Chronological ID: 2026-02-14:01
Structural ID: 1
The following document describes Project Perfect Escape, a worldbuilding project by CreativityTheEmotion, which may also be attributed to yet-to-be-established original characters as “creators”.
In this case, a worldbuilding project is understood to be a detailed description of a nonexistent setting that is suitable for a work of fiction. Writing fiction is one of the author’s greatest and longest-lasting passions, and the fiction in question is believed to be more enjoyable to read when a vast world, far larger than any plot focusing on individual characters, is hinted at.
That being said, the author also acknowledges a class of people who enjoy worldbuilding projects as an art form in and of themselves, without a story ever needed to support or even justify their existence. To this end, the worldbuilding project’s main descriptive document is directly published, beholden to the same standard of quality and polish as a work of fiction in its own right, and not treated as a “second-class citizen” at any point in time.
Though the author has embarked on many fiction-writing projects, often including extensive worldbuilding, in the past, there are some that can be considered direct precursors to Project Perfect Escape; consequently, the experience gained from them is required to justify certain decisions with regard to the project’s management and direction. In order to explain these decisions, the aforementioned precursors will be acknowledged, but never named in order to not draw any more attention to them than is absolutely necessary.
Project Perfect Escape endeavours to “get things right the first time”, and does not anticipate extensive retconning to already published pages of the worldbuilding document. However, many elements of the world are expected to be named in a language native to the world, which will not be the first task for the worldbuilding project. To this extent, as avoiding names cannot always be done, temporary names, indicated with an asterisk, will be used until a native language to name them is constructed, and then replaced.
Chronological ID: 2026-02-15:01
Structural ID: 1.1
Precursors to Project Perfect Escape can be broadly categorised into several distinct generations. The design decisions made during each one, whether intentional or not, have directly impacted the quality of the precursors in question, and the lessons learned are indispensable for devising a set of guiding principles that is most likely to guarantee the project’s success.
The first generation of Project Perfect Escape precursors, developed between 2012 and 2017 (henceforth Generation One), was, for the most part, not intentionally designed at all, with each piece of writing being developed individually and only superficially belonging to the same universe. This created a very hit-and-miss set of stories; yet, the world as a whole became immensely intriguing, hence why the author would attempt to develop a project similar to Generation One, if only to satisfy the need to relive it.
The second generation of Project Perfect Escape precursors, developed between 2021 and 2023 (henceforth Generation Two), had significantly more intentionality to itself, largely emulating the biggest successes of Generation One. Yet, it was ultimately doomed to failure due to being a fanfic series with a large amount of crossovers, each of which would have to be checked against the political climate, ultimately getting in the way of storytelling.
This, then, led to the third generation of precursors, developed in 2024 (henceforth Generation Three), conceived as original fiction to begin with, and establishing itself in a worldbuilding document that serves as a model for this one. However, this, too, ended up being a failure, as the author has largely come to disagree with the guiding principles of Generation Three.
As this dissonance between the present and past beliefs has managed to arise in a mere two years’ time, the author believes the best course of action for Project Perfect Escape is to establish multiple sets of guiding principles, one for each contributing “creator”, so that at least one of them can ultimately drive the project forward and make it last longer than any precursor.
Chronological ID: 2026-02-16:01
Structural ID: 1.1.1
Madeline Myers, also known by the name of her OC, doubling as her online nickname, Madeline Lovesick, is the figurehead of Generations Two and Three, each of which was even named “Madelineverse” during original publication. As such, her motivations are the most intimately known for the author, even if they might not always be ideal for Project Perfect Escape.
First and foremost, through inspiration from worldbuilding-focused YouTube channels like Artifexian, Madeline is driven by the realism of a setting. For example, in linguistics, her attitude leads to a plight for naturalism, which almost necessarily leads to the development of a proto-language and an evolution from the proto-language to the modern-day language.
However, nowhere does this attitude shine more than in Madeline’s affinity for physical sciences, where the notion of realism is much more “calculable”. This, for example, means that her worldbuilding will include an entire solar system, even if the action never leaves the primary inhabited planet, and furthermore, that she will conduct a simulation of the solar system’s dynamics spanning the system’s entire claimed age, just to make sure that the orbits are stable. Likewise, when drawing a world map, she will lean on the method of simulating plate tectonics posited by Worldbuilding Pasta, despite the fact that it is highly involved, requiring one to go back almost a billion years.
