In the Planet Construction Kit, I introduced some 3-D modeling programs, but that section is pretty outdated. What I recommend now (if you can’t afford a pro package) is Blender, which is free and full of features.  But like every other 3-D program, it’s complex and baffling and you can’t really figure it out just by messing with it.  So, I wrote a tutorial that gives the basics of Blender.


It isn’t a full manual… that’d be a book in itself… but you can get pretty far with it.  If people like it, I could add more (I only barely cover UV maps and creating humanoids).

Happy modeling!


Is there a good methodology or series of questions one should ask themselves when determining what the “alphabetical order” will be of one’s alphabet or other writing system? Is there any particular reason why “A” should be before “B” and that before “C”?


Great question— the answer may be a bit disappointing. The obvious thing to do is to look at natural language alphabetical orders. Only…

  • The alphabet was really only invented once— by the Canaanites, some time after 2000 BC. Everyone else, including the Jews, Arabs, Greeks, and Romans, adapted their system and kept their order.
  • We really don’t know why that order prevailed. No one even seems to have any good guesses. The World’s Writing Systems never, so far as I could see, covers the topic.

(There are actually two attested ancient orders, you can see a comparison here.)

(Also, technically, the Canaanite writing system was a consonantal alphabet, or abjad. Later, partial vowel symbols were used. The Greeks were the first to represent all their vowels.)

So far so disappointing, but we also have the example of the Brāhmī script, which is the ancestor of Devanāgarī and other Indian and SE Asian scripts. This arose around 300 BC, and the interesting thing about it is that its order is phonetically motivated. Letters are grouped by point of articulation (it starts क ख ग घ ka kha ga gha), and the secondary order is from the back of the mouth to the front: ka…, ca…, ṭa…, ta…, pa… Finally there’s semivowels and then sibilants. A linguist couldn’t have done a better job. The Brāhmī order very likely influenced the order in Korean and Japanese.

(The a‘s aren’t just part of the letter— in these systems a symbol has an inherent vowel. So क alone is ka. You add diacritics for other vowels: कि ki, कु ku, etc.)

There’s one other scheme that might appeal to you: mnemonics. A real-world example is the iroha order for the Japanese kana. It’s a poem which includes every character in the syllabary just once, and still serves as an alternative order for the kana.

Since there aren’t many real-world examples, I think a conlanger is also entitled to use any crazy system they can come up with…

I had these drawing studies for my last gods picture and thought they might be an interesting process story.

The nice thing about these gods, Nečeron and Eši, is that they have things they can do. Nečeron is god of craft, so he can be building. Eši is god of art, so she can be doing art. But just that would be a little boring. From somewhere, but undoubtedly influenced by M.C. Escher, came the idea of each creating the structure that’s holding up the other.

Here are some doodles trying to make it work:


Nečeron’s bit is easy: he’s creating whatever Eši is standing on. (It starts as a table.) But what is she painting? Maybe some sort of framework holding up the platform he’s sitting on?  That’s the lower left drawing; it looked cumbersome.  Maybe a ladder (bottom right), but then he only has one hand free to work. Finally I tried a set of stairs, and that worked.

Here’s the second attempt at that:


I decided that the concept worked, but now ran into the next problem: I can’t really draw this scene out of my own brain. The figures here don’t look terrible, but the proportion and placement of the limbs was difficult, and the blobs representing the hands hide the fact that the concept requires four iterations of my personal drawing bugbear: hands holding objects.

(These are sketches, and would certainly have been improved if I kept working on them. But one thing I’ve learned is that poor proportions do not improve by rendering them really well. Better to get the sketch right.)

I tried looking for photos online, but getting these specific poses would be difficult.

Taking reference photos, however, is easy! I have an iPad! Here’s the pictures as they appear in Photoshop, with the sketch done right on top of them.


Who’s the model?  Oh, just some guy who’s available very cheaply.

If you compare this with the previous step, you can find an embarrassing number of errors in the original. E.g. Eši’s legs are way too small, the shoulder facing us is too low, and her neck is not drawn as if we’re looking up at her. Plus I think the final poses are far more dramatic.

I did the final outline over the purple sketch. Then the procedure is: select an area in the outline; fix the selection to make sure it includes everything I want, and fill it in on a separate color layer with a flat color.  Then go over each flat color area and use the airbrush to add shading. The bricks and stairs also get some texturing, added with filters. The jewelry is done on a separate layer with its own drop shadow— a cheap, quick way to add realistic shadows.

