In older versions, the same seed value(s) produced identical worlds on every computer at any time (if other parameters were identical, too). In the current version, the seed values for the world itself and the names seem to produce the same result, but you will get changes in events which will result in a very different world history. It seems like the history is partly random and not completely connected to the seed. Keep this in mind if you want to regenerate a particular world.
The world painter tool allows you to paint features onto a map that is then used when generating a world. It is very difficult to use properly, and tends to result in endless rejected worlds, unless you loosen or remove the restrictions placed on biomes and civilizations in the advanced settings. That being said it is also a very powerful tool, and allows you to generate worlds more to your liking.
Parameter sets are stored in the data/init/world_gen.txt file, using world tokens. You can copy and paste other players' sets of parameters into your world_gen.txt to use their parameter sets, and some are provided at Pregenerated worlds. Another place to find parameter sets is the Worldgen cookbook thread on the official forums.
This will cause the world to be rejected if fewer than this many peaks (based on elevation) are present on the map. EG: elevations of 400 must be possible for mountain peaks to occur. If set to zero, then worlds will not be rejected based on number of peaks.
This will cause a world to be rejected unless there are at least this many oceans touching an edge of the map. If set to zero then worlds will not be rejected based on this criterion. Setting both this parameter and Minimum Complete Edge Oceans to values that total more than 4 when added together may cause all worlds to be rejected as you can't have both a partial and complete edge ocean on a given edge.
This will cause a world to be rejected unless there are at least this many oceans which completely cover an edge of the map. Since a square map only has 4 edges, the maximum value possible is 4. If set to zero then worlds will not be rejected based on this criterion but still might end up with complete edge oceans by chance.
Note that the ability for this many edge oceans to exist will be limited by elevation. Therefore, to actually create large oceans you will probably need to change things like the Elevation Mesh Size and Weighted Ranges to increase the number and distribution of very low elevation squares on the map. In addition, if Complete Edge Oceans is set to any value other than 0 or 4, you may need to lower elevation variance for at least one of the axes: if set too high, such as a variation of 1600 for both X and Y axes (the default for Large Island and Medium Island parameter sets), the game may generate worlds very slowly or even hang.Bug:565
This is for the same 8x8 embark region in a world which is otherwise the same, except for the mineral scarcity parameter (although most of the detailed information comes from experiments with previous versions).
These parameters simply filter out worlds that (for example) randomly fail to have enough high elevation squares to support a given number of mountains, etc. Some settings may cause worlds to always be rejected. For example, if for some reason the maximum elevation parameter is set to a value below what will support mountain biomes, it will be impossible to satisfy a non-zero requirement for mountain squares. The same principle goes for other conditions and biomes such as low elevations and oceans, etc.
These parameters often result in infinite world rejection problems. See World rejection for information on solving problems related to worlds always being rejected due to one or more of these parameters.
Increasing the value of this tag is often a must when generating "patchwork" worlds with lots of biome variance, but simply increasing it without increasing variance parameters will not guarantee more biomes.
These values will cause worlds to be rejected unless at least the given number of squares of the given type are randomly generated. Setting these values too high could result in worlds always being rejected if other parameters such as the maximum/minimums for elevation, etc., don't allow enough of those squares to get generated.
If you are having the common problem of the generated worlds always being rejected by the world generator, see Solving World Rejection Problems (v0.31 page) as it contains many detailed suggestions on how to troubleshoot and solve these issues.
Make sure to research thoroughly before settling on any attributes or characteristics for your characters. Even in the imagined worlds of fantasy and science fiction, harmful stereotypes can be perpetuated, especially when drawing on real-world cultures.
One of the earliest examples of a fictional world is Dante's Divine Comedy, with the BBC's Dante 2021 series describing it as "the first virtual reality".[16] The creation of literary fictional worlds was first examined by fantasy authors such as George MacDonald, J. R. R. Tolkien, Lord Dunsany, Dorothy L. Sayers, and C. S. Lewis.[8] William Morris would be the first person to create the entire world of his story.[17]
Tolkien addressed the issue in his essay On Fairy Stories, where he stated that the "Secondary World" or "Sub-Creation" (the constructed world) is substantially different from the art of play-writing: "Very little about trees as trees can be got into a play."[18] Constructed worlds may sometimes shift away from storytelling, narrative, characters and figures, and may explore "trees as trees" or aspects of the world in-and-of-themselves. Tolkien sought to make his constructed world seem real by paying careful attention to framing his world with narrators and versions of stories, like a real mythology.[19]
Later analysis of fantasy worlds in the 1960s contextualized them in the medium or the narrative of the works, offering an analysis of the stories in the world, but not the world itself. Media franchises are similar to constructed worlds but do not necessarily rely on them; for example a media franchise such as Star Wars has a constructed world, while The Beatles, as a franchise, does not. In the 2000s, worldbuilding in film has increased in popularity. When before, writers sought to create a character that could sustain multiple stories, now they create a world that can sustain multiple characters and stories.[8][page needed][example needed]
An uninhabited world can be useful for certain purposes, especially in science fiction, but the majority of constructed worlds have one or more sentient species. These species can have constructed cultures and constructed languages. Designers in hard science fiction may design flora and fauna towards the end of the worldbuilding process, thus creating lifeforms with environmental adaptations to scientifically novel situations.
Perhaps the most basic consideration of worldbuilding is to what degree a fictional world will be based on real-world physics compared to magic.[23] While magic is a more common element of fantasy settings, science fiction worlds can contain magic or technological equivalents of it. For example, the Biotics in the science fiction video game series Mass Effect have abilities, described scientifically in-game, which mirror those of mages in fantasy games. In the science fiction novel Midnight at the Well of Souls, magic exists, but is explained scientifically.
Some fictional worlds modify the real-world laws of physics; faster-than-light travel is a common factor in much science fiction. Worldbuilding may combine physics and magic, such as in the Dark Tower series and the Star Wars franchise. One subgenre of science fiction, mundane science fiction, calls for writers to depict only scientifically plausible technology; as such, fictional faster-than-light travel is not depicted in these works.
Constructed worlds often have cosmologies, both in the scientific and metaphysical senses of the word. Design of science fiction worlds, especially those with spacefaring societies, usually entails creation of a star system and planets. If the designer wishes to apply real-life principles of astronomy, they may develop detailed astronomical measures for the orbit of the world, and to define the physical characteristics of the other bodies in the same system; this establishes chronological parameters, such as the length of a day and the durations of seasons.[24] Some systems are intentionally bizarre. For Larry Niven's novels The Integral Trees and The Smoke Ring, Niven designed a "freefall" environment, a gas torus ring of habitable pressure, temperature, and composition, around a neutron star.
Fantasy worlds can also involve unique cosmologies. In Dungeons and Dragons, the physical world is referred to as the Prime Material Plane, but other planes of existence devoted to moral or elemental concepts are available for play, such as the Spelljammer setting, which provides an entirely novel fantasy astrophysical system. Some fantasy worlds feature religions. The Elder Scrolls series, for example, contains a variety of religions practiced by its world's various races. The world of the 2000 video game Summoner has a well-developed cosmology, including a creation myth.
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