That being said, one of the best ways to ensure a fictional setting’s realism is to, if not build upon the Earth directly, copy from the Earth as much as possible, and as such, Madeline’s worldbuilding almost always errs on the side of too human. This means that she foregoes the classical fantasy races such as elves, dwarves, and dragons, as well as the notion of aliens in sci-fi, ending up with a sapient species populating her planet that has perhaps too many similarities with Homo sapiens sapiens to be considered realistic. Nevertheless, at the widest possible element, she includes details that very clearly set apart any “Madelineverse”, including Project Perfect Escape as well as the precursors of Generations Two and Three, apart from the Earth.
Chronological ID: 2026-02-17:01
Structural ID: 1.1.2
Sarah Hively, also known by her online nickname Sara_Simp, is a creator primarily conceived as a foil to Madeline. After the failure of Generation Three, the author briefly pursued a “Saraverse” in order to hopefully gain skill needed to tackle something like Project Perfect Escape; however, quickly after conception, the Saraverse was discontinued, as there could be no emotional attachment formed with a world whose sole purpose was to be a testbed.
In contrast with Madeline pursuing realism as strictly as possible, Sarah aims for the appearance of realism, instead. This means that if she were to ever build a solar system, rather than simulating its dynamics, she would simply lean on the general trend of how far apart orbits need to be in order to be stable; however, more likely, she would omit a solar system altogether, or never divulge in any details beyond the names of the planets and how they impact the inhabited planet’s culture. Likewise, instead of making a map of the whole world, she would make a map of just a single continent, with what its tectonic plates are doing in the present day known to her, but not anything more.
Another aspect wherein Sarah differs from Madeline is the former’s insistence on adding literary themes to the stories of Project Perfect Escape. Whereas Madeline, focused on realism to a fault, often dismisses properly structured stories, considering even something like adherence to plot beats to not be realistic, Sarah uses notions like rising and falling tension to her advantage. This, however, also means that Sarah’s stories tend to be shorter, somewhat getting in the way of one being able to get lost in the world of the project.
Of all the in-universe creators of Project Perfect Escape, including ones yet to be established, Sarah is the most likely to solicit external help whenever she gets stuck, including that from people over the Internet. Even throughout its short lifetime, the Saraverse ended up commissioning a linguist, whose field of expertise is phonological evolution, in order to ensure realism whenever one simply cannot lean on the mere appearance of realism, as is believed to be the case in the pursuit of naturalism in fictional conlangs.
Chronological ID: 2026-02-18:01
Structural ID: 1.1.3
Kaitlyn “Katie” Lawson, also known by her online nickname katieyandere, is a creator conceived adjacent to Madeline and Sarah, in that all three of them have the same theme of being involved with the Yandere Simulator fandom in the past. The author has previously written a story signed as Katie, “Taro Yamada and the Hentai Factory”, and decisions allegedly made by her are now used to inform her involvement in Project Perfect Escape.
Unlike Madeline and Sarah, Katie is not one to particularly care for worldbuilding, or in-depth storytelling, at all. Nevertheless, she is still expected to jump on Project Perfect Escape and write stories for the world, but these stories are likely to be riddled with clichés, in line with “Taro Yamada and the Hentai Factory” being not much more than an application of the plot beats of Charlie and the Chocolate Factory to the characters of Yandere Simulator.
Tying in to this point, Katie generally takes the path of least resistance when writing. If someone points out that there is a plot hole in Project Perfect Escape, Katie will suggest the first explanation that comes to her mind, that will likely only consist of a single sentence, and has a significant chance of not satisfying the person pointing out the plot hole in the first place. Nevertheless, the other creators might still keep Katie’s ad-hoc explanation, if only temporarily, until a more sophisticated explanation is fleshed out.
Shortly after publication, “Taro Yamada and the Hentai Factory” was translated to both Esperanto and Lithuanian. This led to the ironic claim that Katie is a “hyperpolyglot gigachad” (a term originally used by Language Simp to describe himself), which can now be framed as a slightly more serious claim: that, whenever Project Perfect Escape gets around to developing a conlang, Katie is the most likely to develop an extensive vocabulary for said conlang in a short period of time. However, in line with the ideals of both main worldbuilders of the project, Madeline and Sarah, any additions by Katie to vocabularies would still have to be checked against any phonological and morphological evolution that either of the two devised.
Chronological ID: 2026-02-19:01
Structural ID: 1.1.4
Michaela “Kayla” Hawke, also known by her online nickname Kayla Starfrog, is a creator whose conception is contemporary with Generation One. Her stories, similar to Katie’s, were never intended to be particularly developed; nevertheless, her status as an original creator character conceived by the author is acknowledged, and she may also end up participating. Unlike the others, whose nicknames derive from Yandere Simulator, her nickname derives from Inside Out 2 and a possible ship name for Joy and Anxiety.
