Hello!

I have an important question: I have been making some pretty large universe bots and series. There is one more spot in my pack for another universe. I currently have:

Completed lorebook universes for future installments:

• Warhammer 40k (Non-OC universe/ sci-fi grimdark) [And I knowwwwwww. I knowwwwwwww. I know. 🥹. Writing Warhammer 40k right now with all the lore changes is cancer. Gonna let it die down a bit lol. The bots are coming. I just don't want to put out a bot and then the Big E finally comes back and they get off the pot. Or something.]

• Mistwood (OC universe/ fantasy/actionadventure/magic)

• The Station (OC universe/ horror/eldrich/Stephen King)

WIP lorebook universes:

• Zombie apocalypse universe. Do not know the setting but I am leaning towards a more 'fallout' vibe with mixed in cyberpunk. So, probably going to steal things from the golden path bots and put them in there. This will be a OC universe as well. So cyberpunk with fallout vibes; no night city but desperate factions and gangs and settlements, and zams. How cool is that?

So... Here is my idea:

I am going to just show you the universes I am interested in creating and let you decide. I can give a short blurb about the universes if you are unfamiliar and give 1 - 2 youtube videos that you can click if you don't want to read or you want to just experience it and not research it. So I will make this as easy as possible for you all. And I hope it works!

And I checked TOS. If this is not allowed please let me know. This is not to distribute media or do content wars or any other thing I saw in the TOS. This is to just help people establish the tone of the stories so they can have a more informed decision when making the choice for the universe. Instead of saying 'Hey, look up such and such universe', why not have the info right here?

So, for the options for the last universe that I will be creating for for the time being and will start making the lorebooks for and will start putting out bots for that universe are; and in no particular order:

BATTLETECH

BattleTech is a gritty military science-fiction universe where humanity has spread across thousands of star systems—and then spent centuries fighting over them with gigantic humanoid war machines called BattleMechs.

Once, much of humanity was united under the Star League, a powerful interstellar civilization whose technology and influence stretched across human space.

Then it collapsed.

What followed was centuries of warfare between enormous feudal empires known as the Great Houses, each claiming the right to rule. Noble families command entire planets, mercenary companies sell armies to the highest bidder, ancient grudges can start interstellar wars, and hundred-ton BattleMechs are inherited, salvaged, repaired, stolen, and passed down through generations.

By 3025, the setting is explicitly one of near-perpetual war between noble houses using these enormous machines.

Basically: Game of Thrones with giant robots.

Major Eras / Conflicts

The Succession Wars

After the collapse of the Star League, five Great Houses claim the right to inherit its throne.

Nobody agrees.

Naturally, humanity spends the next few centuries settling the dispute in the most reasonable way possible: interstellar warfare.

Repeated wars devastate planets, destroy infrastructure, and cause enormous amounts of advanced technology to become rare or completely lost.

By the later Succession Wars, many BattleMechs are ancient machines kept operational through salvage, improvisation, and whatever replacement parts somebody can find.

The Clan Invasion

Centuries earlier, the surviving military of the fallen Star League vanished beyond known space.

Their descendants eventually return.

They have become the Clans—a radically different warrior civilization built around military castes, ritualized combat, genetic breeding programs, and an obsessive belief that they are the rightful heirs of the Star League.

Their BattleMechs and weapons are substantially more advanced than much of what the Inner Sphere possesses.

Then they invade.

Suddenly, people who have spent centuries fighting each other have a considerably larger problem.

The Jihad

Later, a fanatical religious splinter faction called the Word of Blake launches one of the most devastating wars in BattleTech history.

The Word of Blake grew out of a schism within ComStar and eventually unleashes military forces, terrorism, and weapons of mass destruction across the Inner Sphere. A coalition of forces ultimately forms to defeat them.

Because apparently several centuries of ordinary giant-robot warfare weren't sufficiently catastrophic.

The Tone

BattleTech isn't really about shiny futuristic technology.

It's about people fighting inside machines that happen to weigh a hundred tons.

