Image credit: philosopher monkey by jj Grandville used for visualization purposes only I do not claim ownership

Note: I was gonna call them the jinn but they kind of turned into their own thing, now I am subverting myself I suppose, and dragons are being reworked at the moment.

The precursors or aïeux (as noted by the orque) are tall primate like humanoids dressed in Victorian lounge wear with reality warping and wish granting abilities they by stubborn ethic do not use or allow anyone to try and harness through any manner, favor, loophole or contract, they also possess a all knowing omniscience which extends to a meta awareness

The aïeux also (given by their name translated to English "forefathers") are the evolutionary precursor to the orque, though technically every orque's stubborn father or mother, the orque being born from a son of a aïeux that went down from their mountain home and forgot their powers and became documenters

They are the oldest race of all of the races I've done a expóse on, they are the very parody and subversion of both the concept of gods in a fantasy realm and Tom bombadil though unlike old tom could care less because he isn't affected by that pesky one ring, the aïeux couldn't care less because they know they could fix everything but don't because to quote one "where's the fun in that?"

In the plot, léon and his troupe find the dwelling cave of the precursors expecting them to just grant a wish to set things back to normal are instead faced with stubborn entities that refuse to even speak with them, knowing exactly what they want and not giving it, and when finally coaxed just end up being insulted by the dry wit of the aïeux

Another thing about them, is that they are very well aware that they are meant to be subversions which is why they are so hammy about their nature being reading the newspaper, lounging, pipe smoking, reading and arguing philosophy about meaningless things, they want to act hammy despite my wishes for them to actually be serious

As per usual I am open to questions, criticism, and feedback

I've always loved the urban settings of Science Fantasy and I'm sure like some people in the community, I've recently became obsessed with the game "Deadlock" and its incredible approach to worldbuilding. For any unfamiliar, the simplified version of the game is, you are participating in a ritual that would allow one of two Patrons to manifest in reality, imposing their societal structure upon an alternate reality New York City; "The Archmother" being law/order with her mask resembling that of the Statue of Liberty, and "The Hidden King" being anarchy/chaos who's shadowy visage, twisted horns, and yellow colouration is uncannily like "The King in Yellow." There are hints at other potential patrons exsisting in whatever other universe these two hail from but thats not what I want to talk about.

Fantasy - primarily its subgenres - always have a way of mingling with urban settings, the three most iconic to me being the city of Sharn in Eberon, Sigl from Planescape, and the ecumenopolis plane of Ravnica from Magic the Gathering, each of these setting having recognisable traits that can be associated with their real world counterpart - sky scrappers, interwoven cultures, magical inventions that are analogous with technology.

So, what if this was the structure for an entire world?

Primarily an ecumenopolis for example, where massive country sized districts and precincts were each controlled and influenced by a single Patron - and their devout followers - from a larger pantheon. Each dictating the cultures and structures - societal and the pysical architecture - of their "domain." Each maintaining the balacing of power between their divine brethren, whilst simultainously vying for enough influence over the material world that they could manifest as its one true God and rules. Different factions committing espionage while propagana slips from one district to another.

What would a God of nature look like in this world?

In a world of choking sky scrappers that breach the clouds, and undercity streets and sewers like in an unending maze of grime and filth. What would a "Patron of Nature" do with their domain? How would her Agents enact their will? What if it was a series of expansive roof-top gardens and fields, and her agents were tasked with making sure elements of the natural world still thrived, people still had access to food. But, on the flip side she could easily have followers who believe that their will is reduce the urban jungle around them to rubble and ruin, that "nature once claimed this world and it will again." Are they as truely benevolent as they appear to be?

As simple as the premise may be, I feel like I've found something that I can really sink my teeth into.

Just speaking for myself I find the idea of a universe without aliens kind of depressing (even if some are hostile) but I see why some space-travel based works (like Dune or Red Dwarf) actively leave them out. But what about worldbuilders here?

So the background is that the world they are on has a number of hazards and pollution, so lower level workers often wear rubber suits as a form of cheep protection. Not full hazmat suits, as they don't always wear the breathing filtration, but also a lot more durable as they are used in heavy duty labor activities.

Any suggestions on how I should describe them?

My initial thoughts was something along the lines of "cheep heavy duty chem treated polymer suits" but that sounds too wordy to me...