Kayla is largely uninvolved in the business of Madeline, Sarah, and Katie, and instead, approaches Project Perfect Escape from an outsider perspective. While this means that most of the ideas that she pitches for the project simply do not align with pre-existing worldbuilding, it also means that she can call the worldbuilders’ attention to details that they would otherwise have missed, and prompt them to address them, giving the world more depth. Nevertheless, she clashes with the other creators a fair amount, to the point when they do not even necessarily consider Kayla a friend or a contributor.
Yet, no two creator characters clash more than Kayla and Katie. Whereas Katie’s writing relies on the cliché and the familiarity, Kayla’s writing often breaks the mould, though often in unintended ways. In line with the thought exercise about plot holes pitched on Katie’s outline, Kayla would also give a one-sentence explanation for her own plot holes, but hers would be considerably “out there”, often requiring additional clarification, even if that one sentence still was an adequate summary. Whenever this clarification was given, though, both Madeline and Sarah would see it as an absolute goldmine.
Kayla’s writing, more so than that of the others, includes supernatural elements at its core, influencing Project Perfect Escape. Madeline, on her own, would have never considered writing stories with time travel at their centre, simply deeming them unrealistic, but Kayla was able to show her their charm. However, these elements are strictly limited to in-universe stories, and oftentimes, are not even considered canon to the project.
Chronological ID: 2026-02-20:01
Structural ID: 1.1.5
Isabelle Cooper, who does not have an online nickname to speak of, is an original character primarily conceived as a participant of an alternate reality game that was expected to take place on the website of Metaverse Enterprise Solutions, adjacent to Doki Doki Literature Club Plus! As no such alternate reality game was ever started, she was instead reimagined as a non-fiction author primarily commenting on the shortcomings of artificial intelligence.
In-universe, while Madeline, Sarah, Katie, and Kayla are within the same age bracket, Isabelle is slightly older than them; if the four were high school students, she would be of an appropriate age to appear as a teacher in training. As such, she adopts a mentor role over the creators of Project Perfect Escape, being immensely interested in it, but not enough to abandon her job. While this mostly involves her editing any worldbuilding and stories of the project to adhere to a standard of spelling and grammar, she may also point out facts taught elsewhere in the curriculum, acting as constructive criticism of the project. Despite this, she does not want to disturb her younger counterparts’ creative spirit, and keeps her additions to the project to a minimum.
Where Isabelle does directly contribute to Project Perfect Escape in writing, she does so by means of a fictional encyclopedia with a pretense of existing in-universe. This naturally leads to the development of a character who believes they should pen and maintain an extensive encyclopedia that covers aspects none of the others do, and this character ends up being influenced by Isabelle more than any of the authors would like to admit.
As far as aspects of the world that Isabelle is most interested in go, she extensively writes about the development of technology in-universe, a field which her younger counterparts often neglect, preferring cultural worldbuilding. She is the one, for example, to point out which materials are likely to be used in certain technologies, as well as which ones are likely to be harvested by civilisations first. However, not even she is able to figure out which substance in reality, if any, would allow for the development of a time machine.
Chronological ID: 2026-02-21:01
Structural ID: 2
Our attention is turned towards a star system with a single G4.9V-class star. The star is roughly 6 billion Earth years old, and is expected to remain in the main sequence for another 5.5 billion Earth years. It is orbited by a single rocky planet, appearing in the star’s habitable zone (from 0.86 to 1.24 AU), and six gas giants outside the rocky planet’s orbit. The gas giants have thoroughly cleared interplanetary space of any debris, and therefore, there is not an asteroid belt to speak of, though lone asteroids may still be observed.
The four innermost gas giants are in an orbital resonance with each other. It is thought to have formed naturally, due to the gas giants being more massive compared to those in other star systems around the galaxy. The outermost two gas giants are not in a resonance with the other four, but their orbits are also trending towards an eventual orbital resonance in the future. As is usual with gas giants, each of the six of them has an assortment of major moons orbiting it, though the largest is no bigger than 7,000 km in diameter.
The rocky planet is also an unusual one within the galaxy, for two reasons. For one, it is a binary planet with a tight orbit, no larger than 60,000 km in semi-major axis. For another thing, both components of the binary planet have a larger-than-usual proportion of iron in their cores, allowing for Earth-like gravity on the larger member of the binary, despite its comparatively smaller diameter. However, only the larger member of the binary is massive enough to form a dense atmosphere to support complex multicellular life.
