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I finally finished this outline so how I start my rewrite!!

Also not Me staring at the Sumayl part like it's the Asha Fragments:

Villain: Madoc Marhand, He who  Bled the World

“ I did only what was in my power to save the innocents in my care, the gods have deemed that I shall never be forgiven for the sin of my compassion

Remember that, hero, next time they call your name.”

Once a mage in service to the crown of a besieged kingdom, Madoc ripped out his soul and unleashed an army of demons in the hopes of saving his home. For this selfless blasphemy he was damned by the gods and imprisoned within a fortress high in the mountains, unable to die or pass on and forced to endure over a century of frigid agony.

Things have changed however: a new evil has broken the locks on Madoc’s cage, and promised the wizard revenge against the gods in exchange for the creation of a new army, an army that will descend from the peaks to raze villages and temples as they carry out the old man’s spite.

Adventure Hooks:

The party are likely to hear about Madoc long before actually encouring him, as the infamy of his crimes lives on in sorrowful songs and the many memorials to the causalities of those he summoned. Stragglers from this fiendish warband are likely lingering in dark places of the world, occupying ruined fortresses and other defensible locations as they protect the spoils they reaved during their hayday. These locales are heavily fortified, and frequently bear murals of some storm-laden hell that the fiends see in their dreams.

Blood shed in violence is the medium by which Marhand summons his fiends, working rites over a cursed cauldron bubbling with cruor to give shape to new warriors corresponding with the strength of the blood given. His own has long turned to dust, so he starts with animals and when one of his first models escapes the party are called to stop the rampage of a fiendish ram terrorizing the mountain’s foothills. The beast is said to  grow in size and strength each time it is killed, and is already the size of a cottage by the time the heroes face it. They must be careful in their hunt, lest they create a creature too great to contain. 

Few give heed to the mountain tribes, considering them savages and cattle thieves, so few will be paying attention when the folk of the peaks begin to circulate rumours that their people are disappearing, hunters and trailfinders being taken in the night. This is one of the only preludes to Madoc’s army rising once again, and the party might only hear about it in mawkish tavern talk or if they lend an ear to a shunned outlander.

Many of the principles that apply to magic systems also apply to worldbuilding more generally. Magic systems can typically be categorized as either soft or hard (or a hybrid). A hard magic system is one in which we know the capabilities of magic. We understand what it can and cannot do. This is also typically (though not necessarily) followed by an explanation of how the magic works. A soft magic system, on the other hand, is far more nebulous. We don't know exactly what the magic can and can't do. There are advantages and disadvantages to each system.

A hard magic system allows us to use magic to get characters out of problems. The hard magic can integrate directly with the plot and be used as a strategy to solve a character's problems. This is the foundation of Sanderson's 1st law of magic that "An author's ability to solve conflict with magic is directly proportional to how well the reader understands said magic." In other words, magic shouldn't be used to solve a character's problems unless we understand that the magic has the capability that the character will use to solve their problem. A character using an unknown capability can make the solution feel like a deus ex machina (i.e. a contrived solution with little satisfaction).

A soft magic system, on the other hand, allows us to lean into mystery and awe. With a soft magic system we don't know exactly what can and can't happen with magic. It's mysterious. It's magical. And while a soft magic system gives us a certain amount of awe, it doesn't come without a cost. We must generally refrain from using soft magic to get a character out of their problems. Stories with soft magic systems require characters to solve their problems using other methods.

These principles of hard and soft magic systems also apply more broadly to worldbuilding. The YouTube channel Hello Future Me draws a distinction between hard worldbuilding and soft worldbuilding. He says that hard worldbuilding is marked by concrete rules, consistency, transparency, and realism. He argues that soft worldbuilding, on the other hand, is marked by the unknown, flexible rules, imaginative involvement, and otherworldliness.

With hard worldbuilding, we create worlds with clear rules. They have clear explanations for what's allowed and what's not allowed. There's an explanation for how story world elements work and perhaps even why they exist. Middle-earth of The Lord of the Rings is a great example.

One of the challenges with this type of worldbuilding, however, is that it typically requires a great amount of exposition. What's allowed and not allowed must be explained. How things work and why they exist must be explained. And this fact is something that can weigh down stories with hard worldbuilding. If you're using hard worldbuilding to create your story world, consider having at least one character (perhaps even the main character) who's new to the world. This will allow more organic exposition as they learn about their new world.

With soft worldbuilding, on the other hand, we create worlds of mystery and the unknown. New elements can be introduced at any time. They don't necessarily need to be a critical element of the plot. And because of that, the world can feel enormous. It can feel like there's always more we don't know and thus that the world is mysterious and boundless. Possibilities are left to the imagination. Hello Future Me uses the example of Spirited Away and of Miyazaki's work more broadly.

In a soft world, there's no need to justify every story world element or how it's allowed. There's no need to explain because these story world elements aren't used to get characters out of problems. The world fits into the story rather than the story fitting into the world. These stories are typically driven by relationships and changing perspectives, rather than on rules and strategy that cleverly makes use of the world.

Of course, just like magic systems can be a mix of soft and hard magic, worldbuilding can be the same. We can include certain story world elements that are fully explained while leaving others to the imagination. Certain story elements can be critical to the story's plot while others are merely whimsical or awe-inspiring.

Video of how it was done below

First romantic interaction/ date

Note; she is one of my favs!

Prompts/req open

꒰⑅ᵕ༚ᵕ꒱˖♡ gn! reader fluff

Currently listenting to;

mars argo; runaway

0:58 ━━❍─────── 3:35

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⋆·˚ ༘ * 🔭 First Date

The first date was rather interesting to say at least. Xinyan wanted to be romantic so she invited you for a nice dinner in the restaurant. She even bought you flowers! But when she knocked on your door and you both were ready to go. The rain started to pour out of the sky, later following by a loud thunderstorm. And just like that, your date was ruined :(But don't worry tho! Xinyan took your hand and took you outside to the hard rain. Loudly laughing and dancing until both of you were completely wet. You gave her one of your clothes as you didn't want her to go back home in this cold weather.So as you both changed into warm clothes you ended up cooking by yourself. Then lighting candles and eating the food you made. The rain however didn't seem to stop so you just decided to make a sleepover.And like that you both fell asleep in each other arms, snuggling because even under the blankets you needed each other warmth.

Mother - Fallout 4 fan art by Joel Kilpatrick

“Inspired by Fallout 4. For anyone who hasn’t played any Fallout games, feral ghouls are humans who were horribly irradiated in the nuclear war.

The radiation caused their brains to deteriorate, they are violent and have no ability to reason. But sometimes after killing one, you might find that they were carrying with them a baby rattle or some keepsake from their lives before.I always wonder if they get glimpses of loved ones and memories from their old lives. And if they retain any part of themselves from before.