Worldbuilding Ground Rules

One of the major annoyances and frequent nuisance of flawed worldbuikding is the introduction of new rules for what non-realistic things are possible in a setting that contradict things that have already been established at an earlier point, or whose existence should have significantly changed how characters behaved in previous scenes. This is most commonly a problem with long running series that have dozens of writers and nobody checking scripts for such inconsistencies. But it also happens frequently to series written entirely by a single writer, and then it is particularly annoying and distracting.

The proper way to prevent this from happening with a fantastical setting is to establish the rules for how the non-realistic aspects of the world work before creating the plots that will revolve around them. The audience or even the characters don’t have to know all the rules from the start. But the writers need to create clarity for themselves what things are possible or not in their world, so they don’t retroactively invalidate the resolution of earlier moments in the story. This does not just apply to technologies or magic spells, but can also include social pressures and power balances that will likely affect how different characters can act in various conflict situations and get away with it.

All of the things shared here are information that is openly known to well informed people in the Galia Cluster, and available to any player characters.

Space Travel

  • Ships move faster than light by moving through hyperspace, where the speed of light is much higher and acceleration requires much less energy.
  • Ships in hyperspace are completely isolated from any signal and are undetectable and unable to communicate.
  • Hyperspace is still influenced by the gravity of any objects with mass. Hyperspace jump drives must overcome the gravitational force between the ship any other objects, which requires keeping a minimum distance from planets and stars.
    • Military ships (and pirates) tend to have more powerful jump drives that work relatively close to planets. Commercial cargo ships have much more cost efficient drives that require a greater distance from planets. This makes it possible to intercept cargo ships in the hours before landing and after takeoff.
  • Travel times to the next inhabited planet can often be over a week. Travel between the homeworlds and outlying colonies can range from weeks to months, and crossing all of known space on commercial ships can take more than a year.

Space Settlement

  • Most people never leave their own planet.
  • Over 90% of all people live on the homeworlds and a small number of major colonies over 100 million people. The majority of inhabited planets has only a few million people or less.
  • Societies capable to migrate to other star systems tend to have very high living standards and very little population growth, making it actually difficult to find people interested in settling new remote planets. People usually accept a lack of existing infrastructure and limited access to most goods if they are paid very well to work in newly established outposts.
  • Space colonization is driven almost by the mining industry. While almost all elements and minerals can be found in huge quantities in most star systems, space travel is cheap enough to make it the most cost efficient for companies to only extract the most easily and cheaply accessible resources on a planet and then move on after a few decades.

Weapons and Combat

  • No laser or plasma weapons.
  • No force fields.
  • Starships almost never explode from combat damage. Instead, battles generally end when a ship loses the ability to continue firing or maneuvering, or loses all power. When losing a battle, crews will usually abandon disabled ships to become prisoners, and blow up their ships themselves to prevent them being salvaged by the enemy.
  • Interstellar warfare consists almost exclusively of interfering with trade by capturing enemy cargo ships, and attacking enemy cruisers and starship bases that can protect commerical ships against attacks.
  • Major interstellar powers do not compete over natural resources, which are abundant everywhere, but over trade of manufactured goods. Planets are of strategic importance because their location and infrastructure allows the stationing of ships that can protect or interfere with trade, or more rarely because of the manufacturing capacity of the local industry for certain critical goods.
  • Planetary invasions of homeworlds and major colonies are almost unheard of, as the costs of transporting and supplying armies large enough to conquer and occupy a planet with a populations of hundreds of millions of people are exponentially more expensive than maintaining ground forces to defend against such an attack.