In most media, vampires can only be killed either by driving a wooden stake through their heart or exposure to sunlight. While werewolves can be killed with enough damage, they're often incredibly weak to silver bullets. Zombies can crawl around and bite your ankles even when missing half their body, only dying when their head or brain is destroyed.

Does your world have any monsters or beast that require unique or specific methods to be killed? It doesn't have to be super specific, maybe they can be killed normally but have a critical weakness like werewolves. Maybe they're more like Vampires and are essentially unkillable without exploiting their weaknesses.

I am currently developing a "monster" for my world which are incredibly resilient and possess potent regeneration. They can be killed theoretically if you hit them with enough damage to instantly kill them before they regenerate, but it's very impractical. I've been stumped for weeks now trying to give them a weakness or condition that can be exploited to fight them that's not too powerful. Vampires being killed with wooden stakes was always cool to me because while very applicable, a vampire certainly isn't going to let you do that without putting up a good fight. I've been lingering on decapitation, but I feel like that makes them a bit *too* similar to a specific "monster" from another media. I'm been thinking maybe a special kind of weapon that prevents them from regenerating a wound sustained by it, giving people an opportunity to finish them off before they can regenerate.

Centaur Equites occupy a unique position within the ranks of the Aelnyyraean Legions.

Similarly to Harpies, Centaurs possess a pretty small population within the Empire, but are highly sought after for military recruitment.

Only a few Legions possess them in high enough numbers to organize them in formations, but those that do, utilize them to great and terrible effect. Usually they are equipped with heavy armour and utilized to shatter enemy lines, along with non-Centaur Equites.

They are traditionally paired with archers, but will often be paired with other cavalry units too.

Some Legions will also pair them with Harpies, their combined mobility granting them great reconoissance ability.

Outside of combat, Centaurs are also utilized for logistics.

Like Imperial Harpies, Centaur Equites have developed a strong martial tradition, due to their disproportionate presence within the Legions, when compared to their population size.

I am interested in any and all post apocalyptic settings

We all know (do we?) that modern Halloween is a (supposedly) fusion of All Hallows Day and the Celtic festival of Samhain- where the boundary between this world and the otherworld could be more easily crossed. Many other cultures have similar festivals: Yulanpen in East Asian Buddhist cultures, Me-dam-me-phi in Ahom culture; and/or unique ceremonies for venerating the dead- jesa in Korea, famadihana in Madagascar... the way a society deals with the dead says a lot about their social hierarchy, their religious beliefs, and so on.

Now, tell me about your world! Do the people there believe in ghosts? Worship their ancestors? Prepare the bodies in specific ways? How does it change based on social class or manner of death? Are there special days or seasons where the dead walk among us? Tell us everything!

After the Disaster at Le Havre, the French Army retreated to the seine, The german Army Gave chase and clashed at Paris

Pictures taken my Joachim deitrich

context: this is a world in which the central powers won WWI (The Great War in my world, no world war 2) and this is the final battle of the war

Assets:

Plane model- Free model on roblox studio

Pictures- Photoshop

Paris- Model made by me on Roblox Studio

Map_ Made by me

Some creatures I made for my alien planet.

Now this is THE protagonist of the actual story that im writing about these ants.

He’s described as slightly shy, great at reasoning yet bad at memorizing things, and tends to get very attached to those he considers his friends.

Derand Myr was born a worker ant on 188/3 in the southern countryside of Antakia, son of Ignis Myr, his father, and Kasaska Myr, his mother, as well as the older brother of Formik Myr. As every other worker, Derand had a basic and rudimentary education, he wasn’t exceptional at it anyways. He quickly finished his studies once he reached the age of majority (Exactly 1 year after being born for workers like him) and began working as a forager on 189/3, where he met Hantz Miller, Willbiant Calliope and Isaak Meitner, who became his closest friends. Not much time passed, when the Sustenance Wars broke out in 189/4, and he was caught in a sudden enemy artillery bombardment during a rutinary foraging day.

