One Hundred Worlds A Selection of Combination Settings for Jumpchain Version 2.2.2 !!/7+E9O+N4T1 IntroductionIntroduction What’s All This, Then? This is a selection of combined jumps, settings for those interested in new worlds. Each original setting is composed of elements, themes, tones, etc. of its constituent jumps’ canonical settings, blended together in a way that hopefully creates a fertile place for stories to occur. Each combination has its own page, with a brief description of what makes the world unique, what sorts of adventures one may have there, and challenges a jumper may face. Most of these are pastiches – similar settings blended together for a world composed of common cliches and tropes. These 100 combinations are sorted into 20 groups that share similar setting or story qualities. Despite similarities, each visit to a combination in the same group will be to an entirely new world. The intended exceptions to this are groups that make up a single timeline (marked with a †), but you might find other worlds fit together to make an unexpectedly compelling timeline. How To Use This ocument This document is 125 pages long, and ain’t nobody got time for that. I can’t say someone does Jumpchain – a single player imagination game – wrong. But I can explain how this document was intended to be used. Rather than reading through the whole thing, the Table of Contents features hyperlink entries, and there should be a bookmarks panel to jump to different sections and entries in a PDF viewer’s interface. Recall that there are 100 combination listings in 20 categories. This is by design. There are two ways to select a combination at random. For less control and more unexpected results, roll 1d100 and use that setting. For more control over where one jumps, roll 1d20 to determine a category, and pick one combination from it. Either method will quickly get your jumper to an original world. These worlds are, in most cases, left largely undefined and intentionally under-developed. These are starting points to do some world-building, develop an interesting cast of original characters, and come up with new stories. 2 TableTable ofof ContentsContents 1. Anachronisms 5 '. #antasy Cam(ai)n 35 1. Stray Future․․․․․․․․․․․․․․․․․․․․․․․․6 26. +ere 2e !ragons․․․․․․․․․․․․․․․․․․36 2. Red in Tooth and Claw․․․․․․․․․․․․․․․7 27. 5nheritors of Steel 4 Fire․․․․․․․․․․․․37 3. Winds of Change․․․․․․․․․․․․․․․․․․․․8 28. Trench and 2lade․․․․․․․․․․․․․․․․․․38 . !ae"oni# $andate․․․․․․․․․․․․․․․․․․% 2%. ,e !ragon 8ate․․․․․․․․․․․․․․․․․․3% &. $elange․․․․․․․․․․․․․․․․․․․․․․․․․․1' 3'. 9ro For"a (rs $agi#a 2ellum․․․․․․․ ' 6. ( )ew Challenger (**roa#hes․․․․․․․․11 31. 8rand Chorus․․․․․․․․․․․․․․․․․․․․ 1 2. Behind the Veil 12 *. +enerica 42 7. +idden ,ings․․․․․․․․․․․․․․․․․․․․․13 32. Fantasy :uest․․․․․․․․․․․․․․․․․․․․ 3 8. -i"inal․․․․․․․․․․․․․․․․․․․․․․․․․․1 33. ;enture Forth․․․․․․․․․․․․․․․․․․․․․ %. Ready. Fight/․․․․․․․․․․․․․․․․․․․․․․1& 3 . :uest for !eli<erance․․․․․․․․․․․․․․ & 1'. Car*e )o#te"․․․․․․․․․․․․․․․․․․․․16 3&. !ungeon !el<ers․․․․․․․․․․․․․․․․․․ 6 11. 0##ult (r#anum․․․․․․․․․․․․․․․․․․17 36. Sum"oned +ero Saga․․․․․․․․․․․․․․ 7 12. 1nearthly ,reats․․․․․․․․․․․․․․․․․18 ,. -eroes and Villains , 3. Chemicals & Circuitry 19 37. 