap any building to see who lives or works there:

- The household or the staff names drawn from the town's own tongue, with each person's age and work. An elf might be three hundred years old.
- Shops what they sell and what it costs, in gold, silver and copper. Big towns and hard country charge more. Each shop shows whether it's open at the hour on the map.
- Word is a rumour about the owner, for you to follow up.

The new Shop tab lists every shop and public place in the town. Search it for a shop, a person or a ware, and pick one to fly the map there.

Step inside

Tap a building, then Step inside to see its floor plan. A tavern has its common room, kitchen, snug and stable, rooms upstairs and a cellar below. A smithy has its forge, a baker sells downstairs and sleeps upstairs, and a burrow is round with a pantry underneath. The people who live there stand in their places: the innkeeper behind the bar, the cook in the kitchen. At night the household is in bed.

Battle maps

The new Battle Map Generator cuts a fight out of a whole town, on a 5-foot grid:

- Pick where it happens: the market square, the back alleys, outside the tavern, the city gate, the docks, a bridge, the temple steps, under the castle walls or the edge of town. You can also tap anywhere on the town.
- Cover where it would be barrels and crates by shop doors, handcarts in the street, tables outside the tavern, braziers at the gate, market stalls round the fountain, gravestones in the churchyard.
- Download a PNG for your virtual tabletop or for print, with or without the grid. can also download a Universal VTT file with the walls, doors and lights already in it. Foundry, Arkenforge, EncounterPlus and others can open it.

A seven-part speculative worldbuilding project exploring an artifact with a physical history connected to Voyager 1 — without establishing an alien sender, a conventional signal, or first contact.

The project focuses on the internal logic of the phenomenon, its effects on human cognition, and the institutional system developed to contain it.

Original concept and narrative development with AI-assisted visualization.

I'd be interested in feedback on the worldbuilding and the underlying rules of the phenomenon.

Mapped out from satellite view to street view. Almost making Google maps lol. Took a while and I'm still working on it. Lots of great ai worldbuilding tools, I used the craft CLI to help map everything out and Claude was able to just go wild when I was remaking earth. If anyone wants a really good resource for worldbuilding they should definitely try out craftrpgs and use their CLI, if you have a subscription with Claude you can really rip on a lot of worldbuilding without spending money in craft to get their orbit assistant to do it. This is my simulation earth game and it's looking pretty good so far, I'm pretty happy with it.

I built a free tool that generates a quick world with AI: a map, some baseline lore, races, and a magic system. When you have one you like, you can export it as a PDF to keep or use as a starting point for the rest of your world.

No sign-up needed. There’s a limit of one world per day, so it’s more of a daily spark than an endless generator.

https://worldtable.gg/fantasy-world-generator/

I’d appreciate feedback from people who actually build worlds:

• Is the lore and the race/magic output useful as a starting point, or too generic?
• What would you add to the PDF?
• Was the map usable, or would you want more detail?

Honest criticism is welcome.

Unlike the "Frutiger Neon" from my previous upload, Frutiger Eco is an aesthetic that officially exists and is adjecent to Solarpunk, or at least to optimistic eco-futurism. Essentially, where Frutiger Aero is blue, Frutiger Eco is green; replacing water as the primary motif with plant life. And it also has the same problem: It takes imagery from nature and makes it look plastic. So, I'm kind of aiming to subvert that aesthetic while still generally invoking its signature look. Frutiger aesthetics are squeeky clean, but nature is the complete opposite of that; it's messy and dirty and unpredictable.

So, in the parts of Bright City where nature is real, rather than an artificial backdrop, I want to show how it slowly but surely takes over whatever artificial structures are placed amongst it, but life isn't necessarily worse there for humans only because it isn't perfectly clean. Said humans also reflect that in their clothing: Instead of bright and stylish Y2K/Y3K cyberprep fashion, they dress in sturdy, desaturated or earth-toned techwear that they expect to get dirty or damaged over the course of their day.

Life is messy in the Outskirts, but it's bright nonetheless.

I have been thinking about something while writing my science-fiction project that feels slightly backwards from how I originally approached worldbuilding.

When I started building a future city at sea, I spent a lot of time thinking about the things that make the place unusual.

The systems.
The infrastructure.
The constraints.
The decisions that have to be different because this city exists where a normal city does not.

All of that still matters.

But the more scenes I write, the more I think the city starts feeling real at exactly the point where a lot of those things stop seeming unusual to the people who live there.

That has become a really interesting test for me.

Would this person actually be thinking about how extraordinary their environment is right now?

Or are they thinking about what they are eating later?

Whether somebody is avoiding them?
Why the same stupid thing is delayed again?
Where they are going after work?
Whether they have enough time to stop somewhere before going home?

Two people can live inside exactly the same system and experience it completely differently.

One person might build their whole routine around some feature of the city.
Another person complains about it constantly.
Another barely notices it anymore.
Somebody who just arrived may stare at something that a person who grew up there has not consciously looked at in ten years.