He, alongside his friends, barely made it inside the mound they came from, with Isaak tragically dying after a section of the tunnels caved in on top of him. They had no time to mourn. A soldier ant noticed them and guided them to put on a uniform and grab a rifle, they didn’t get any training, just grabbed a gun and forced into the frontline. Luckily, they didn’t have to see combat on the first day of war. Derand decided to stick together with Hantz and Willbiant, and soon began digging a small foxhole, barely big enough to fit the three of them and some room for additional stuff. Derand was exhausted, and only now could he begin thinking about what had just happened in the last couple of hours, how he was now involved in an armed conflict, how Isaak had died in front of him, he asked himself if he would make it out alive, if he would ever get to see his parents or his brother again. He covered the entrance of their tiny chamber with a blanket he found on the ground and fell asleep from pure tiredness to the horrid sound of artillery thumping all around, and as we speak, he is still in that very same trench. His story is yet to be continued…

[As a final note, today i decided it would be a great time to ATTEMPT to draw hands, damn they look so bad, and i also realized ants antennae aren't straight and instead curve in like a "V" or "L" shape]

The Downward is home to a species of mutants with extremely varied body types, for better or for worse. These bodies may be decorated, coped with, or greatly modified.

In most cases, body modification is for aesthetic purposes or as a workaround for trying to wear glasses with… that kind of head shape.

In other cases, body modification may be required to stand in for things like opposable thumbs or an upright gait.

In some, body modification acts as both a punitive measure and a condition for release from imprisonment. To many, this practice is seen as barbaric, being forced mutilation in return for freedom, but they’d rather not say that out loud in front of the I.G.E….

The modern I.G.E. is not known for merciful and usual punishments.

I’m obsessed with color-magic and its potential role for building and connecting fantasy worlds. But to explain why, I need to first lay out the problem and some context for the answer to make any sense. If you’re up for it, keep reading.

A universal syntax for magic

A syntax can be described as the abstract general rules behind the structure, relations, and composition of the objects of a language, with “syntactic objects” acting as a placeholder for the actual instances/object of that language, its “semantic objects”.

For example, in the case of spoken/written language a syntactical object is an unspecified word classified as a “noun”, “verb”, “adjective”... Where the actual semantical objects are given by a concrete example of a given word of that type: car, view, pretty... Or in the case of programming we might have a “type” and its “terms” as syntactical objects, and concrete examples such as the “integer type” and the integer number “5” as its semantic objects.

This dichotomy between syntax and semantics of a language can be extended to many other types of languages besides words, such as mathematical objects, or even to “magic”. An example of this in the case of magic is the “hex casting” mod for Minecraft, where every “hex” is a spell and a program, and players can arbitrarily compose hexes one after the other to obtain different “magical effects” in-game.

Defining a hard magic system as a language with a defined syntax, would be a great way to define a universal language for magic that can accommodate inside of it any arbitrary spell or magic-type. Instead of every world having their own separate set of magical rules and spells that contradict or don’t relate with other magical systems, they could all be unified into one meta-magical system with an appropriate or approximate translation, at least as a shared minimal foundation/core.

The “hex casting” mod is a great example of this, specially for videogames, where every potential spell is a mini-program, and more complicated spells can be created by running several of these spells/programs one after the other to simulate a different or more complicated spells (I urge you to look up some examples of this).

The issue is that although technically great, this type of system doesn’t describe at this level interesting ways to relate the different types of magic and spells in ways we’re used to seeing in fantasy, its great as a technical “assembly language” of sorts for magic that computers can understand and great for stimulating magic in a videogame, but higher level relations such as “fire spell” should counter “ice spell” are missing.

Every hex/spell looks the same as a syntactical object, every hex or spell is a program, or a string of programs, there’s only one flavor of magic, it’s like a programming language with only one type, the hex.

I believe color-magic would be a much more natural choice for the syntactical objects of a higher-level universal language for magic than simply a hex. This is just a higher level of abstraction distinction, since you could encode a “color-magic” system as a series of hexes as well, in the same way that a programming language with words, types, expressions... is a higher level of abstraction that translates those ultimately into binary (1s and 0s).

So our magical hexes/programs behave right now more like 1s and 0s than a human understandable programming language. Hence why what players ultimately interface with would benefit from looking more like a human readable language than a bunch of 1s and 0s in this analogy. And I think color is a great candidate for this particular use case where we want to use a diverse set of building blocks from which we can build out more complex magical systems. Every color is potentially a color-magic and syntactic object, and one or more magic-types can be related to each color.