However, even taking multicellular life as a given, there are at least a couple of hurdles that it must overcome before it can achieve interplanetary, let alone interstellar, travel. Many of them are unique to the society that the planet hosts and the technology that it has chosen to prioritise, the notion that a society can “prioritise” a certain kind of technology notwithstanding. However, at least one issue is due to the planet’s status as a binary: satellites in the planet’s orbit will inevitably be perturbed by the larger-than-average moon and either return to the planet’s atmosphere or be ejected out of the system entirely.
Chronological ID: 2026-02-22:01
Structural ID: 2.1
The *Sun is a typical population I, main sequence star, close to the invariable plane of its host galaxy, that is relatively uninteresting astronomically, excepting perhaps its higher-than-usual metallicity, a property that is unexpectedly beneficial if civilisation were to arise on any of the planets orbiting it and start developing technology. Nevertheless, as the primary celestial object in the daytime sky, the civilisation in question generally reveres the *Sun as the bringer of light and warmth, the enabler of life, and what have you.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.950 | M☉ | 1.89 × 10³⁰ | kg |
| Gravitational parametre | 0.950 | μ☉ | 1.261 × 10²⁰ | m³·s⁻² |
| Current age | 6.018 × 10⁹ | yr🜨 | 1.900 × 10¹⁷ | s |
| Maximum age | 1.1664 × 10¹⁰ | yr🜨 | 3.680 × 10¹⁷ | s |
| Radius | 0.960 | R☉ | 6.683 × 10⁸ | m |
| Luminosity | 0.815 | L☉ | 3.118 × 10²⁶ | W |
| Absolute magnitude | 5.03 | |||
| Density | 1.074 | ρ☉ | 1513.– | kg·m⁻³ |
| Temperature | 5601.– | K | ||
| Spectral class | G4.9V | |||
| Mean distance from galactic core | 12,001.– | pc | 3.7013 × 10²⁰ | m |
| 39,123.– | ly | |||
| Current distance from galactic core | 12,019.– | pc | 3.7087 × 10²⁰ | m |
| 39,201.– | ly | |||
| Current distance from galactic plane | 6.3 | pc | 1.96 × 10¹⁷ | m |
| 20.7 | ly | |||
| Metallicity | 0.11 | [Fe/H] | ||
Chronological ID: 2026-02-23:01
Structural ID: 2.2
The *Earth is the first planet orbiting its star, if the planets are ordered from closest to the star to furthest away. As established previously, it is unusual in two respects: being a binary planet, in which the larger body is no more than twice as massive as the smaller body, and having a relatively large iron core, allowing for a greater surface gravity, a denser atmosphere, and a stronger magnetic field, able to encompass both components of the binary.
Note that orbital elements are intentionally excluded from the planets’ fact sheets, and are to be included in a subsection of the *Sun’s description.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.612 | M🜨 | 3.655 × 10²⁴ | kg |
| Gravitational parametre | 0.612 | μ🜨 | 2.440 × 10¹⁴ | m³·s⁻² |
| Current age | 5.943 × 10⁹ | yr🜨 | 1.875 × 10¹⁷ | s |
| Radius | 0.782 | R🜨 | 4.984 × 10⁶ | m |
| Density | 1.279 | ρ🜨 | 7047.– | kg·m⁻³ |
| Surface gravity | 1.000 | g | 9.814 | m·s⁻² |
| Sidereal rotation period | 1.392 | d🜨 | 120,269.– | s |
| Axial tilt | 10.63 | ° | 0.1855 | rad |
| Atmospheric pressure at surface | 0.998 | atm | 101,097.– | Pa |
| Atmospheric density at surface | 0.997 | ρA🜨 | 1.221 | kg·m⁻³ |
| Geometric albedo | 0.225 | |||
| Bond albedo | 0.180 | |||
| Greenhouse effect | 0.5 | GE🜨 | ||
| Mean surface temperature | 14.9 | °C | 288.0 | K |
Chronological ID: 2026-02-24:01
Structural ID: 2.2.1
Despite its position as the habitable planet’s only major moond, the *Moon is actually more reminiscent of Mars with regard to its physical features, such as the composition of its surface and atmosphere. Both the *Moon and the *Earth are thought to have formed from the same proto-planet after its collision with an object from outside the sphere of influence of the *Sun.