That difference is starting to interest me more than explaining the system itself.

I am also writing this project with AI, including using AI to actively draft substantial prose with me, and this has become one of the places where I have to push back pretty hard.

AI likes to notice the worldbuilding.

Of course it does. The unusual thing is sitting right there.

But the character does not necessarily care.

Sometimes I am looking at a scene thinking, yes, this is a fascinating feature of the world, and no, this particular person absolutely would not be standing here admiring it or explaining it to themselves.

They have seen it a thousand times.
They are late.
They are hungry.
They want to go home.

That feels increasingly important to me.

I think a functioning fictional world probably needs things the author spent weeks thinking about that the characters barely think about at all.

What is something in your world that felt enormous while you were designing it, but eventually became background noise to the people actually living there?

Imagined a world in which the Pacific Northwest Bioregion breaks away from the United States and Canada.

〔WEYLAND–YUTANI CORPORATION〕

PROYECTO PROGENITOR — PROGRAMA E-772

FICHA TÉCNICA DE ESPÉCIMEN XENOMORFO

CÓDIGO DE ARCHIVO: E-772-XG-01

CLASIFICACIÓN: ULTRACONFIDENCIAL — NIVEL OMEGA

INSTALACIÓN: HIVE III — VERIDIAN

RESPONSABLE CIENTÍFICA: DRA. MAEVE RYLAND

PERIODO EXPERIMENTAL: 2182–2184

CÓDIGO ORIGINAL: XENO-G

DESIGNACIÓN OPERATIVA: XeGo

HUÉSPED DE ORIGEN: Gorilla gorilla — Gorila de espalda plateada

CLASIFICACIÓN BIOLÓGICA: Aberración xenomorfa

ALTURA APROXIMADA: 2,6 m

MASA ESTIMADA: 1.500 kg

ESTADO DEL EXPERIMENTO: ÉXITO — DESARROLLO HASTA LA FASE ADULTA

---

I. IDENTIFICACIÓN DEL ESPÉCIMEN

XeGo es un espécimen xenomorfo desarrollado a partir de un huésped de la especie Gorilla gorilla. Su desarrollo hasta la fase adulta confirmó la viabilidad de esta línea experimental dentro del programa E-772.

A diferencia de las demás aberraciones identificadas durante esta fase del proyecto, XeGo ha manifestado una conducta espontánea de construcción mediante la producción y manipulación de resina xenomorfa.

Esta actividad comenzó a observarse después de alcanzar la etapa adulta. Las primeras estructuras registradas eran rudimentarias, irregulares y de función desconocida. Sin embargo, su formación no parecía responder únicamente a movimientos accidentales ni a la acumulación pasiva de secreciones.

La característica distintiva de XeGo no es la fuerza física, sino su tendencia espontánea a construir.

II. CARACTERÍSTICAS MORFOLÓGICAS

Constitución: Robusta, voluminosa y de gran desarrollo muscular.

Altura aproximada: 2,6 metros.

Masa estimada: 1.500 kilogramos.

Postura: Bípeda, con capacidad para adoptar posiciones cuadrúpedas durante el desplazamiento o al manipular materiales.

Perfil funcional: Manipulación de resina y construcción de estructuras biomecánicas.

El cuerpo presenta un torso ancho, hombros prominentes y extremidades superiores de gran volumen. Los brazos, inspirados funcionalmente en la constitución del huésped, poseen la fuerza y el alcance necesarios para arrastrar, presionar, sostener y distribuir material orgánico.

Las manos y los dedos permiten manipular acumulaciones de resina y darles forma mediante presión, tracción y contacto repetido.

Aunque su silueta recuerda parcialmente a la de un gran simio, XeGo conserva una anatomía inequívocamente xenomorfa. No presenta pelaje, rostro de gorila ni una combinación literal de rasgos humanos y animales.

El cráneo permanece alargado y liso, sin ojos externos visibles. Los tubos dorsales, la cola y el aparato bucal mantienen la arquitectura característica de la especie.

III. CONDUCTA CONSTRUCTORA

Las primeras observaciones de construcción se produjeron durante la etapa adulta del espécimen.

XeGo comenzó a depositar resina sobre superficies próximas y a manipularla hasta formar acumulaciones adheridas a paredes, esquinas y elementos de su módulo de contención.

Las estructuras iniciales carecían de una geometría reconocible. Algunas consistían en masas compactas; otras presentaban prolongaciones, uniones y capas superpuestas.

No se ha demostrado que estas primeras construcciones cumplan una función defensiva, reproductiva o territorial específica.

Lo relevante es que el espécimen no se limitaba a producir resina: la distribuía, la acumulaba y la moldeaba.

Esta conducta lo diferencia de los demás ejemplares del programa. Mientras las otras aberraciones destacan por sus capacidades físicas particulares, XeGo manifiesta una tendencia constructiva que requiere observación independiente.