Enter the Color Arcana Project

The Color Arcana project which you can check out here: https://www.color-arcana.com is precisely that, an attempt at a universal syntax for magic, that uses color-magic as its syntactic objects or building blocks. Each color-magic has an unchanging and predefined set of behaviors and properties (very elemental-like) on how it affects the world and any entities living inside of it, for example, orange-magic is related to heat and increases the temperature of anything it comes into contact with, can cause burning (a new state for objects or status effect for players), etc.

However, color-magic is still not fully defined all the way down to the spell level, a magic-type under this system is defined then as a particular “shape” for a color-magic, so “fire-magic” is a particular shape for orange-magic, but “lava-magic” is a different shape and magic-type, still for orange-magic, since they can both increase the temperature of things and burn them. So every color-magic can have an almost infinite amount of different shapes or represent different magic-types as long as it shares the same properties and behaviors (in the case of orange-magic being related to heat and heat damage).

We can use color-magic then as the syntactic objects of our universal language, and magic-types or spells from particular magic-types as our semantic objects. Just as there can be infinite examples of semantic interpretations for a noun, there can be infinite examples of magic-types and spell interpretations for a single color-magic.

However, the syntactical rules of a language apply mostly to syntactical objects not semantic ones. There are strict rules on how to pair nouns with verbs, but there’s no such rule saying the letter c can’t go after the letter a in a word. There might be additional rules or conventions for phonetic or other reasons for letters inside a word, but they don’t generalize as much.

In the same vein, we want to define the rules of our magic-system at the syntactic level not the sematic one, this is to say, at the color-magic level rather than the magic-type or spell level. This allows defining relationships between color-magics such as for example cyan-magic being the “opposite dual” of orange magic. Where an example of a shape or magic-type for cyan-magic could be ice-magic, giving us a natural explanation to the typical opposing nature of fire vs ice seen in fantasy and other places now via color-magic (orange vs cyan). All magic-types of a given color-magic have to inherit this same relation with all the other magic-types of the opposing color though.

Connecting the dots

All we have to do then to connect and relate different magic systems is to map its different magic-types to a specific color-magic, and it will automatically inherit all the relationships that are defined for that particular color-magic, in relation to all other color-magics and magic-types under those. Now our new color-based magic system can scale as much as we want, without having to change any of the syntactic rules. The hard part becomes then choosing the most optimal choice of color-magic for any particular magic-type and spell.

We can even include a neutral or grey color-magic to accommodate magic-types and spells we don’t want to have any additional effects over enemies or the environment (states and status effects), or inherit any of the predefined relationships with other color-magics and magic-types. A catch-all or default assignment of color-magic, the one with no “color effects”.

In the Color Arcana specifically, the main relationship between color-magics is that of duality of opposites, meaning, every color-magic comes with an opposing color-magic partner. There are many game-like mechanics that depend on this pairing so ideally there should always be an even number of color-magics, each with its own unique opposing dual, the orange-cyan pairing is one such example.

Magical Interoperability

The Color-Arcana specifically only defines 10 main color-magics or 5 dual pairs (plus the catch-all grey-magic), the reason for this is that it was designed to favor potential interoperability with other games or worlds built on this same framework. Only these 10 color-magics are what we expect to be the same across different games or worlds inside this universe, each world or game can add additional color-magic pairings, perhaps with each additional pairing being different or incompatible with other worlds, but still with the main 10 color-magics as its shared core magic-system, always remaining the same and unchanged across this entire universe of different worlds and games.

This can be great for building a universe of different worlds, each unique, but still with a common magical foundation that new players coming from other places already know and understand from the beginning. One of the best suited use cases for this will potentially be the Metaverse. Color-magic could act as the universal syntax for a Metaverse-wide magic system, that still resembles closely through its relations already popular magic systems and mechanics in fantasy.

Final Remarks

For these and many other reasons I’m obsessed with color-magic, I believe entire worlds and their mechanics can be built and explained based on color-magic, we already have prominent examples of games leveraging color in relation to magic such as Magic: The Gathering with its 5 colors, or Elden Ring (much less obviously stated in-game unfortunately, but undeniably there). However, none of these games was designed specifically to act as a universal language for magic or other fantasy tropes and themes beyond their own particular game and needs.

The Color Arcana project does precisely that however. It defines a foundation that can work for a myriad of different potential fantasy worlds, fantasy tropes, and game mechanics, effectively acting as a minimal worldbuilding magical-kit for any potential fantasy world, one that allows to later connect it to other completely different fantasy worlds through this shared color-magic system. It’s much less biased towards any particular system or IP, and I’ve even released all of it fully into the public domain with a Creative Commons zero (CC0) license, so anyone can leverage and make use of it.