The gods aren’t wearing much.  That’s just how gods are, of course. On an operational level, there are two reasons for this (which we can assume are shared to some extent by Almean sculptors and painters).  The lofty level is that I like the human figure and hate to cover it up.  The less lofty reason is… clothes are frigging hard to draw. Figure drawing is hard enough, and clothing requires a whole new set of skills and rules of thumb, and looks terrible when you get it wrong. Plus, these are Caďinorian gods, so they should be wearing Caďinorian robes, which require, like, a black belt in drawing. They’re made of wrinkles. There’s a reason so many superheroes wear leotards: they’re basically drawn on top of the nude figure, with no folds.

The final picture:


Tonight, I like it; in a year, I’m sure it’ll dissatisfy me. Actually, when I look at it, I wonder if the angle of the iPad foreshortened the figures, making their feet proportionately too big. Oh well.



I hinted on Twitter awhile back that I was entirely rewriting a major bit of Almeology, and now it’s done!  It’s on what I used to call Caďinorian  paganism.


That was one of the first pages I put up, 19 years ago, and I’ve never been entirely happy with it. I’ve greatly expanded it, with more information on non-imperial versions of the religion, and much more detail on the actual mythology. Now you can learn what the heroes Maranh and Koleva actually did. Plus you can get married using actual Caďinor wedding vows.

The old version was pretty jokey, which can be fun, but it didn’t fit in with the rest of Almeology. (It was already toned down from the first version I wrote, probably during the original D&D campaign. Sadly, I can’t find that version right now— I hope it’s hiding in one of my cabinets.) The old version was also a little too influenced by G.K. Chesterton and his rumination on paganism from a Catholic perspective.

This project also involved finding etymologies for, and sometimes renaming, a bunch of minor gods and demons. The Verdurian names came with the original document, usually just invented without a meaning. Now most everything means something. (Occasionally this meant changing the Verdurian name— I hope you’re not too bothered that  Évetel, Leanota, and Urdelan are now Ávetu, Eduela, and Uřädec.)

There are a bunch of new pictures of gods.  Two gods are still missing, but I expect to add them in later.

Edit: Finished the last picture, and it’s the best yet!

As part of this project I needed to update the Verdurian and Caďinor dictionaries. I used to keep the lexicon in Word, output it as RTF, and use a program to convert that to HTML.  But upgrades to Word and to the Mac itself broke the system.  Instead, I adapted the code from my revamped numbers list, and generate the dictionaries on demand from a text file using Javascript.

The advantage for me is that I can keep them up to date easily.  The text files also take up less room than the old HTML files. And the advantage for you is that you can ask for just the words you need. Yes, you could use Ctrl-F before, but a listing of search results is far more informative and more likely to give you just the word you need. Plus codes are defined so you can enter all the diacritical marks.

The Fan’s Guide to Neo-Sindarin, by Fiona Jallings, is now out. Here’s where you can buy it. It’s about Neo-Sindarin.


This is partly a Yonagu Books production: I edited the book and did the book design. But I enjoyed the book a lot and I think most conlangers would.

Tolkien is the greatest of conlangers, and one of the most frustrating. He has an effortless good taste that few of us can match.

I goth ’wîn drega o gwen sui ’wath drega o glawar!
the enemy our flees from us like shadow flees from sunlight
Our enemy flees from us like a shadow flees from sunlight!

You get the feeling that every word has been carefully hand-crafted and polished for decades, probably because it has. He was a linguist, knew his Indo-European and sound changes inside out, and knew how to make a language seem familiar yet with few outright borrowings. The feel of his languages is so natural that it’s become a cliché. (If you’re planning an orcish language, I advise you not to imitate the Black Speech.)

What he couldn’t do for the life of him was finish a language, or write a grammar. He kept messing with things, and he never properly explained even some of the basics. Quenya is in pretty good shape, but Sindarin is woefully underspecified.

That’s where Neo-Sindarin comes in. It’s an attempt by multiple people to finish the language, at least to the point of usability.  There are glaring holes— entire tenses or lines of paradigms, the copula, the pronominal system, just aren’t complete. It would be a little grotesque to make up words to fill things out, and the Neo-Sindarinists don’t do that. They scour the published texts and the slowly accumulating extra material; they extrapolate carefully from Proto-Elvish or from early drafts of Noldorin.