Culturally, the *Moon is often referred to as “the world in the sky” if literally translated from a majority of the local languages, due to its large and imposing nature on the sky of the *Earth on the near side. The eclipses caused by the *Moon, much less avoidable than those in their Solar System analogues, also form an important part for seasonal reckoning on the *Earth.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.388 | M🜨 | 2.317 × 10²⁴ | kg |
| Gravitational parametre | 0.388 | μ🜨 | 1.547 × 10¹⁴ | m³·s⁻² |
| Current age | 5.017 × 10⁹ | yr🜨 | 1.582 × 10¹⁷ | s |
| Radius | 0.706 | R🜨 | 4.503 × 10⁶ | m |
| Density | 1.099 | ρ🜨 | 6060.– | kg·m⁻³ |
| Surface gravity | 0.777 | g | 7.625 | m·s⁻² |
| Sidereal rotation period | 1.392 | d🜨 | 120,269.– | s |
| Axial tilt | 10.63 | ° | 0.1855 | rad |
| Atmospheric pressure at surface | 0.431 | atm | 43,660.– | Pa |
| Atmospheric density at surface | 0.640 | ρA🜨 | 0.784 | kg·m⁻³ |
| Geometric albedo | 0.225 | |||
| Bond albedo | 0.180 | |||
Chronological ID: 2026-02-25:01
Structural ID: 2.3
Besides the *Sun, *Gas Giant 1 (*GG1 for short) contributes the majority of the mass of its planetary system, being nearly 5 times as massive as Jupiter. However, due to the role of gravity in compressing mass in gas giants, its diameter is only slightly larger than that of Jupiter’s. *GG1 is also the brightest star-like object in the nighttime sky, excluding the *Sun and the *Moon (which a pre-scientific civilisation does not generally consider to be the same type of object), and early cultures revered it as the ruler of all stars.
After some sort of science was developed and the orbital resonances between *GG1 and the other three gas giants were understood, however, the role that the planet played in the culture changed. It was now understood to be the shepherd of all stars, instead, and its rotation period was now considered to be some sort of “cosmic year”, an inalienable quantity of reality, that also happened to be relatively close to the generation length of the average family on the *Earth. Despite ideas of science, including those that the planets are neither alive nor agents of society, gaining ground, remnants of this mythology persist.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 4.85 | M♃ | 9.207 × 10²⁷ | kg |
| Gravitational parametre | 4.85 | μ♃ | 6.145 × 10¹⁷ | m³·s⁻² |
| Current age | 5.904 × 10⁹ | yr🜨 | 1.862 × 10¹⁷ | s |
| Radius | 1.264 | R♃ | 8.841 × 10⁷ | m |
| Density | 2.399 | ρ♃ | 3181.– | kg·m⁻³ |
| Surface gravity | 8.02 | g | 78.65 | m·s⁻² |
| Sidereal rotation period | 0.564 | d🜨 | 48,730.– | s |
| Axial tilt | 21.04 | ° | 0.3672 | rad |
| Geometric albedo | 0.554 | |||
| Bond albedo | 0.402 | |||
Chronological ID: 2026-02-26:01
Structural ID: 2.4
The motion of *Gas Giant 2 (*GG2 for short) and its synchrony with that of *GG1 has not gone unnoticed, even by the earliest civilisations of the *Earth. As such, the orbital periods of each gas giant were assigned mythological roles: while that of *GG1 was thought to equate to the generation of the average *Earth resident, that of *GG2 was thought to equate to the average lifespan. However, advances in science, especially biology and medicine, have made the average *Earth resident lifespan significantly longer, weakening the analogy. Another role that *GG2 played in primitive mythologies is as that of shepherd of the stars, compared to *GG1, the ruler of the stars.
However, the advances in science also brought with them advances in astronomy, which led to the discovery of a moon system around *GG2, consisting of 5 major moons and a multitude of minor moons. This made *GG2 notable in its own right, as the setting of many a science fiction story. However, residents of the *Earth are, due to various reasons, not particularly inclined to explore space, and thus, stories like that remain in the realm of science fiction.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 1.24 | M♃ | 2.355 × 10²⁷ | kg |
| Gravitational parametre | 1.24 | μ♃ | 1.572 × 10¹⁷ | m³·s⁻² |
| Current age | 5.903 × 10⁹ | yr🜨 | 1.862 × 10¹⁷ | s |
| Radius | 1.061 | R♃ | 7.424 × 10⁷ | m |
| Density | 1.034 | ρ♃ | 1371.– | kg·m⁻³ |
| Surface gravity | 2.90 | g | 28.45 | m·s⁻² |
| Sidereal rotation period | 0.457 | d🜨 | 39,461.– | s |
| Axial tilt | 30.84 | ° | 0.5383 | rad |
| Geometric albedo | 0.577 | |||
| Bond albedo | 0.449 | |||
Chronological ID: 2026-02-27:01
Structural ID: 2.5
*Gas Giant 3 (*GG3 for short) is also in an orbital resonance with *GG1 and *GG2, though this fact is harder to ascertain during a lifetime, and was only readily observed after centuries of astronomical (bordering on astrological) observations. Likewise, its orbital period is also harder to ascertain as being significant to the *Earth’s culture, but some have thought of it as the average lifespan of a kingdom, at least for as long as kingdoms existed.
