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The Beginning of A New World
The world ended in 2015. Sheng Chen was transported to a new realm along with the rest of humanity. The novel follows his adventures through this vast new plane, fighting men and beasts alike, making friends, finding love, and etching out his own existence in the boundless universe all the while trying to unravel an insidious plot that he has unwittingly become a part of. Romance, humor, friendship, betrayal, loss, schemes, light, and darkness. All the creatures from your dreams, stories, and movies are real in this absurdly wonderous world.
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4
ChaptersA Mythical World
The kingdom of Imperium.
A kingdom of swords and fights and forever passions.
Two powerful, mighty knights, who were also brothers, declared a war the night after their father died and they would fight until one of them was killed. They declared a war of their armies. They were looking for a chance to kill each other for a very long time.
Because of a throne.
Because of a woman.
A poor, abandoned, yet a beautiful looking soul.
That was the day when the Lord of Life returned in the kingdom. It was promised that so much blood would drip when his mark appeared beside the new moon.
There was also a vengeful witch, who was seeking for revenge.
But what happened at last?
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38
ChaptersThe World Only We Exist
Anya Moore is a pop sensation with lots of people who look up to her, though her passion is something else. Sadie Ozoa wants to chase her dreams and doesn’t want to take no for an answer, but it feels like she doesn’t have a choice. But unexpected decisions they made had created unfaithful circumstances that have brought two different individuals together. Next unthinkable move: run as far away from the situation that could have led to their wishes.
They don’t know how they ended up walking together and they don’t know why. But all they want to do is to escape from the environment they were surrounded in. Anya and Sadie thought they would be distant but with every step they took, they started to know so much about each other and what they have one thing in common: they hated how the world has become. They then thought what if they rebuild Earth where it is all ruled by them--and only both of them. The two then thought what if we start to make it a reality?
As they go on the journey to create their own world, Anya sees that Sadie is more than an outcast and Sadie sees that Anya is more than just a star--they are each other’s world.
But with the world that is against their odds, will they be able to show their truth?
In this first debut comes a coming-of-age story about realizing that in order to survive the world, you must choose whether to follow the rules or break them for the sake of doing something right.
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32
ChaptersThe Impossible Fate That Leads To A God Of A New World
What is fate?
Is it something that was destined to happen?
Can it be changed?
No. If it can be changed, it would't be known as fate, isn't it?
They say that fate can be control in our hands.
Then, is it possible to take everything in total control in my hands?, I wondered.
No, whatever the results is, I'm sure this was fated to happen under my control.
This world... will surely go along with my favor.
................
"PLEASE!!! I BEG OF YOU!!! Join the Imperial Knights Academy as a special student or else I will be fired!!!"
With such a line thrown to him, the 16-year-old human, Lucifer Nightwalker von Nightmare, an orphan who was stranded on an island with her little sister and magical pet-- was forced to compromise and attend the famous Imperial Knights Academy as a special student.
While spending 3 years in the academy, he would meet his fated ones.
After he graduates, he would then become an adventurer to explore the world, unlocking the secrets behind.
This, will be the starting of his journey.
In a world of sci-fi and fantasy.
Humans, beast-kins, dragons, vampires, elves, fairies, spirits, dyrads, archangels, demons, dwarves, magical beasts, and much more, co-exist.
Which later then, he would become a king-- leading everyone to challenge against the Celestial Gods.
However, that was the boy's fate.
......................................
Everything begins with that fateful meeting six years ago. His fateful meeting with the principal of The Imperial Knights Academy.
Yet, it wasn't even the beginning of fate.
.....................................
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127
ChaptersTwo Connected Worlds
Leaving your world and coming to another all seems wrong and right.
Sophia had to leave Marazona to Earth to avoid death in the most cruel way.
Everything on Earth seemed weird to her and she seemed weird to Donald, the son of the woman that took her in.
But, let's see how Two Worlds are Connected.
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95
ChaptersThe Unforgiving World
The continent of Revera was once a place of peace and harmony. This large piece of land was inhabited by mystical creatures, large military bases, and tribes of mages and witches— a perfect combination of extraordinary people.