Because so much material has been published only in the last few years, Fiona’s book is pretty much state of the art. It’s a textbook (with exercises), organized in such a way that it can serve as a reference grammar.  You can learn Neo-Sindarin or just learn how it works. It’s also an annotated introduction to the reconstruction process; you can see exactly what was reconstructed, and by whom, and what that’s based on. And it’s lively, or at least as lively as a language textbook can be.

There are also sections on (e.g.) naming and cosmology that remind us that Tolkien was not only a linguist, but a medievalist. The elves are more different from modern humans than many an sf alien.

For me, the most interesting bit was peeking behind the curtain into Tolkien’s study as he conlangs. As I’ve been studying Sanskrit, it’s fascinating to see glimpses of Indo-European poke out in Elvish, such as umlaut and multiple verb stems.

In Sindarin, Tolkien made extensive— really extensive— use of mutations, as in Celtic (and these are not dissimilar to Sanskrit’s sandhi).  There are half a dozen types of mutation, and they make for patterns like this:

drambor – a fist
i dhrambor – the fist
in dremboer – the fists

The article i, you see, triggers vocalic mutation, while the plural in triggers nasal mutation. Often mutation takes on a syntactic role: e.g. only the presence of mutation distinguishes the structure i ’wend bain “the maiden is beautiful” from i ’wend vain “the beautiful maiden”. (Bain is the un-mutated form.)

Sindarin has particularly complex pluralization rules, yet they go back to a very simple rule: add –i to the end. Only the i triggers two separate sound changes, one affecting potentially every vowel in the word, the other moving the –i into the last syllable (and causing some changes there).  And for some words you need to know the ancient form.

Beginning conlangers often want to make simpler languages, Esperanto-style; but later on we usually get a taste for complexity. But merely being weird or randomly irregular is not interesting. Sindarin is a master class in getting complexity out of some fairly simple ideas.

And also, you know, in finishing your grammar. Tolkien had the reworking bug; he was one of those people who can’t stop fiddling with his creation. But really, people, take a sheet of paper and write out all your pronouns.

The other area where most conlangers could learn from Tolkien is in the lexicon. Creating words, he was in his element. This is the opposite of machine-generating a word list and assigning each an English meaning. His words have a history going back to Proto-Elvish and interesting derivations, and they all sound good.

Anyway, I hope you have a wide collection of natlang grammar and a few conlangs; Fiona’s book is a great addition to that part of the shelf.

I have a couple of side projects besides all of the India.  One is Ticai, the game I started working on a few years ago. Here’s what it looks like today.


You can compare this to the last look from… gulp… three years ago here. What’s changed?  A bunch of things:

  • A better skybox, rather than featureless blue.  Still needs to be redone, but at least I know how now.
  • Even more buildings, including the nice round temple on the left.
  •  The cobblestones are bump-mapped, so they don’t quite look like a flat texture slapped down on a flat surface.
  • Previously the streets were modular; I figured it would be easier for Unity to render them if there was only one copy of each unit.  Then I realized that the entire street grid has fewer polygons than a single human model. So now the whole grid is one model. This cleared up a lot of little alignment problems and makes the streets look better. It also allowed me to do things like put the tower on the right on a little hill.
  • The camera stays closer to Ticai. This makes it harder (though not impossible) to see through walls and such, which helps out a lot in some of the smaller spaces.

Unity has been upgraded to version 5.4, which broke a few things.  Most are fixed, but something has changed about the lighting which I haven’t figured out.  Ticai’s clothes don’t look smooth, nor does the round temple.  Unity used to correct for that, and I don’t know how to fix it yet.

There were some major bits of the city that weren’t done yet.  There is a whole underground that was only mocked up; it’s all finished now. I also added an alchemist’s shop:


I like the various jars and things. There’s even a microscope!   Not shown: the alchemist has a rather pretty globe of Almea.

I’m convinced that one reason games are so often late and buggy is that the developers spend half their time redoing things.  You make something quickish just to get it working (possibly learning how to do it at the same time). Then you learn how to do things better, get dissatisfied with what you did, rip it out and redo it.  For instance, Ticai’s feet:


I half-assed her feet the first time… I figured I could suggest her toes using the texture, and it looks bad.  Finally I redid the toes, separating them in the model.  Plus I redid the ankles. Also her eyes: she has eyelids now, and blinks.  Her face still looks kind of weird, though, so I’ll have to work on that.