Culturally, whereas *GG1 was thought of as the king of the stars and *GG2 was thought of as the shepherd of the stars, *GG3 was thought of as the merchant of the stars, being more deliberate with its motion across each sector of the *Earth’s ecliptic, as though it were carefully considering each secotr’s economic viability and biggest shortages. This, then, led to the role of a merchant being considered as highly as that of the king and the person doing agriculture, which is what partially allowed a global trade network to establish itself on the *Earth, and though this global trade network displaced most religious beliefs, the assigned value of the merchant remained.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.785 | M♃ | 1.493 × 10²⁷ | kg |
| Gravitational parametre | 0.785 | μ♃ | 9.965 × 10¹⁶ | m³·s⁻² |
| Current age | 5.980 × 10⁹ | yr🜨 | 1.887 × 10¹⁷ | s |
| Radius | 0.9237 | R♃ | 6.461 × 10⁷ | m |
| Density | 0.996 | ρ♃ | 1362.– | kg·m⁻³ |
| Surface gravity | 2.43 | g | 23.85 | m·s⁻² |
| Sidereal rotation period | 2.79 | d🜨 | 240,650.– | s |
| Axial tilt | 52.40 | ° | 0.9146 | rad |
| Geometric albedo | 0.578 | |||
| Bond albedo | 0.438 | |||
Chronological ID: 2026-02-28:01
Structural ID: 2.6
*Gas Giant 4 (*GG4 for short) is also in an orbital resonance with *GG1, *GG2, and *GG3. However, this is largely a trivium to be established in the more technologically advanced eras of the *Earth’s civilisation, as for the most part, the brightness of *GG4 is on the edge of the native population’s naked-eye visibility, and as such, even so much as the existence of the fourth planet is a hot debate, with those endlessly looking for it often framed as foolish, similar to looking for the word “gullible” written on the ceiling. Consequently, unlike the first three gas giants, *GG4 has no established mythological role, nor is its orbital period believed to be a significant period of time, and by the time its existence is established for certain, the civilisation has simply grown beyond the need to assign a role to the planet or meaning to its orbital period post-hoc.
Nevertheless, the fact that there is a resonance between the first four gas giants was still believed to be significant, and even as theories such as geocentrism fell out of favour, was still presented as evidence of cosmic design, or a “creator” of sorts, though such a creator was never named.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.337 | M♃ | 6.390 × 10²⁶ | kg |
| Gravitational parametre | 0.337 | μ♃ | 4.265 × 10¹⁶ | m³·s⁻² |
| Current age | 5.991 × 10⁹ | yr🜨 | 1.890 × 10¹⁷ | s |
| Radius | 0.8585 | R♃ | 6.005 × 10⁷ | m |
| Density | 0.5153 | ρ♃ | 704.0 | kg·m⁻³ |
| Surface gravity | 1.204 | g | 11.81 | m·s⁻² |
| Sidereal rotation period | 13.13 | d🜨 | 1.1341 × 10⁶ | s |
| Axial tilt | 27.11 | ° | 0.4732 | rad |
| Geometric albedo | 0.592 | |||
| Bond albedo | 0.463 | |||
Chronological ID: 2026-03-01:01
Structural ID: 2.7
*Gas Giant 5 (*GG5 for short) is not in an orbital resonance with *GG1, *GG2, *GG3, and *GG4. Its discovery, and the consequent determination of its orbit, therefore came as a significant surprise to the nascent science of the *Earth, which, though it largely had already shed the notion that a gas giant’s orbital period is also a meaningful unit of time on the *Earth, still expected all the planets in the system to be in orbital resonance. Therefore, after repeated double-checking of the orbital parametres to see if science missed something, a new paradigm of astrophysics and orbital mechanics ended up being developed, which explained orbital resonances like those of the first four gas giants much more adequately. Its victory is believed to be the last major victory of science against superstitions of the past, though remnants of religions and such would still persist in the language, which never renamed the planets.
Physically, *GG5 is still very much like its four larger counterparts, being largely comprised of hydrogen and helium (as opposed to having materials like methane and water, which would classify it as an ice giant, instead).