If you want to learn more about the Color Arcana project, you can check out a 30+ pages pdf describing all the lore and implications of this magic system in detail at the following website: https://www.color-arcana.com

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Refer to your manual if you've shot any misidentified local wildlife.

I honestly got pretty lazy for the name, and just went to Google Translator. The name roughly translates to "The Predatory Falcon And Owl" or smth like that, sorry😅

Besides that, the photo was bashed together, no ai used. I hate ai, dw.

Besides that, any general advice for how to make the species better? This "page" of them is honestly just a rough, starter draft of them, not the full thing, so I'm up to suggestions! It's not my first time making a fictional species, but it's my first time making a fictional bird species.

Hello everybody! I've recently started writing stories in a new Weird West fantasy setting that is loosely based on Earth circa the 1800s (plus elves, vampires, dinosaurs, oh my!).

Since I am writing a story that is a western (even if not set on earth) I thought it would be important to portray any Native American characters and cultures I choose to write about thoughtfully and respectfully. Obviously, there is no such thing as a single unified Native American monolith, no more than there is a single generic "Asian" culture, so I have decided to add multiple cultures based on multiple different nations. That in mind, I've thought about making a main character's culture based on those of the American Southwest, specifically the Hopi.

Given I've picked a specific culture to research/base this off, I have went ahead and tried to find some specific sources to learn about them. I found a book titled "Becoming Hopi: A History" which is a detailed overview of their history, as well as "Sun Chief: The Autobiography of a Hopi Indian", the latter being a firsthand account. (From what I've read, some anthropologists question if the Hopi man the book interviews intentionally played up the more esoteric parts of his culture, as he thought that would be the most interesting bits for a white audience, so I'll approach it with a grain of salt.) Websites like the Arizona State Museum are also useful resources for getting pictures of things like pottery and garments.

So, as I start to build out this fictional culture, what are some best practices I should be aware of? My main three questions are:

1. How do I distinguish poorly done cultural appropriation vs. cultural inspiration? I'd like to produce a distinct and unique fictional culture as opposed to just adding a real life culture with the serial numbers filed off.

2. How much should I add/invent myself vs. preserve from the original culture? Things like Kachina dolls and private religious practices not meant for outsiders are things I should be very cautious about taking inspiration from. I also likely shouldn't directly borrow terms and reproduce religious symbols 1 to 1. However, things like gender roles (such as men weaving textiles) and household structures, such as matrilineal inheritance and entire extended families living under one roof, are things I would like to include and be inspired by, provided I understand the context behind why these structures developed. How should I approach incorporating these elements in a story?

3. And final question: Do y'all have any other reliable sources you can point me to? If you do, I'd love to hear about them!

I have no idea where to start. I like sci-fi, horror and fantasy, but Im pretty sure these genres class and I cant figure out how to make it work. I feel like whatever I do, my world building is too stereotypical or just seems to copy something that already exists.

I really need help, I would appreciate if anyone has advice, thanks in advance!

Title. Basically, I’ve been given the opportunity to add a religion and/or god to my friend’s D&D world, but this is a world where gods are a very normal thing people have interacted with, so people know for a fact that gods exist. I’m wondering if religion would form or be fundamentally different from usual religions if people know that gods exist and it’s not just theoretical.

Angel moths

Hatched from the black mush that fills the bones of an extinct All Mother, these cosmic moths spends the majority of their lives among the remains of an ancient being.

They weren't always here. The mush came first, originating from the universe which eventually dumped it into the middle of nowhere, luckily near the remains of an All Mother. It settled there, and slowly made a home out of the dead creator's enormous body.

Their lives begin simple, inside its hollow bones. The mush flows through them, remaining moist as it slowly spreads through the empty cavities. Eventually, some of it finds a crack in the bone and begins to ooze out. The exposed mush hardens, and from it, a larva eventually hatches.

The larvae are chunky, pure-white creatures with soft, slightly translucent skin. The black sludge faintly visible as it flows through their bodies. They have no eyes, and their mouths are little more than tiny, clear, round pincers, that can dig through bone if given time.

Their bodies are smooth, soft, and oddly warm to the touch. The smallest larvae dwarfs our Sun, yet against the sheer vastness of their decaying home, they appear microscopic.