Psychic Powers

  • Psychic phenomenons are caused by interactions between the psychic and the electromagnetic fields. Waves in either field create waves in the other field as well. The electrical signals in the nervous system of living creatures can cause waves in the psychic field, which then cause electromagnetic effects in the surrounding environment.
  • The interactions between the electromagnetic and the psychic field are usually very weak, making psychic phenomenons very faint and subtle and difficult to record and measure.
  • Interactions between the fields become greatly amplified in the presence of the mineral midorite.
    • All the known intelligent species evolved in regions of space where midorite is extremely rare. The reason for this remains unknown.
    • Because of the near complete lack of midorite in the home systems, where the vast majority of people lives and all the largest science institutions are located, psychic phenomenons remain relatively little researched, and reports of their potential power from remote mining worlds widely regarded as greatly exagerated.
  • Most psychic phenomenons are produced by large groups of people being under prolonged severe stress in areas rich in midorite or heavily contaminated with midorite dust from ore refining. These mostly tend to produce sensations of lights, shapes, and sounds, electrical disruptions, and magnetic anomalies, but in some cases are reported to produce echo-like reflections of people and events that haunt the location.
  • Extensive mental training can give people the ability to deliberately produce directed psychic effects through their own brain activity. These psychic powers primarily allow a limited perception of other people’s thoughts and to affect the emotions and sensations of others. For some people, these insights into other peoples’ thinking allow them to make quite reliable predictions about their future actions and behavior, which some see as a form of premonition or divination.

Inspirations and Influences

Everything about Iridium Moons is all about wanting to make the things that I would love to have in a game, but nobody else seems to be making in the styles that I think would be the most amazing. As such, it’s greatly influenced by a number of older works that all contributed to shaping my image of the most wonderful game. With it probably still being many months until I have any images to share of my own creations, and possibly years until I could show any videos, I think that sharing the various works that inspire me and influence Iridium Moons the most might be a good way to give some kind of general idea of what I am trying to make.

Game Design Influences

  • Fallout (1997)
  • Thief (1998)
  • System Shock 2 (1999)
  • Deus Ex (2000)
  • Morrowind (2002)
  • Stalker (2007)

Very early on, when the vague idea of maybe making my own game coalesced into something of an actual concept, the thought that kept staying in the center of my ideas was “a game like Morrowind, but with game mechanics for exploring dungeons like in Thief”. And that’s been sticking around even when I decided to not go with a High Fantasy setting and go for a retro-futuristic Space Fantasy instead.

Even with modern tools and resources that are available for free, making a game with the size and amount of content of Morrowind by myself is out of the question if I want to release it somewhere in the next 25 years. But the same approach to towns and dungeons and NPC interactions would also work on a much smaller scope. In 24 years of playing that game, I still have never seen more than half of the map. I feel Fallout 1 and 2 are good examples of very similar quest design, storytelling, and open-world exploration, but at a much smaller scale. Making something that is the size of Fallout, but as a 3D ImSim instead of an Iso-RPG feels like something I could realistically complete.

And a good example of what that could look like is probably Stalker. Though that’s probably still more maps and larger maps than a completed Iridium Moons might have.

Visual Design Inspirations

  • Moebius
  • Ralph Bakshi
  • Jim Henson
  • Ralph McQuarrie
  • The Empire Strikes Back (1980)
  • Flash Gordon (1981)
  • Return of the Jedi (1983)
  • He-Man and the Masters of the Universe (1983)
  • Dune (1992)
  • The Dig (1995)
  • Albion (1995)
  • StarCraft (1998)
  • Morrowind (2002)
  • Knights of the Old Republic (2003)

Many movies and shows in the 80s had a really cool approach to depicting alien and fantastical environments that unfortunately disappeared in the 90s. Morrowind is the last popular example I can think of, and it’s the main thing that makes me love the game so much, even though I think its game design really isn’t very good. But this visual style was still around in many places when I was growing up, and I always thought it looks really cool. And we really need to see more of it again.

Music

Music is going to be the most difficult part for me because I won’t be able to make any myself, and the going rates for commissioning 30 minutes of music is more than I make in a year. Maybe there’s some future in which it could be crowdfunded, or by some miracle another hobbyist wants to donate some music that just fits my own idea of what the game should sound like. At this time, it’s impossible to say what’s going to happen in that regard, but here’s what I imagine playing in the background of Iridium Moons. Some of these are from sources that really aren’t great, but I think the composers at least did a wonderful job.

  • The Empire Strike Back (John Williams, 1980)
  • Return of the Jedi (John Williams, 1983)
  • Dune (Toto, 1984)
  • Ewoks: Battle for Endor (Petern Bernstein, 1985)
  • Dune (Stéphane Picq, Philippe Ulrich, 1992)
  • The Dig (Michael Land, 1995)
  • Outcast (Lennie Moore, 1999)
  • Tamriel Rebuild (ASKII, Rytelier, 2020)
  • Rebel Moon (Tom Holkenborg, 2023)
  • Dune: Awakening (Knut Avenstroup Haugen, 2025)

So what is Iridium Moons?