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.219 | M♃ | 4.164 × 10²⁶ | kg |
| Gravitational parametre | 0.219 | μ♃ | 2.778 × 10¹⁶ | m³·s⁻² |
| Current age | 5.988 × 10⁹ | yr🜨 | 1.890 × 10¹⁷ | s |
| Radius | 0.8463 | R♃ | 5.920 × 10⁷ | m |
| Density | 0.3505 | ρ♃ | 478.8 | kg·m⁻³ |
| Surface gravity | 0.807 | g | 7.920 | m·s⁻² |
| Sidereal rotation period | 3.609 | d🜨 | 311,803.– | s |
| Axial tilt | 8.45 | ° | 0.1475 | rad |
| Geometric albedo | 0.588 | |||
| Bond albedo | 0.427 | |||
Chronological ID: 2026-03-02:01
Structural ID: 2.8
*Gas Giant 6 (*GG6 for short) is the most distant of the planets formed from the protoplanetary disc; there might still be planets captured into highly elliptical orbits from interstellar space, but those would be largely unknown to the residents of the *Earth and therefore irrelevant to their culture. It is also primarily a world of hydrogen and helium, like its five larger counterparts.
Despite being discovered relatively late, *GG6 has already managed to become a staple of science fiction. The majority of this comes from the idea that just as the *Earth did not know about *GG6, so did *GG6 not know about the Earth, and the two planets could potentially host civilisations unaware of each other; however, this is a pure hypothetical, with very little supporting empirical evidence and plentiful contradicting evidence. Another part of the allure of the planet for the residents of the *Earth is its only major moon, the largest besides the *Moon in this planetary system; science fiction may choose to either feature life on this moon, if it wants to emphasise similarities with the *Earth, or on *GG6 itself, if it wants to emphasise the differences.
| Property | Astronomical units | SI units | ||
|---|---|---|---|---|
| Mass | 0.117 | M♃ | 2.216 × 10²⁶ | kg |
| Gravitational parametre | 0.117 | μ♃ | 1.479 × 10¹⁶ | m³·s⁻² |
| Current age | 5.974 × 10⁹ | yr🜨 | 1.885 × 10¹⁷ | s |
| Radius | 0.7451 | R♃ | 5.212 × 10⁷ | m |
| Density | 0.2734 | ρ♃ | 373.5 | kg·m⁻³ |
| Surface gravity | 0.554 | g | 5.439 | m·s⁻² |
| Sidereal rotation period | 0.1582 | d🜨 | 13,665.– | s |
| Axial tilt | 4.51 | ° | 0.0787 | rad |
| Geometric albedo | 0.562 | |||
| Bond albedo | 0.411 | |||
Chronological ID: 2026-03-03:01
Structural ID: 1.2
A world, such as the Earth and even more so the universe the Earth is embedded within, generally has inexhaustible detail, such that it can never be wholly experienced in a human lifetime. In addition, much of this detail is redundant, or otherwise adds nothing to the experience of the world in question, making it irrelevant and easily forgotten. Therefore, a worldbuilding project, such as Project Perfect Escape, must necessarily limit its scope, so that details added are, in general, neither redundant nor otherwise irrelevant.
The first and most obvious scope limitation of Project Perfect Escape is the focus on a single habitable planet. In part, this is due to the technology of said habitable planet, which includes a notable absence of interstellar or even interplanetary travel; however, even in the case of an interstellar empire, the author would still feel the need to concentrate on a single planet and its life and culture, largely hoping to emulate the Earth and its cultural variety, rather than end up with a bunch of monocultural and even stereotypical planets.
This focus on a single habitable planet, naturally, makes description of the universe beyond it rather sparse. The solar system that the planet is on is described in detail, as its planets and their motion would be visible to the naked eye, perhaps aided with Earth-based observation tools, over a lifetime; however, the galaxy beyond it remains not much more than a night sky, and therefore, is only described using measures appropriate for a night sky, such as parallax when observed from the habitable planet, rather than ones appropriate for an interstellar empire, such as distance in parsecs or light-years.
However, even within a single planet, the cultural variety can be overwhelming. Therefore, cultures, to the extent to which they can be said to exist in Project Perfect Escape, are divided into three categories: globally-important cultures, those close to the main characters, and all others, with only the first two ever getting a detailed description. This, however, also means that if a smaller culture is described, it will necessarily be relevant to the main characters, a slight immersion-breaking point that the author has chosen to accept.
Chronological ID: 2026-03-04:01
Structural ID: 1.2.1
In short: Yes, it does.
Worldbuilding projects, on their own, are generally not all that well-known, and where they are well-known, it is only by extension of being associated with famous works of fiction; for example, one tends to think not of J.R.R. Tolkien’s Middle-earth setting or his Elvish languages, but his Lord of the Rings series. Consequently, people driven primarily by the desire to become famous, not yet knowing what in the world of writing they have a passion for, tend to focus on a book of their setting, first, though they might be attracted to the idea of in-depth worldbuilding, following from examples like Tolkien’s.