Noble families trying to preserve dynasties. Mercenaries wondering whether their employer is going to pay them—or shoot them. Soldiers inheriting BattleMechs that belonged to their grandparents. Political marriages. Civil wars. Betrayals. Military disasters. Ancient grudges. People desperately trying to keep machines older than they are running because that machine might be the only thing standing between their home and an invading army.

There are heroes. There are monsters. Most people are somewhere inconveniently in between.

And behind all of it are enormous walking war machines carrying enough weaponry to turn several city blocks into a historical footnote.

The first video is the official intro cinematic for the 2018 BATTLETECH game and probably the quickest introduction to the history and overall feeling of the setting: [Video]

The videos below are modern cinematics from MechWarrior 5: Clans. If you don’t want to read a bunch of BattleTech lore, these probably do the best job showing the tone I’d be writing: military drama, massive wars, political and ideological conflict, and giant fucking robots.

[Battle of Luthien — Video]

[Clan leadership / Leo Showers — Video]

(P.S. I am such a baby for angst that I cried when she said, “If you see my father, tell him I made him proud.” Yep. Can't escape the angst around here. And that line just sinks in once you know her relationship with her father was strained. She isn’t saying “tell him I died bravely.” It’s “tell him I finally became someone he could be proud of.”

Then she proceeds to change the course of the entire Clan Invasion.

Tyra didn't stop the Clan Invasion herself.

She bought the Inner Sphere time.

Her death forced the Clans to halt their advance and return home to choose a new ilKhan. That delay became the Year of Peace—roughly a year in which the Inner Sphere could recover, study the enemy that had been tearing through them, share intelligence, rebuild, and prepare.

The Clans eventually returned. And two years after Tyra's death, they reached Tukayyid.

[The Battle of Tukayyid]

The Inner Sphere is waiting.

Tyra dies having no idea what she just accomplished. Her own people memorialize her, and even the Clans—her enemies—immortalize her courage in The Remembrance.

Her story becomes one of holding fast when everything says you should lose. Defiance. Resilience. Finding victory inside what should have been certain defeat.

Something to be proud of.

So, uh.

Yeah, Dad. She did okay.)

That is the power of universes and stories.

And why I love writing and talking about them.

Star Wars OR Star Trek

Idk if I have to really introduce these universes. They are solid. The only caveat... these are massive universes. Like MASSIVE. So it is probably going to take me a long time to get everything together. And... then I am going to have to decide WHICH universe I am going to write in. Because they retcon EVERYTHING and change things around. That is why I am so apprehensive writing for this universe. Like 'the force' changes like every week. I can't keep track of it anymore. And I don't know what they are doing with my characters in Star Trek. Good lord. I am not against the diversity thing, but the stories! What!? Character continuity? Lazy writing? It would be hard to write in either universe past J.J.'s era. Like maybe that is what happens when you expand your universes? They get watered down? But holy crap... We have to do better.

I digress.

---

The link is a video to show the 'tone' of the stories I will be probably writing in both. Action and adventure and drama and angst.

Btw, just a sidenote as this clip reminded me: I wish men were written like this more often. I love male characters, and this scene shows something I really love about writing them—not because “men are supposed to die for everyone,” but because George is allowed to be scared, loving, competent, protective, and completely devoted to his family at the same time. In those few minutes, he becomes the person his family needs him to be. This is stoicism.

And I cried the first time I watched it. Because I watched my step brother do that for me everyday. Some men failed me but some kept me upright.

That’s the kind of dignity I want the men in my bots to have. They can struggle. They can break down. They can be traumatized, make mistakes, need help, and absolutely not have their shit together. But I’m never interested in writing men as pathetic caricatures or treating their vulnerability like it makes them lesser.

Honestly, now I feel bad that I put my Man-Up series on hold, because that was kind of the whole point of it: showing both the struggles and the best in men.

Clip of Star Trek 2009 at the timestamp where I think is the closest to the tone in the universe. I am an angst creator first and foremost lol.

[Opening scene of Star Trek: 2009 on Youtube]

(Linked to timestamped spot. If you want full context, the clip starts further back. If you haven't watched the movie, you should! Just... don't pirate it. Pirating is bad. Don't do it. Piracy is the illegal copying, sharing, or selling of protected work. This act hurts creators and breaks the law. Unauthorized distribution violates global intellectual property standards and copyright laws.)