2attle of Wits․․․․․․․․․․․․․․․․․․․․․ % 13. !rea"s in !igital․․․․․․․․․․․․․․․․․2' 38. 8uns and 8adgets․․․․․․․․․․․․․․․․․&' 1 . 2ootstra**ed․․․․․․․․․․․․․․․․․․․․․21 3%. (**ro*riate $easures․․․․․․․․․․․․․․&1 1&. +ands of Steel․․․․․․․․․․․․․․․․․․․․22 '. Tarnished (ge․․․․․․․․․․․․․․․․․․․․&2 16. C⊕Si․․․․․․․․․․․․․․․․․․․․․․․․․․․23 1. $ahou no $a=o>u․․․․․․․․․․․․․․․․&3 4. !ark #antasy 24 2. Ca*es 4 S*ande?․․․․․․․․․․․․․․․․․․& 17. (shes3 2lood3 4 5ron․․․․․․․․․․․․․․․2& 9. It.s the $nd of the /orld 55 18. Warden6s Road․․․․․․․․․․․․․․․․․․․․26 3. @onder !ays․․․․․․․․․․․․․․․․․․․․․․&6 1%. Telos․․․․․․․․․․․․․․․․․․․․․․․․․․․․27 . ;igor $ortis․․․․․․․․․․․․․․․․․․․․․&7 2'. $ordant․․․․․․․․․․․․․․․․․․․․․․․․․28 &. Aoned․․․․․․․․․․․․․․․․․․․․․․․․․․․&8 21. 7ingdo" of -ost Souls․․․․․․․․․․․․․2% 6. Wastrels․․․․․․․․․․․․․․․․․․․․․․․․․&% 5. $ldritch $nemies% 30 10. 0ast 1ites '& 22. ( $adder World․․․․․․․․․․․․․․․․․․31 7. Restless S*irits․․․․․․․․․․․․․․․․․․․․61 23. 5n Sear#h of (nswers․․․․․․․․․․․․․․․32 8. (s (Bo<e3 So 2elow․․․․․․․․․․․․․․․․62 2 . Cast in Shadow․․․․․․․․․․․․․․․․․․․33 %. !igital !ae"onology․․․․․․․․․․․․․․63 2&. 8ri" Re"nants․․․․․․․․․․․․․․․․․․․3 &'. +ea<en or +ell3 -et6s Ro#>․․․․․․․․․․․6 3 11. 2a)ical 1ealms 65 16. 7il8er Bullets% 95 &1. Fa"ily $atters․․․․․․․․․․․․․․․․․․․․66 76. ,e SwiEly Rising )ight․․․․․․․․․․․․%6 &2. FaBled Coronation․․․․․․․․․․․․․․․․․67 77. !ust and )ight"ares․․․․․․․․․․․․․․․%7 &3. Towers of $agi#․․․․․․․․․․․․․․․․․․․68 78. D?tranor"al For#es․․․․․․․․․․․․․․․․%8 & . )e?us․․․․․․․․․․․․․․․․․․․․․․․․․․․6% 7%. To War With +ell․․․․․․․․․․․․․․․․․․%% &&. Ae*hyr S>ies․․․․․․․․․․․․․․․․․․․․․7' 17. 9e 0ong /ar% 100 12. 3o 4lace 0ike -ome 71 8'. ("id the Tumult․․․․․․․․․․․․․․․․․1'1 &6. Ordinary -ife․․․․․․․․․․․․․․․․․․․․․72 81. (n D<olution of Confli#t․․․․․․․․․․․1'2 &7. 7nights6 Code !uello․․․․․․․․․․․․․․73 82. War in +ea<en․․․․․․․․․․․․․․․․․․․1'3 &8. -i#ense to 7ill․․․․․․․․․․․․․․․․․․․․7 83. Titano"a#hy․․․․․․․․․․․․․․․․․․․․1' &%. Run 4 8un․․․․․․․․․․․․․․․․․․․․․․․7& 8 . 2itter $eans to 2itter Dnds․․․․․․․․․1'& 6'. +ighCSta>es (r#haeology․․․․․․․․․․․76 18. Visions of !ysto(ia 106 61. 2ump in the )ight․․․․․․․․․․․․․․․․․77 8&. 1nder So#iety6s $as>․․․․․․․․․․․․․․1'7 13. 5chasen% *, 86. $onu"ent to Ruin․․․․․․․․․․․․․․․1'8 62. +onor6s Ddge․․․․․․․․․․․․․․․․․․․․․7% 87. Dthi#s Wai<ers․․․․․․․․․․․․․․․․․․․1'% 63. @okaigo․․․․․․․․․․․․․․․․․․․․․․․․․8' 88. $ilGuetoast Totalitarian (nar#hy․․․․11' 6 . ,eatre of War․․․․․․․․․․․․․․․․․․․․81 8%. -eviathan $anifest․․․․․․․․․․․․․․․111 6&. Religious Ra#>et․․․․․․․․․․․․․․․․․․82 19. :enocide% 112 14. 6uasar 7tellarium 83 %'. ,ey Walk ("ong 1s․․․․․․․․․․․․․113 66. Free S*a#e․․․․․․․․․․․․․․․․․․․․․․․8 %1. 5nvaders $ust !ie․․․․․․․․․․․․․․․․11 67. Star 7ingdo"s․․․․․․․․․․․․․․․․․․․․8& %2. Hanitorial Dngineer․․․․․․․․․․․․․․․․11& 68. (#ross the Sands, ,under․․․․․․․․․․86 %3. 0pen Season․․․․․․․․․․․․․․․․․․․․116 6%. ( 2old 9ea#e․․․․․․․․․․․․․․․․․․․․․87 % . D?tinction Wars․․․․․․․․․․․․․․․․․․117 7'. (d ;ance․․․․․․․․․․․․․․․․․․․․․․․․88 20. ;enith 118 71. S*a#e Fantasy․․․․․․․․․․․․․․․․․․․․․8% %&. Challenge of Faith․․․․․․․․․․․․․․․․11% 15. 