Their enormous bodies require a tremendous amount of food. Unfortunately, the wasteland they call home produces very little. To compensate, the moths adapted to a lifestyle of casual cannibalism.

The larvae skitter about, eating the hardened mush, the larger larvae hunt the smaller ones, while the young flyers prey on the larger ones. Desperate larvae might try to bite through the bones to get to the moist mush, but most times that usually ends with them falling inside and slowly dissolving.

It might be hard to believe that a species with trillions upon trillions of individuals would so commonly starve, but it's good to remember the absurd size of their home. Encounters are few and far between, and when two do cross paths, the meeting is almost always violent.

Once a Larvae reaches its “teens” it's warm, moist body melts into a plie of slop. These piles are easy pickings for any larvae that might come by but if it manages to survive it's reform into a young flyer. It’ll sprout its angelic wings, it's body covered in thick puffed white fur, two sets of eyes filled galaxies, and eventually it’ll begin to glow.

That young glowing ball of light hunts for awhile, stockpiling on food before it eventually becomes to big to eat and it's mouth slowly smooths over.

Unable to do much else, a fully grown angel moth will venture deeper into the Nowhere. They don't do much more after that. One might fly over a civilization or something, its beautiful light snapping their minds like a twig and granting them true, unfiltered happiness for a while, until it eventually leaves and the population simply stops moving and collapses.

Eventually, it'll starve to death, melt into mush, and harden, hatching a new generation of larvae. But chances are, it'll die in the middle of nowhere, and those larvae will, of course, starve.

Bare Mercury is the name of my world. It is a transparent substance that looks like water, but it is actually a poison with a deceptively pleasant taste. The main character constantly struggles to achieve his goal, yet he refuses to give up on his dream, even if pursuing it ultimately leads to his death.

To sail west and discover lands that everyone has forgotten.

Context

Hi, y'all! Project KARYA is a sci-fintasy setting in the works, focusing mostly on the titular planet, Karya. On this planet, many organisms exist that have no modern equivalents on Earth; and yet, every single one possesses an ancestor that can be found in our very own fossil record! Many of the organisms in Project KARYA are directly inspired by creatures and monsters found in mythoi, folklore, and generic fantasy stories; many more are of my own original conception.

I wanted to thus give you kind people the opportunity to ask any questions you may have about these beings! Over 400 have been completely named and/or described so far, so there's certainly something for everyone in this setting :3

Slides

1. Two different species of marshstriders (genus Longirostrum): a southern marshstrider (left) and a northern marshstrider (right); art made by u/OutrageousLock7443
2. An immature dwarf gryphon (Pennaleo minimus) attempts and fails to bring down a fully-grown western hippogryph (Ornithohippo occidentalis), earning a mortal wound in the process.
3. An individual fur-trout (Nothotrichicthys) swims underneath the frozen surface of the Great Polar Sea.
4. A zuiyomaru (Bradysarcos troglodytes) pauses for a moment to bask in unfamiliar sunshine that is cast down through a recently opened entrance into its subterranean world.
5. Flecked salmon squid (Salmoteuthis gigas) have begun the final stretch of their annual and terminal journey to their spawning grounds upstream.
6. A lesser dragon (Eudraco prosapiens) attempts to cease a conflict against dragonhunters without bringing them harm.
7. A size chart of the various genera in the clade Archamphibia.
8. A size chart of the various genera in the clade Aquavenatoregidae.
9. A size chart of the various genera in the clade Avilacertidae.
10. A size chart of the various genera in the clade Caelotyrannidae.
11. A size chart of the various genera in the clade Carnopilidae.
12. A size chart of the various genera in the clade Cermamorphidae.
13. A size chart of the various genera in the clade Osteoteuthidae.

Recently, I was checking through Yokai.com, a Japanese folklore database about yokai, looking for inspiration but then I read about many nonsensical spirits like Betobetosan or Shirime... and I really like them.

Along history, humans have created and imagined countless creatures, monsters and gods to explain inexplicable stuff or the unknown. So I'm curious, what's a stupid creature of your world's culture/myths/legends?

In my fantasy setting, there is this monster called Rolet that looks like a blue ball with 8 tentacles made of feathers and its only purpose is to make you either sneeze or catch a cold. They only appear at night when people are asleep.