Some little details about the other kingdoms that I love here
I know this is just how character design works but I love how distinct the silhouettes of the monarchies are
Itâs slightly cut off, but Zulberg was almost one of the Seven Kingdoms. In fact based on the character design it was almost Invgarr!! And because of this, now Iâm headcanoning that Zulberg is part of Ingvarr. Probably one of the more important cities, maybe their capital.
And also, I think they took out that crown on the lion of Ingvarrâs crest
And it looks like Equis was almost part of the Seven Kingdoms too!! Based on the character shapes it looks like it was switched out for Bayangor.
And because Bayangor was switched out for Equis, perhaps that means Trevor was almost in an interracial marriage which wouldâve been cool!
Also this means they added Bayangorâs crest in later too. Ehich means that crown is probably Equisâs crest
Galcrest used to be Snowlandia! Iâm a little glad they changed it tbh cause âSnowlandiaâ is a little too on the nose and uncreative
Itâs also interesting that Koto and Neserdnia didnât change at all during development. Or so it seems.
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Do you know what kinda cultures and stories inspired Ingvarr? Or any lore you can give us on it? (not in regards to vat7k, but the one seen a little in the show since i know there probably isnt a ton but its super instering to me<3)
According to Amanda Jolly, who did the character designs:
While I canât speak to whatever backstory our show may have given the fictional country of Ingvarr, I can say that the designs themselves were based on Persian/Iranian women. I collected lots of images of both modern Persian women and women in traditional Persian garb to influence the draping and details of their costuming. And then I pumped up the âwarriorâ aspect by melding those traditional elements with the silhouette of old European armor. Â
I feel the need to say: As a character designer on the show, I didnât have control of the eventual coloring. I would have loved to have seen all of the Ingvarr women with black hair and a slightly deeper skintone. Thatâs how Iâd envisioned them. But things shake out how they shake out.
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I think Iâve finally worked out the difference between what I write in fan fiction versus what I write in my own work, and why my own work is much harder.
Itâs because itâs difficult to think in archetypes.
Take, for example, two cities. One is the city of Hamhyre, in Irthiron, part of my Spell Merchant series (which I still havenât been able to pull a story together for). The other is the city of Bikarr in Ingvarr, made up as part of my Tangled series Lingering in the Golden Gleam. I made both these places up.
But we know one or two things about Bayangor that canât be contradictedâits royalty look rather Persian, they have an entirely female army, and they tend to wear relatively bulky but form-fitting armourâand some things which can be accepted as headcanonâit being the âIron Kingdomâ in the Varian and the Seven Kingdoms world, a relatively gloomy place with much heavy industry. That in and of itself gives the place some character, and that character I can actually use.
Whereas IrthironâŚI made Irthiron. I made Hamhyre. Itâs the capital of Irthiron, itâs at the mouth of the river Mishneal, the west bank contains the government buildings and a lot of old architecture belonging to the old nobility while the east bank is crowded with art deco skyscrapers and steampunk factories.
But it is difficult to think of what life is like there, because there is nothing to go on. I donât have random pieces of data to thread together in a work thatâs already reached so many people, I have to try and pull things together for a world I cannot see or touch and donât have an archetype for.
I can write all I want about Hamhyre, but without that archetype in place, I canât see it like I can see Bikarr, even though both of these cities are ones I made up. I can talk about the legend of Steeple Jack the demon born of the smoke from Hamhyreâs factories, but I canât see him like I see the chimney-sweeps scuttling across the rooftops like rats in the shadow in Bikarr. I can explain how the buildings in Irthiron make great use of squared arches as a tribute to spirit gates across the country, but it doesnât provoke the same reaction as the great pyramids of stone and glass and wrought iron that dominate the landscape of Ingvarr.
Because Irthiron as of the moment has only an ephemeral use in the story of Spell Merchant. It exists. It has people in it. These people are not tied to a coherent story because I cannot, for the life of me, come up with one for them. Whereas writing a story using characters who already have a story to build on means itâs easier to imagine a landscape for them to visit. The base is there, so the complexity becomes easier.
Who would want to read about Irthiron when Ingvarr has a story to be told in a bigger story thatâs already been told?