Different races from different nations coexist and never touched each other’s lands. Not until, Kanzeri, a military-based country decided to broaden their empire as they tried to invade all the countries in Revera, including the Sky City where mystical creatures reside.
A small country called Magnusville has been caught in the crossfire and now suffering great losses. The war among nations takes place here and it became a battleground bathed with blood of mystical creatures from Sky City, warriors from Kanzeri, and mages from other countries.
Meanwhile, in order to save his beloved country, a young man named Reign Fernandes and his mates began to search for power— a power not given to a mere human; a power that could change the world for good. Can they stop the war among nations and save Magnusville from brewing destruction before it's too late?
10
5
ChaptersQuestions About World Creation
What tools assist writers with efficient world creation?
3 Answers2026-06-26 19:52:42
Been stuck on mapmaking for weeks until a friend suggested 'World Anvil'. It's a wiki-style platform, but the templates force you to consider stuff you'd gloss over—like, it has fields for 'common superstitions' or 'regional trade goods'. I'd sketch a kingdom and call it done, but now I'm figuring out why the northern mines are failing. The free tier's clunky, but it structures the chaos in my head.
Campfire Blaze is sleeker for character and location databases. I use it alongside Scrivener; Scrivener holds the draft, Campfire holds the lore. Seeing family trees and timeline graphs auto-generate saves me from contradictory backstories. The one-time purchase model for modules felt better than another subscription.
Honestly, the real game-changer was treating Google Sheets as a living document. A simple tab for 'magic system rules' prevents power creep. Low-tech, but having that searchable sheet open while writing stops the 'wait, how does this work again?' moments dead.
Campfire Blaze is sleeker for character and location databases. I use it alongside Scrivener; Scrivener holds the draft, Campfire holds the lore. Seeing family trees and timeline graphs auto-generate saves me from contradictory backstories. The one-time purchase model for modules felt better than another subscription.
Honestly, the real game-changer was treating Google Sheets as a living document. A simple tab for 'magic system rules' prevents power creep. Low-tech, but having that searchable sheet open while writing stops the 'wait, how does this work again?' moments dead.
How can authors improve world creation in fantasy novels?
3 Answers2026-06-26 14:38:20
One approach I've stumbled on almost by accident is starting with the mundane, not the magical. You'd think you should outline the gods or the magic system first, but I've had more luck making a grocery list for a character. What do they buy? Where does it come from? That forces you to think about trade routes, local agriculture, inflation even. It builds a foundation where the weird stuff can sit without wobbling.
I'll admit I sometimes get lost in maps and timelines and forget the plot entirely. But the moments readers remember aren't the grand histories; it's the smell of a particular spice market, or the awkward social rule about which fork to use for elf-meat. That texture comes from thinking small, from knowing what the world feels like on a Tuesday afternoon, not just during the epic prophecy.
I'll admit I sometimes get lost in maps and timelines and forget the plot entirely. But the moments readers remember aren't the grand histories; it's the smell of a particular spice market, or the awkward social rule about which fork to use for elf-meat. That texture comes from thinking small, from knowing what the world feels like on a Tuesday afternoon, not just during the epic prophecy.
How can authors master world creation for immersive fantasy novels?
4 Answers2026-06-26 11:01:59
I've noticed a lot of beginner writers throw together a pantheon of gods and a map with some funny place names and call it a day. It feels hollow. What's made the difference for me, after a few manuscripts, is starting with the mundane physical laws. Does magic obey conservation of mass? If someone creates fire, does the heat come from somewhere else? Sketching out those basic rules first creates a grid that everything else—societies, economies, conflicts—has to grow on. It forces consistency.
Then, I focus on a single cultural artifact and follow its ripple effects. Say you decide this society buries their dead in the foundations of new buildings for spiritual protection. That impacts architecture, urban planning, family inheritance, and even crime scenes. Suddenly, your world has texture because one idea spawned a dozen tangible details. I get lost in those connections, and that's where the immersion for the reader really builds, not in the big flashy lore dumps.