(The four toes are not a way of saving work: Ticai is Almean, so she really does have just four toes.)

I put the project aside before mostly because I was hung up on the writing side. The game is supposed to be a set of interlocked mysteries, which Ticai solves by running around and talking to people.  I want a really complex conversational engine, where you don’t have four options to choose from, but a hundred or more.  But of course that means a lot of writing, and even more testing, and I haven’t found a way to keep the amount of work under control.

The other project is a new conlang, something at least two or three of you have been waiting for patiently for years.  It’s Hanying, one of the language of the Incatena— in fact, the language of Areopolis, more or less Morgan’s native language.  I said it was “in origin a Chinese-English creole”, and it was… for the first half-century or so of its existence.  But it will be much weirder than that.  E.g., it suffered a series of phonological adaptations to new speakers twice, and it went through both some relexification and decreolization.  By the time it’s done I hope it really looks like something that survived a thousand years of change.

In your blog you mentioned that “the CEO system for running corporations is a dangerous anachronism.” I was wondering what you would replace it with – in your perfect world, what system would you design for building and running a global business and ensuring its continuity from one generation to the next? What other cultural or economic changes would go along with the new system if it were implemented throughout society? (E.g. would there still be brand-name identification of consumer products?)



Not the ideal

Great question; I’m not sure I have a great answer. But that’s because we need a whole lot more experimentation. Anti-monarchists couldn’t necessarily describe parliamentary democracy in 1700, either.

First, let’s review the problem. In that post, I pointed out Trump as the epitome of the terrible CEO. He’s a lazy, incurious person who’s used to unquestioning obedience for his terrible ideas, and takes every reverse personally. But he’s not much of an outlier. I’ve met plenty of much smaller-level CEOs, who have the same arrogance and inability to understand their own business. The good CEOs I’ve met are generally the ones who know when to get out of the way of their own workers— the people who actually know the work and know what needs to get done.

Many people are in love with the idea of the strong leader of uncompromising vision. We’re not so enamored of the Louis XIV or the Napoléon these days, but Americans, at least, still admire the entrepreneur who builds up a company from nothing: Bill Gates, Steve Jobs, Henry Ford, J.P. Morgan, John D. Rockefeller.

I don’t necessarily want to touch that.  On the whole, society benefits when these people build something new.  They should obey labor laws and such, but we don’t need to throw out this part of the system. What we should throw out is the notion that their heirs, or some guy with an MBA, deserve the same deference. If you worship wealth and never address inequality, as Piketty demonstrates, what you get very soon is an aristocracy of rentiers, people who never created anything yet sit on all the accumulated wealth, and whose primary incentive is the maintenance of their own comfort.

So, how do we run a company instead? Two basic approaches:

  • Put someone in charge temporarily
  • Put a representative committee in charge

For now, this comes down to your view of human nature. If you think there needs to be a strong leader (even if his power is limited or we can get rid of him), then you pick Option A. If you distrust all single sources of power, you pick Option B.

Perhaps ironically, in theory option B is what we have now, once the founder is dead. Public corporations have a board of directors, and even rules that a good number of these must come from outside the company; and they pick the CEO. In the US, the board represents the stockholders (i.e. the owners), and it is very possible for them to throw out the CEO.

There are two problems with this.

  • One, boards are in practice not very independent-minded. They’re often friends of the executives and only meet for a brief period every few months.  They’re not deeply involved in the business nor inclined to second-guess the CEO.
  • And two, what the stockholders want is basically more money right now.  This may be completely opposed to the interests of employees, customers, the community, and even investors who are thinking beyond the next 12 months.

A minimal reform is to require that some of these other stakeholders get representation. In Germany, up to half of the board represents labor, though stockholders usually get the determining vote. The idea could be expanded by giving other stakeholders representation.

