
And all these elements, swiped shamelessly from so many sources, end up arranged in familiar patterns. The forestal Great Spirits are aligned with meanings similar to that in Celtic myth, despite their juxtaposition against and association with elements from Hindu and Native American myths, so that everything ends up comfortable. Necromancy ends up associated with the forces of evil, even though its origins are not associated with evil. Angels and demons have just the same characteristics one expects despite the absence of Judeo-Christian origins.
(There's one notable exception. The four elements are present and have an important role, each of the cities associated with them and their mages tied to them, but they don't have the usual meanings. Air and fire do, actually: the city of air is full of people very logical and thoughtful, while the city of fire is wild and unconstrainted. But water has no associations with emotions or change, instead being tied to the stars and the Light, and associated with a very scholarly race. And earth has no overtones of healing, nature, or even resilience; it is, for historical reasons, the element of the Taint, the incarnation of what passes for Evil in Lusternia.)
What's really original about Lusternia is thus not the elements in it, nor their arrangement. Instead, it's a very original cosmology and story whose entire purpose seems to be to explain the presence and arrangement of all of the familiar elements. That is a brilliant solution and I give kudos to Estarra, the creator, for it. It means that Lusternia is steeped in familiar, comfortable, compelling elements, and you can make a character that's just like your favorite character from a book, from an AD&D game, or from your own personal beliefs, if you happen to run that way.
But the reasons why all those things exist, and why they are aligned as they are, are new and unique to Lusternia. And more importantly, and a bigger contrast to other games, there is a reason for it. (At least most of it. A few things just happen to be that way.) Which not only justifies all those familiar things, it adds new dimensions, gives you new perspectives on them. It tricks you into exploring some original stuff, by luring you in with the familiarity and then letting you consider the ramifications of the original explanations and origins for those familiar elements.

But even then, I tend to turn the knob a lot farther from "familiar" than Lusternia does. I include enough familiar elements to provide a hook, but more than that, to make the unfamiliar parts more striking. Dwarves as egg-layers with an insect-like hive mind? It makes perfect sense, and explains many of the things about how dwarves are traditionally depicted, but it also tends to make people reel. My worlds, when they aren't intentionally hewing close to a genre to milk every bit out of its tropes, tend to do that. Which is one of the reasons I would probably be able to make a popular MUD only because I set out to do so, not because of inspiration.
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