Iridium Moons is my first attempt at learning how to make videogames all by myself, using only free software and resources, and with barely any existing knowledge or experience with either programming or 3D modelling. 15-20 years ago, this would probably have been impossible. But now with Godot and Blender, and all the available free documentations and guides, this is mostly a matter of putting in the time and keeping up the motivation. And having somewhat realistic expectations of how much work a single hobbyist could actually do. While I’ve been going into this with very few technical skills, my main hobby for the last 15 has been creating my own material for pen and paper RPG campaigns. And for the kinds of videogames I am interested in, there’s actually a very significant overlap in overall game design, specific game mechanics, storytelling, and purposeful worldbuilding. Which I think might be just as valuable. I also did some level design, item design, and scripting for a Neverwinter Nights server 20 years ago, which does provide me with a general understanding of the basic concepts of videogame architecture.

The concept for Iridium Moons is probably not a good choice for learning the basics of Godot and Blender. But for me, being really in love and excited about the thing I am working on is very important to stay motivated. Making something purely as a practice piece to gain skills that I will need to later start working on the thing I really want to make isn’t working for me.

Iridium Moons is intended to be some kind of first-person 3D ImSim game focused on outdoor and underground exploration, resource management, and stealth, with elements of investigation, set in a retro-futuristic Space Fantasy setting. The player is a salvage explorer who specializes in tracking down and recovering spare parts for century old machines that are operating well beyond their specified usage limits and selling them to customers who can not afford to upgrade their equipment to more modern standards.

The world of Iridium Moons is a remote star cluster that was heavily mined for rare minerals for nearly 200 years, but been abandoned by the large interstellar mining companies for the last three generations. Some of the original workers stayed behind on the planets they were born and grew up on even after all the large mines had closed, and their descendants created a new rural and largely agrarian society among the abandoned refineries and factories and worn out machines that were left behind. Back in those early days, spare parts for machines and equipment were literally lying around everywhere and of little value. But after more than half a century of being left to rust, many pieces and components have become quite rare and very valuable, making it a very profitable business to know where specific pieces can still be found and recovering them for clients desperately in need of them.

The player character is not a strong hero, and the objectives of the game do not revolve around fighting off a great enemy force. Instead, the intended approach for getting into ruined mines and refineries is to fix up old machinery to gain access to blocked off areas while trying to avoid drawing too much attention, and evading any pirates, bandits, or dangerous alien creatures that might be nearby. In that regard, the planned gameplay has a strong resemblance to Stalker and Thief.

But the world in which these exploration adventures are set is one heavily by pulp Space Fantasy from the 80s, which themselves was already heavily referencing even older space adventure stories from the 50s and 60s. Star Wars being of course the main example, as well as Flash Gordon and Masters of the Universe. I am a huge fan of the works of Moebius, Rralph Bakshi, and Jim Henson, whose style of presenting fantastical worlds has been sadly out of styles for decades now and gotten very little attention in videogames. Similarly, I intend to go for a graphics style strongly reminiscent of the Raw 3D graphics of the late 90s like in many PlayStation 1 games, or Quake, Thief, and Half-Life, with realistically proportioned but very low-polygon models and unblurred, low-resolution textures. But combined with modern lighting and shadow techniques. I find this art style very visually appealing, like 3D pixel art, but it is also a very labor efficient approach that should help significantly with making the creation of large number of 3D assets manageable for a single person.

Going for a game that covers both outdoor and dungeon exploration in an open-world manner is certainly ambitious, but I believe that with the chosen art style and freely available tools for Godot, this will still be manageable in a reasonable amount of time. As for the game mechanics, the free COGITO template already provides most of the basic mechanics for a typical ImSim, which should greatly help with making it a working game even with little experience in programming of any kind, and make the whole undertaking somewhat more similar to extensive modding than creating a new game completely from scratch.

Relaunching Iridium Moons

As you can see, there’s nothing here on this site yet. I originally created this site for a Space Opera RPG setting I came up with back in 2021 but had not been using it for the last three years. I have now started working on a Space Fantasy videogame in Godot, which is set in a greatly modified version of that original Iridium Moons setting, and so I am bringing back this site as a place to write about random things about the design process that are to long to post on Mastodon.