There are many interesting experiments in corporate governance today, such as:

  • Valve, the company behind Half-Life and Portal as well as Steam, is famously run on near-anarchic lines. Employees literally pick which product they want to work on— and if a product doesn’t attract workers it doesn’t get made. (One does wonder if this is why they never seem to get to release 3 with any of their products.)
  • The first company I worked for is now employee-owned.  It works out well for them, and they were able to weather the 2008 recession in part because they didn’t have the huge expense of a CEO’s salary.
  • NFL management is said to be a huge swamp… except for the Green Bay Packers,  owned by a huge mass of individual Wisconsinites. They’re competitive with other teams and the team stays in Wisconsin.
  • The Mondragon Corporation, of Spain, is a remarkable co-operative firm which employs over 75,000 people.
  • We actually have plenty of examples of non-monarchical institutions: churches, universities, co-ops, many arts organizations or activist groups.

We need more experimentation to see what works. The answer to a lot of objections is going to be “Maybe. We don’t know. We need to try things out.”

The obvious worry is that discussion and representation take time, or at worst tie the entity up in knots. Democratic politics is not exactly known for calm, civilized consensus. In response to that—

  • Again, monarchs suck. We put up with the inefficiencies of democracy because one-man rule really is worse. But the inefficiencies are definitely there.
  • People get better at democracy when cultural norms evolve to support it. I’ve been in endless, unfocused meetings— people flounder if they don’t know what they’re doing. That isn’t a condemnation of the system; it just means that the transition is tricky. People who are not used to power do not automatically know how to use it.
  • There are better and worse decision-making techniques. A huge, completely open-ended meeting is one of the worst. People are better at reacting to concrete proposals than they are at coming up with them. If a proposal is rejected, it’s better for a small group to take it offline than for a large meeting to attempt to redesign it. The group needs a way to table arguments, so it is not dominated by a few eristic individuals. And so on. Heuristics will develop to smooth the process considerably.

One big caveat: democracy is not a cure-all. I think we’d be happier if we could vote who runs the company, or at least vote the current bums out. But that’s not the same as saying we’d be happy.

On the other hand, looking at modern representative democracy, we have to remember that it’s optimized for the logistics of 1790. I’m sure we could do better. One big problem, for instance, is the bundling of policies. At the federal level, there’s no way to say that you want (say) more health care and less immigration.  You can only pick between the two major bundles that are offered. Maybe we need to vote on policies more than on leaders.

Your question on brands is just part of a much bigger question: the optimum size of corporations.  I’m sure a bunch of readers are eager to tell me that the problem is not how to fix corporations, but how to get rid of them. But leftists have, to my knowledge, only come up with a couple alternatives, and they’re contradictory:

  • Nationalize them. So the organizations become massive.
  • Have workers run enterprises directly.  So the organizations must be tiny.

In general, the first approach makes the problem worse. (Some public goods should be nationalized; but I do not want a government commissar, or even a People’s Soviet, deciding what books can be published or what crops can be grown.) And the second approach is largely untested, and of questionable utility for a planet of 7.5 billion people.

It might be nice if every firm was only the size of a village— 150 to 200 people.  But there is such a thing as economies of scale. Really big firms can grow corn, build computers or airplanes, and make action movies really efficiently.  A world of small firms is also, very likely, a world of high prices for consumers. There’s also the problem of competing standards. These should never be a monopoly, even a government monopoly.  And yet it’s kind of a nightmare if you have a hundred competing standards rather than two or three. And if you’re eager to break up Google, do you also want to break up Mondragon?  (They’re about the same size.)

Plus, there’s the inconvenient fact that large firms are far easier to regulate, and can be far more progressive.  A corporation with 75,000 employees can have a professional HR department, great worker amenities, and a commitment to diversity. They’d also be far easier to democratize.  Smaller firms are often run by the most conservative, cranky old despots.

Ideally we should be able to choose both options. Restaurants, for example: it’s nice to have a one-chef gem of a restaurant.  It can also be convenient to have a known brand where the type and quality of the food are predictable (and prices are cheaper).  In art, it’s great to have quirky one- or two-person projects; also to have behemoths that require hundreds of people working together.

Anyway, the one thing I’m certain about here is that future economics is going to surprise us. The modern corporation emerged only 150 years ago, with the invention of the telegraph.  (Adam Smith thought corporations were of limited utility.)  As late as the 1960s, the ideal of corporate governance was a class of professional, medium-income managers hired by the owners; the cult of rock-star CEOs paid in the megabillions was a (stupid) innovation of the 1980s. Right now things look kind of dystopian, but that doesn’t mean we’re stuck here.

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