La finalidad de esta actividad permanece sin determinar. No debe atribuirse inteligencia arquitectónica avanzada ni una función colectiva a partir de las primeras estructuras registradas.

IV. CAPACIDADES FUNCIONALES

Manipulación de materiales: Elevada, favorecida por sus extremidades superiores.

Producción y aplicación de resina: Confirmada.

Construcción espontánea: Confirmada durante la etapa adulta.

Fuerza física: Considerable, acorde con su masa y constitución.

Movilidad: Adaptada a un organismo de gran tamaño, con capacidad para desplazarse en postura bípeda o cuadrúpeda.

La masa corporal de XeGo constituye un riesgo significativo durante los procedimientos de contención. Su fuerza le permite manipular elementos pesados y ejercer presión sobre estructuras próximas.

No obstante, la evaluación funcional debe priorizar su conducta constructora. La acumulación progresiva de resina puede alterar la geometría del módulo, cubrir superficies de observación y dificultar el acceso a puntos de inspección.

Las estructuras producidas podrían modificar las condiciones físicas del entorno, aunque todavía no se ha establecido si el espécimen actúa con una finalidad concreta.

V. ANATOMÍA XENOMORFA CONSERVADA

XeGo conserva los componentes anatómicos fundamentales de la especie:

- Exoestructura biomecánica oscura.

- Cráneo alargado, sin ojos externos visibles.

- Mandíbula principal y boca faríngea.

- Tubos dorsales funcionales para la comunicación bioeléctrica.

- Cola articulada con la arquitectura xenomorfa característica.

- Secreciones biológicas corrosivas.

- Capacidad de producir y manipular resina xenomorfa.

La conducta constructora no debe interpretarse como una modificación independiente de la especie, sino como una capacidad manifestada por un organismo que conserva su biología xenomorfa.

VI. EVALUACIÓN DE RIESGO Y CONTENCIÓN

Nivel de amenaza: Extremo.

Factores principales de riesgo:

- Gran masa y fuerza física considerable.

- Capacidad de manipular materiales y elementos estructurales.

- Producción y acumulación de resina dentro del módulo.

- Alteración progresiva del entorno de contención.

Se recomienda inspeccionar periódicamente las superficies cubiertas por resina y registrar la disposición de cada nueva estructura.

La retirada de material debe realizarse únicamente mediante procedimientos controlados. No debe asumirse que una acumulación aparentemente inerte carece de función biológica.

El personal deberá evitar la proximidad directa. La conducta constructora no reduce el peligro que representa el espécimen; añade una variable de riesgo que no aparece de la misma manera en las otras aberraciones.

VII. OBSERVACIÓN DE LA INVESTIGADORA RESPONSABLE

Nota de la doctora Maeve Ryland:

«XeGo presenta una conducta que no hemos observado de forma equivalente en los restantes especímenes.

Desde que alcanzó la etapa adulta, ha comenzado a depositar y moldear resina dentro de su entorno. Las primeras formaciones son rudimentarias, sin una finalidad identificable, pero la manipulación del material parece deliberada.

No puedo afirmar que esté construyendo refugios, nidos o estructuras funcionales. Cualquiera de esas conclusiones excedería las observaciones disponibles.

Por ahora, solo puedo establecer que XeGo no se limita a producir resina: la transforma en estructuras.

Debemos determinar si esta conducta es una particularidad del espécimen o una capacidad que todavía no hemos identificado en el resto de la especie».

FIN DE LA FICHA TÉCNICA

〔ARCHIVO E-772-XG-01 — HIVE III〕

I've been building a fictional town in Northern California called Silverdale. It's a fairly ordinary university town, with one significant difference: GRACE, a technology that gives women access to a personal HUD and quietly influences the way people interact with each other. Men, meanwhile, only get to see their own score.

But Silverdale isn't only a story about GRACE (anymore). People complain about local politics, write about their relationships, argue over technology, and occasionally get far too worked up about completely trivial things. Most of life just goes on, as it does anywhere else.

The idea was always to make it feel like an actual town rather than a collection of stories.

Well, two of its residents, Lisa and Audrey, now have their own podcast on Spotify.

They talk about dating, friendships, everyday annoyances, and life in Silverdale. Not as narrators explaining the fictional world, but as two women who actually live there. They take their town completely for granted, which is exactly the point.

The scripts are written with AI assistance, the voices are generated with ElevenLabs, and I edit the individual audio tracks in Logic Pro, adjusting the timing and adding ambient sound to make the conversations feel natural.

I'm finding that audio adds something interesting to worldbuilding. Characters who previously existed only in written posts suddenly have voices, interruptions, awkward pauses, and completely unnecessary arguments.

I'm curious whether anyone else has experimented with podcasts, radio shows, or other in-universe media as a way of building a fictional world.