(Brought to you by 🚓.)

One more Star Trek video, but this one is personal.

My stepbrother was the person who got me into Star Trek. And every once in a while I stumble across something from Trek that immediately makes me think of him again.

This is one of those things.

And I think this video captures what I have always loved about Star Trek better than almost anything else. “We are all explorers, driven to know what’s over the horizon.” But Trek was never really just about the horizon. It wasn't the aliens, the starships, the phasers, or whatever strange thing was waiting beyond the next star.

It was always about the people.

Star Trek could spend an entire episode asking what it actually means to be human. Data spent years trying to understand a humanity everyone else took for granted. The Doctor began as a program designed to perform a function and slowly became a person who wanted dignity, relationships, art, freedom, and the right to define himself. Again and again, Trek would use aliens, androids, holograms, war, diplomacy, and the impossible to turn the question back around on us:

Who are we? And who are we trying to become?

Even its captains answered that differently.

Kirk brought human grit—the willingness to leap into the unknown, trust his people, take the impossible risk, and somehow find a way through. Picard brought wisdom and principle: the belief that restraint could require more courage than violence and that humanity's greatest victories might come from becoming better than we were. Sisko brought responsibility, compromise, fatherhood, faith, anger, and the uncomfortable reality that sometimes leadership means carrying decisions that will never leave you. Janeway brought endurance: holding onto identity, purpose, and the people depending on you when home is impossibly far away. Archer brought humanity at its youngest—impatient, curious, occasionally reckless, reaching into a universe it barely understood and slowly learning how to stand beside civilizations older than itself.

Human grit gave way to human wisdom. Impulsiveness became patience. Exploration became understanding.

And then another generation took the chair.

That is Star Trek to me.

It is generational. The ships change. The uniforms change. The captains change. Humanity changes. But the question keeps getting passed forward. The tribute says that the greatest discoveries are not necessarily waiting beyond the next star. They are within us, in the things that bind us to one another. “The final frontier begins in this hall.”

And maybe that is why this video gets me.

Because Star Trek is the story of humanity reaching outward while constantly being forced to look inward. It wraps this enormous hopeful future around thousands of tiny, deeply personal stories about friendship, grief, love, prejudice, sacrifice, curiosity, failure, family, death, and what we owe to each other.

My stepbrother gave me this universe. He isn't here anymore. But sometimes I watch something like this, and for a few minutes I remember what it felt like to discover it with him. And I think that is part of what stories do.

They outlive moments. Sometimes they even carry people with them.

[Explorers — Star Trek 50th Anniversary Tribute]

Firefly Universe

(NO DANGER OF THE LORE CHANGING HERE!)

🥹

Firefly is a space western about the crew of a beat-up cargo ship scraping by on the fringes of a solar system ruled by an authoritarian superpower. They take smuggling jobs, robberies, and whatever other questionable work keeps the ship flying—until they unknowingly take aboard a fugitive girl whose secrets make them targets of the government.

---

Major factions

• The Alliance — The dominant central government. Wealthy, technologically advanced, authoritarian, and strongest in the Core worlds.

• The Independents / Browncoats — The losing side of the Unification War. Mostly outer-world people who resisted Alliance rule.

• Reavers — Horrifically violent raiders living beyond civilized space. Feared almost like monsters.

• Blue Sun Corporation — A massive, shadowy megacorporation with apparent ties to government experiments and intelligence work.

• Criminal syndicates / local warlords — The outer planets are full of gangs, crime bosses, smugglers, and semi-feudal powers because Alliance control gets weaker farther from the Core.

Major events

• Humanity leaves Earth-That-Was — Earth becomes uninhabitable/unsustainable, and humanity colonizes a new star system.

• Terraforming and colonization — Dozens of planets and moons are settled; the wealthy Core becomes highly developed while frontier worlds remain poor and rough.

• The Unification War — The Alliance tries to bring all settled worlds under one government. The Independents resist.

• Battle of Serenity Valley — The decisive Browncoat defeat. Malcolm Reynolds fought there; he later names his ship Serenity after it.

• Alliance victory — The Independents surrender, leaving a lot of veterans bitter and politically displaced.