I try to leave about a third of my notes completely unexplained in the text. The world should feel like it exists beyond the edges of the protagonist's understanding.
Then, I focus on a single cultural artifact and follow its ripple effects. Say you decide this society buries their dead in the foundations of new buildings for spiritual protection. That impacts architecture, urban planning, family inheritance, and even crime scenes. Suddenly, your world has texture because one idea spawned a dozen tangible details. I get lost in those connections, and that's where the immersion for the reader really builds, not in the big flashy lore dumps.
I try to leave about a third of my notes completely unexplained in the text. The world should feel like it exists beyond the edges of the protagonist's understanding.
What are the best tools for simplifying world creation in writing?
4 Answers2026-06-26 12:12:56
Just stumbled out of the 8th circle of worldbuilding hell with a 300-page 'bible' for a story that's 20 pages long. Never again. The tools that saved my sanity aren't about building more, they're about organizing the chaos so you can actually write.
For pure structure, I swear by Obsidian.md. It's a note-taking app, but the way you can link concepts, characters, and locations with backlinks creates this living web of your world. You don't have to remember where you put the ruling customs of the Eastern Province; you just click from the character page and it's there. It feels less like a filing cabinet and more like a brain.
When I need to visualize geography without being a cartographer, Inkarnate is my secret weapon. It's a browser-based fantasy map maker with stamps for cities, mountains, forests. You can get a decent, functional map in an hour that serves the story, instead of spending weeks on geologically accurate river systems that nobody will ever see.
The real unsung hero, though? A simple spreadsheet. One column for place names, one for key traits, one for story relevance. Forces you to ask, 'Do I need this?' If the 'story relevance' cell is empty, maybe that intricately designed trade route isn't so crucial after all. My first draft got 40% leaner after that exercise.
For pure structure, I swear by Obsidian.md. It's a note-taking app, but the way you can link concepts, characters, and locations with backlinks creates this living web of your world. You don't have to remember where you put the ruling customs of the Eastern Province; you just click from the character page and it's there. It feels less like a filing cabinet and more like a brain.
When I need to visualize geography without being a cartographer, Inkarnate is my secret weapon. It's a browser-based fantasy map maker with stamps for cities, mountains, forests. You can get a decent, functional map in an hour that serves the story, instead of spending weeks on geologically accurate river systems that nobody will ever see.
The real unsung hero, though? A simple spreadsheet. One column for place names, one for key traits, one for story relevance. Forces you to ask, 'Do I need this?' If the 'story relevance' cell is empty, maybe that intricately designed trade route isn't so crucial after all. My first draft got 40% leaner after that exercise.
How to build your own gameworld for RPGs?
4 Answers2026-04-23 06:59:54
Building an RPG gameworld feels like painting on an endless canvas—you start with broad strokes, then layer in details until it breathes. I always begin with the core concept: is it high fantasy like 'The Elder Scrolls,' cyberpunk like 'Cyberpunk 2077,' or something hybrid? Once I nail the vibe, I sketch out geography—continent shapes, cities, and wildlands—because terrain shapes culture. Then comes history; even if players never see it, knowing why the Elven Kingdom fell adds depth. Factions, conflicts, and hidden lore come next. I scatter 'em like breadcrumbs, so explorers feel rewarded.
For immersion, I obsess over small stuff. Tavern menus, local slang, or how magic alters daily life. In my last project, I wrote fake folk songs for bard NPCs to sing. Sounds extra, but players remember those touches. Mechanics tie into this—if my world has a unique magic system, I design puzzles or enemies around it. Playtesting is crucial; friends spotted plotholes in my 'floating city' idea when they asked, 'Where do the sewage pipes go?' Lesson learned: even fantastical worlds need internal logic.
For immersion, I obsess over small stuff. Tavern menus, local slang, or how magic alters daily life. In my last project, I wrote fake folk songs for bard NPCs to sing. Sounds extra, but players remember those touches. Mechanics tie into this—if my world has a unique magic system, I design puzzles or enemies around it. Playtesting is crucial; friends spotted plotholes in my 'floating city' idea when they asked, 'Where do the sewage pipes go?' Lesson learned: even fantastical worlds need internal logic.