A small minority of them, like Artifexian and Biblaridion, eventually learn, for themselves, that novel writing is simply not their real passion, and consequently, shift their focus to worldbuilding for the sake of worldbuilding, or even conlanging for the sake of conlanging. As owners of YouTube channels with significant audiences, though, they attract lots of people who might get a distorted view of reality, in which a worldbuilding project, in and of its own, is a worthwhile thing to pursue, even if it might never attain any sort of appreciable fame if it is never associated with a book or other work of fiction. Some worldbuilders even take it one step further, by not just excluding a true plot from their worldbuilding projects, but also, true characters, instead allowing their cultures and languages to become the “main character”.
That being said, the author, specifically, comes from a background of novel writing, having done it for well over a decade, and can be said to have a passion for it, even long before discovering that “serial worldbuilders” as such exist. Therefore, it is important for Project Perfect Escape to focus on the reality of the author’s strengths, rather than the misguided need to fit in a niche community. Consequently, this means that the worldbuilding document will directly allude to a potential story’s characters and plot, and include worldbuilding elements, even minor ones that majorly affect neither the world as a whole nor a significant parcel of it, if they are relevant to these characters.
Chronological ID: 2026-03-05:01
Structural ID: 1.3
Traditionally, worldbuilding, like all other creative endeavours, relied on “analogue” means of production. That being said, the advent of the computer, by far the most convenient calculation machine to be invented and one with extensive graphical and information-storing capabilities, has enhanced all creative endeavours, to an extent which makes them invaluable for art, to the point where not using them is often a deliberate artistic statement.
That being said, worldbuilding is somewhat unique among creative endeavours in that large-scale computations can be immensely useful towards achieving one’s goals of creating a believable world with detail no human could manage. It is not entirely unique, as, for example, modelling of 3D scenes and characters also relies on an extensive, computationally expensive rendering process; however, where specialised tools, including both proprietary ones and open-source alternatives like Blender, exist for 3D modelling, such that an endeavouring modeller need not worry about the precise mathematics of reflections of light, tools in the worldbuilding space are much more limited. Nevertheless, a mixture of existing tools, libraries, and bespoke tools is invaluable for Project Perfect Escape, and some of those are listed here.
rebound is a library allowing for simulation of orbital mechanics, that does away with the large overhead of its graphical counterparts such as Universe Sandbox, therefore allowing for both longer and more accurate orbital mechanics simulations, making it frequently used by scientists studying real extrasolar planetary systems. A bespoke script relying on rebound is how all orbital parametres are intended to be generated for Project Perfect Escape.
GPlates is software intended to explore plate tectonics on the Earth. While, much like rebound, its use is primarily scientific, worldbuilders have nevertheless adopted it for their purposes, and it is integral to the plate tectonics simulation method for devising a realistic topography posited by Worldbuilding Pasta. Consequently, as the method will eventually be used by Project Perfect Escape, GPlates will naturally come along with it.
Chronological ID: 2026-03-06:01
Structural ID: 1.3.1
In short: No, thank you.
The author, in general, comes from a background of appreciating the capabilities of computers, especially if they come as a result of a recent advance in either software or hardware. This, naturally, extends to the field of artificial intelligence (AI), which the author came to understood much more broadly than large language models and such, especially given that this fascination started long before “Attention is All You Need” was published.
On the other hand, the author is also aware of the backlash, especially among artists and writers, against AI. In order to succeed, large language models producing text, as well as diffusion models producing images, required training on large quantities of data, including artwork, without any regard for copyright, and due to the architecture, came to reproduce copyrighted works faithfully, proving that they memorised the copyrighted works, in whichever way.
However, rather than head into the world of AI with a blind appreciation, or, conversely, stay as clear from it as possible in a blind rage somewhat supported by virtues, it is very important to establish the intent behind this technology, as stated by its creators. In particular, the vision of Sam Altman, the founder of OpenAI, is “artificial general intelligence” (AGI), which he has chosen to define as AI that causes a significant displacement of humans in the labour market, necessarily leading to an economic calamity. Furthermore, Altman is in no way concerned about the calamity, and likely believes that the AGI, itself, will fix it; this is despite proof that in order to displace humans, AI only needs to be cheaper than them, with actual intelligence being largely optional.
In face of this utterly irresponsible behaviour, which has no reason not to be considered outright evil, coming from the face of AI as it is known today and cheered on by other corporations developing AI, the author strongly condemns the application of AI to any creative project, including Project Perfect Escape, for as long as OpenAI and/or its legacy remains dominant in the field.