• The Miranda experiment — The Alliance secretly tests a behavioral chemical on the population of Miranda. Most people become completely passive and die; a small percentage become violently aggressive, creating the Reavers.

• River Tam experiments — The Alliance conducts secret neurological experiments on gifted children, including River, which becomes one of the central plot threads.

[Firefly Opening]

SID MEIER'S ALPHA CENTAURI

Earth is dying.

War, famine, disease, and political collapse have pushed humanity toward extinction. The United Nations launches the U.N.S. Unity, carrying thousands of colonists on a one-way mission to settle Chiron—a habitable world orbiting Alpha Centauri and humanity's best chance to begin again.

Except humanity brings its problems with it.

Shortly before reaching their new home, the Unity suffers a catastrophic malfunction. Communications with Earth are lost, the mission falls into chaos, and its survivors fracture into seven factions—not based on nationality, but on fundamentally different beliefs about what human civilization should become.

They descend separately onto the alien world they simply call Planet.

And then they start building their versions of paradise.

Some believe humanity must live in harmony with nature. Some believe science should have no limits. Some want democracy and human rights. Others want capitalism, military strength, religious faith, or absolute collective order.

Unfortunately, Planet has ideas of its own.

Its alien ecosystem is interconnected in ways humanity does not initially understand. Vast fields of xenofungus cover its surface, while terrifying psychic parasites called mind worms attack humans by overwhelming them with their worst fears before burrowing into their bodies. The more humanity reshapes and exploits Planet, the more violently its ecology can respond.

What begins as a story about surviving an alien world gradually becomes a story about whether humanity deserves another chance—and what humanity is willing to become in order to survive.

---

Major Factions

• Gaia's Stepdaughters — Lady Deirdre Skye
  Environmentalists who believe humanity must adapt to Planet rather than conquer it. They seek coexistence with the native ecology and eventually learn to control its lifeforms.

• The Human Hive — Chairman Sheng-Ji Yang
  An authoritarian collectivist society where individual liberty is subordinate to survival, stability, and the state.

• The University of Planet — Academician Prokhor Zakharov
  Scientists devoted to research and unrestricted knowledge—even when ethical considerations get inconvenient.

• Morgan Industries — CEO Nwabudike Morgan
  An ultra-capitalist corporate society built around private enterprise, wealth, commerce, and laissez-faire economics.

• The Spartan Federation — Colonel Corazon Santiago
  Armed survivalists who believe humanity's previous civilization collapsed because people became weak, complacent, and unable to defend themselves.

• The Lord's Believers — Sister Miriam Godwinson
  A deeply religious society suspicious of secular science and convinced humanity's new beginning must have a spiritual foundation.

• The Peacekeeping Forces — Commissioner Pravin Lal
  The ideological heirs of the United Nations, dedicated to humanitarianism, diplomacy, international law, and preserving democratic government.

• ---

Major Plot Points

• The Death of Earth
  Humanity launches the Unity because civilization on Earth is collapsing under war, famine, disease, and instability.

• The Unity Disaster
  A reactor malfunction damages the colony ship, wakes its passengers early, destroys communication with Earth, and helps plunge the expedition into political chaos.

• Planetfall
  The mission fractures into ideological factions, each attempting to build its own civilization on Chiron.

• The Ideological Wars
  The factions compete, cooperate, betray each other, and go to war over fundamentally incompatible visions of humanity's future.

• The Native Life Crisis
  Humanity encounters xenofungus, mind worms, and an ecosystem whose different species appear to function as parts of an enormous interconnected system. Human ecological destruction can provoke fungal eruptions and attacks by native life.

• The Mystery of Planet
  Evidence increasingly suggests Planet's ecosystem is far more than a collection of alien plants and animals; the game's own ecological material describes a planet-wide symbiotic network sophisticated enough to suggest conscious intent.

• Transcendence
  By the end of humanity's technological development, the struggle is no longer merely about who controls Planet. The factions can pursue the Voice of Planet and ultimately the Ascent to Transcendence, which the game explicitly describes as ending the “Human Era.”