1efuge in the 2undane% 90 %6. Cli"b ,e Tower․․․․․․․․․․․․․․․․․12' 72. Co"fy $odern Fantasy -ife․․․․․․․․․%1 %7. !ao of Culti<ation․․․․․․․․․․․․․․․․121 73. ,e 0stian D"*ire 7no#ks․․․․․․․․․․%2 %8. Re"nants D#umeni#al․․․․․․․․․․․․․122 7 . +igh CaliBer Fantasy․․․․․․․․․․․․․․․%3 %%. :uestant Regalia․․․․․․․․․․․․․․․․․123 7&. Fairy 9un>․․․․․․․․․․․․․․․․․․․․․․․% 1''. Hagannath6s !oor․․․․․․․․․․․․․․․․12 3otes 125 F(:․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․12& Future Wor>․․․․․․․․․․․․․․․․․․․․․․․12& Changelog․․․․․․․․․․․․․․․․․․․․․․․․․12& 4 1.1. AnachronismsAnachronisms anachronism (countable and uncountable, plural anachronisms) 1. A chronological mistake; the erroneous dating of an event, circumstance, or object. 2. A person or thing which seems to belong to a different time or period of time. These worlds often feature strange combinations of magic, technologies, and culture. The chaotic blend of apparently dissonant elements can lead to an interesting world by putting the focus on the juxtaposition of rarely connected setting elements and themes. This takes some work to make sense, from a worldbuilding point of view. Some of these worlds make sense, and others… not so much. Besides the coexistence of magic and technology, you may find the way these things are treated is different than one would expect. What’s mundane to most would be out of place here, and vice-versa. Magic may be the subject of intense study and experimentation, while technology is treated with mysticism or reverence. Hover cars and dinosaurs. Robots and beach parties. Flipping things around and mixing up things is central to what makes these worlds interesting. We tend to think of technology moving along a steady axis of progression. For internal consistency, there should be reasons for technological disparities and quirks to exist. Those concerned with petty things like internal consistency struggle to find a way to have wildly differing technology levels from area to area, or in the same region. Others ignore the issue in favor of having fun. “Pilot the hover craft closer, I want to hit that dinosaur with my sword,” they cry. Thinking logically, with unequal developments in technology and magic should come inequalities in social dimensions as well. A group that has access to a recharging station can make better use of laser guns than one that has to use swords – in a conflict, one will probably end up on top. If a city has a rare water purifier, they’re probably going to be fundamentally different than the city that has to rely on catching rain for drinking water. Not all anachronisms are equal, obviously. There is a wide range of combinations of possible magic, technology, etc. Maybe swords get used because laser pistols are hard to charge – or maybe magical warriors with swords easily outclass regular people with lasers. Maybe the swords appear primitive, but are actually highly advanced materials science that gets treated with spiritual mysticism. On the whole, it’s nearly impossible to predict what a person could come across in worlds such as these – dinosaurs and robots are equally likely encounters. Or a robot riding a dinosaur. Or a robotic dinosaur. And such encounters might be hostile, or friendly, depending on the individual world. This often means that interpreting worlds can be difficult, since there is more malleability