What common mistakes should authors avoid in world creation?
4 Answers2026-06-26 20:20:36
I've seen so many great concepts fall apart because authors get lost in the weeds. Building a world isn't just about drawing a map or inventing seven new languages before you've even figured out your main character's motivation. The biggest trap is creating a history textbook instead of a living space for a story. Readers need to feel the world, not study it. I abandoned a book recently where every third paragraph was a footnote about some irrelevant royal lineage. The plot just stopped dead every time.
Another thing is the lack of internal logic. You can have dragons and magic, sure, but if your agrarian society with no currency suddenly has a bustling merchant class, it throws me out. Think about how things connect – geography affects trade, trade affects culture, culture affects conflict. It doesn't have to be hyper-realistic, but it needs to feel consistent. The worlds that stick with me are the ones where the rules feel earned, not just convenient for the next plot twist.
Another thing is the lack of internal logic. You can have dragons and magic, sure, but if your agrarian society with no currency suddenly has a bustling merchant class, it throws me out. Think about how things connect – geography affects trade, trade affects culture, culture affects conflict. It doesn't have to be hyper-realistic, but it needs to feel consistent. The worlds that stick with me are the ones where the rules feel earned, not just convenient for the next plot twist.
What are common challenges in world creation for new authors?
3 Answers2026-06-26 21:23:42
I see a lot of first-time writers get paralyzed trying to map out every single river and trade route before they even write a chapter. They'll spend months on calendars and conlangs, which is cool, but it often becomes a fancy procrastination tool. The story ends up feeling like a guided tour of a museum instead of a lived-in place. Readers connect with characters navigating a world, not with the world itself as a static exhibit.
A bigger trap is inconsistency. You introduce a magic system where power comes from emotional cost, then two chapters later your hero is blasting away without any personal toll because you needed a cool action scene. It breaks immersion instantly. I think new authors should jot down the core 'rules' of their setting—maybe three to five big ones—on a sticky note and check every major plot point against them. The small stuff, like whether a tavern serves ale or mead, matters less.
A bigger trap is inconsistency. You introduce a magic system where power comes from emotional cost, then two chapters later your hero is blasting away without any personal toll because you needed a cool action scene. It breaks immersion instantly. I think new authors should jot down the core 'rules' of their setting—maybe three to five big ones—on a sticky note and check every major plot point against them. The small stuff, like whether a tavern serves ale or mead, matters less.
How to create your own anime world?
5 Answers2026-06-22 08:24:10
Creating an anime world is like painting a dream—you start with a blank canvas and let your imagination run wild. For me, it begins with the core theme: is it a dystopian cyberpunk city, a whimsical fantasy realm, or something in between? I jot down fragments—a neon-lit alley where androids barter memories, or a floating island where time flows backward. Then comes the lore. Why does the world exist? Who holds power? A tip: steal from history. The feudal conflicts in 'Attack on Titan' or the corporate dystopia of 'Psycho-Pass' feel real because they echo our world.
Next, populate it with contradictions. A cheerful café owner might moonlight as an assassin. A high-tech metropolis could hide medieval cults. I sketch rough maps, noting where magic leaks into tech, or where factions clash. Soundtrack matters too—I curate playlists to match the vibe. Sometimes, a single song inspires an entire arc. The key? Don’t overexplain. Leave gaps for viewers to fill, like 'Made in Abyss' does with its cryptic ruins.
Next, populate it with contradictions. A cheerful café owner might moonlight as an assassin. A high-tech metropolis could hide medieval cults. I sketch rough maps, noting where magic leaks into tech, or where factions clash. Soundtrack matters too—I curate playlists to match the vibe. Sometimes, a single song inspires an entire arc. The key? Don’t overexplain. Leave gaps for viewers to fill, like 'Made in Abyss' does with its cryptic ruins.
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