Basically: Civilization, but every civilization is an ideological cult, the planet is alive and hates littering, the worms can read your mind and know if you littered or not and eat you, and eventually the philosophical debate gets existential. So deep exploration of philosophy, psychology, political mechanisms, and deep stuff. And action. And drama. And angst. Yep.

Okay. The game came out in 1999. My step-brother played it back in the day and I used to watch him play it. I have never played the game, but I have read the universe and tech things and understand it deeply. I love the setting and the characters (leaders). Please do not judge me by the graphics. 😭

This is a fan-made movie trailer that modernizes the setting and gives a much better idea of the tone I’d be writing. If you really want to go see the very dated cinematics, and there are many, you can: [Video]

OC OPTIONS

Here is what I have in my notes for universe I was interested in making before:

THE LAST AGE

(PREQUEL OUT NOW: Click Me)

The Last Age is an original grimdark superhero universe set after the golden age of superheroes has already come and gone.

Superheroes still exist, but the idea of the hero has mostly died.

The world has spent decades watching heroic teams rise, collapse, become corrupted, disappear, or die in increasingly catastrophic ways. Now most powered people are treated as government assets, corporate contractors, vigilantes, celebrities, mercenaries, criminals, or walking weapons.

Pure heroism is considered old-fashioned.

Maybe even naive.

The problem is that the world still desperately needs it.

Major Eras

The Wonderful Seven — For nine years, they were the superhero team. The golden children of their generation. They stopped wars, prevented disasters, and saved humanity more times than anyone could count. Then something came from space. The Seven went to stop it. Only five came back. The threat disappeared, but nobody really knows what happened during the mission. The surviving members slowly fractured afterward. Two had been married and divorced. Others withdrew completely from public life.

Eventually, the Wonderful Seven simply stopped being a team.

The Golden League — The next generation of heroes grew up in a world where superheroes were already celebrities. Sponsorships. Social media. Trending pages. Brand deals. Livestreams. Rivalries. Heroism became entertainment.

It ended badly.

One member was murdered. Two were imprisoned after being exposed as part of a major drug trafficking network. Another attempted to fly into space without a spacesuit for a livestream. He never came back.

Yes.

He is presumably still up there.

Fucking idiot.

The Four Towers — Four extraordinarily powerful heroes who dealt with magic, dimensional travel, time manipulation, and forces most people barely understood. Eventually they discovered something beyond their reality. They called it a Devil.

All four entered a portal intending to destroy it.

None returned.

The Red Wave — Months later, the portal reopened.

Hordes of demonic and extradimensional creatures poured through it, beginning the worst disaster in modern history. Retired heroes returned. Disgraced heroes returned. Vigilantes showed up. People who barely knew what they were doing showed up. Most of them died. But eventually the portal was closed and the Red Wave was stopped.

Humanity survived. The age of heroes did not.

The World Now

Years have passed since the Red Wave.

Superpowers are still common enough that governments, corporations, criminals, and military organizations have learned how to use them.

But nobody really agrees on what a superhero is supposed to be anymore.

A person with powers might become:

• A government-controlled metahuman operative

• A corporate-sponsored hero

• A vigilante

• A mercenary

• A celebrity

• A criminal

• A revolutionary

• A member of law enforcement

• Or just somebody desperately trying to live a normal life

Villains are not automatically insane monsters who want to blow up the planet.

Some are revolutionaries.

Some are former heroes.

Some are fighting corrupt governments or corporations.

Some genuinely believe they are making the world better.

And some really are just horrifying people who happen to have superpowers.

Morality in this universe is complicated.

The Tone

Think Logan, fallen superhero teams, aging legends, ruined headquarters, broken statues, forgotten sidekicks, metahuman prisons, government black sites, corporate hero programs, old conspiracies, failed protégés, and people living in the shadow of heroes who once seemed larger than life.

This is not a universe where superheroes were secretly terrible all along. Some of them really were heroes. The world remembers what heroism looked like. It remembers the people who died proving it was real. But somewhere along the way, society stopped believing anyone could live up to it anymore. And there are many people that reinforce that belief.

So the central question of the universe is pretty simple: What does it mean to become a hero in a world that thinks heroes are dead?

So:

Let me know!

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