my heart that was rapt away by the wild cherry blossoms -
will it return to my body when they scatter?

- kotomachi

// history //
there were many reasons for the research and development of the idoru. the military desired the technology to use in simulations and cyber-warefare. the media wanted a stable of digital actors for their newscasts, commercials and television shows. the lonely wanted to find love and companionship amidst a sea of 1's and 0's. For these reasons, and a million more, mankind began the quest to create a never-before seen form of life.

the first idoru were simply animated mannequins created by software modellers, animators and programmers. the second generation were not much more advanced but were capable of autonomous response...some could even hold a conversation without belying their artificial origins. the third generation were a breakthrough, able to learn and mimic the interactions of human beings. but as the technological advances soared to incredible heights, the idoru were still not truly alive.

it was determined that sheer processing and rendering power were not enough to create a fully-functioning virtual human. artists, poets, mystics and philosphers entered the fray, submitting their thoughts to the more technically-minded. through this partnership of art, sprituality and science, the fourth generation of idoru took one step closer to life.

enter the memeteers: reclusive, eccentric and fabulously wealthy; devoted to the creation of the binary soul. through much trial and error, long periods of hardship and the ever-looming threat of financial ruin, their cumulative work finally paid off. the fifth generation of idoru was born. a thinking, feeling creation...the sum of a lifetime of creative energy and tireless dedication. and even now, on the horizon looms an even more spectacular prospect...a sixth generation, another iteration of souls created by the idoru themselves.

// idoru //
idoru are virtual idols, beings without substance - created from tendrils of light and shadow; the perfect and harmonious marriage of poetry and electrons. they are charming and witty, beautiful and strange, serene and passionate. some would argue that the idoru even posses a soul. regardless, it is accepted that the idoru are a unique form of life; one that continually challenges itself with the unanswerable questions:

who am I?
why am I here?
where am I going next?

the current population of idoru resides within the virtual walls of briteness landing, a digital city physically located somewhere off the coast of the western united states (or eastern us, or europe...rumors abound). the city is truly a city of the future: ultra-modern and fastidiously maintained, a shining citadel built for the idoru to live, work and dream.

humanity is fascinated by the idoru and what they represent: glamour, beauty, freedom and immortality. likewise, the idoru yearn for the flesh and all that it entails...birth, life, death and real emotions, which they can only emulate. unfortunately, while some idoru are able to escape the confines of briteness landing,

humanity's forays into computer consciousness (braintaping) have ended disastrously. it is rumored that the poor souls lost within the virtual realm still exist there, as shadows that forever roam the corridors and alleyways of the city like ghosts. Tales of "hauntings" within the city (while not particularly common) are not altogether unknown.

// heaven: the world of light //
when speaking about the virtual world, the name "heaven" or "the world of light" is used (the physical world is known as "the world of flesh"). heaven manifests as a rolling sea of crystal blue water, dotted with small islands and archipelagos. The major body of land in heaven is the city of britness landing.

briteness landing is a huge, ultra-modern city, about the size of san francisco, california (49 square miles). clean, spacious and beautiful, it is the virtual heaven where the idoru live, work and play. transportation exists in the form of gleaming monorails and languorous airships (a few of the wealthier idoru own motorcycles for personal transportation). the city ends at the ocean, which stretches out to infinity in all directions. it is here, on the eastern side of briteness landing, where tourists enter the city via passenger ship.

the city is structured in a similar manner to other modern cities. it has skyscrapers, parks, gardens, streets and transit systems. of course, other amenities and utilities (such as water treatment plants, power companies and the like) do not exist at all, or exist in a purely decorative form (such as restaurants). there are no animals within the city except for drones, semi-intelligent constructs that function as background noise. also, human-looking drones are used to simulate crowds and such. without them, briteness landing would be unnaturally quiet and empty, a state which causes both human and idoru alike to feel anxious and unsettled.

off the northern coast of britness landing is angel island, a small landmass that houses the estates of the white emperands and the ultra-elite of idoru society. travel to angel island is strictly regulated and the entire area is designated as private.

// hell: the lands of the dead //
a dark and eerie landscape of dripping stalactites, dimly glowing pools of water, lush vegetation and crystalline beauty. the sweet-smelling air is always filled with haunting melodies, insect calls and distant thunder. idoru who end up in hell will be trapped forever unless freed by an emperand or by the touch of another who has journeyed down to rescue them. none of the idoru's powers function within the underworld and none from outside the world of light are permitted to walk in the lands of the dead.

// memeteers //
the memeteers are all but gone now. most have passed on in their old age. Those that remain are impossibly wealthy and famous beyond all measure. despite this, the memeteers live apart from our world and are not known to even visit the one they helped create. occassionally news will trickle down concerning the death of an old master or a rare interview with one of the more approachable geniuses. they seem happy enough to tend their gardens, read through old books and watch the sun rise and set.

// teslacops //
teslacops are monitors and administrators who handle the interaction between the worlds of light and flesh. more bureaucrats than police, the teslacops handle the human side of britneess landing: guest orientation, verification of accounts and travel visas, and levying fines and penalties for violations of protocol.

// totem colors //
each idoru is issued a specific color that identifies them and their belongings. This color, called the "totem color," must (by edict of the white emperands) appear somewhere on the idoru's person at all times (most idoru choose their eye color to match that of their totem color). also, etiquette requires that idoru create objects that incorporate their totem color. so an idoru with a totem color of lavender might have pale purple eyes and hair and live in a small house surrounded by lavender. any color may be chosen (but once chosen, that color may not be changed) save for black and white, which are reserved for the emperands, and bright orange (which is used for tourists). two or more idoru may have the same totem color. in fact, some idoru with the same (or complimentary) totem color often form small neighborhoods based around this hue.

// the emperands //
little is known about the emperands, save that the white emperands live on angel island where they rule heaven and the black emperands live in (and rule) the lands of the dead. Most of the emperands hail from the world of flesh but a few are rumored to be idoru. their power over their respective domains is absolute and none dare challenge their authority. both groups seem content with their positions and they rarely exercise their considerable power (except to act as arbiters when two idoru reach an impasse that duels or simply compromise cannot abate). 

// tourists //
the idoru are not the only beings existing within the walls of the city. tourists from the real world are constantly being led around the environs by tour-guides while others explore the cybertropolis at their own leisure. unlike the residents, the tourists are limited to pre-defined paths and specially-constructed virtual demenses where they may learn more about the city, search the world's libraries for information or order goods and services (as well as the ever-present flood of trinkets and souveniers).

the only humans allowed to have free rein of the city are the memeteers (though none seem to do so), the teslacops, emperands (the appointed rulers of the virtual world) and guests of the idoru who are issued digital visas which allow them access to otherwise restricted areas.

// motes //
motes are voyeurs who can observe the idoru but cannot interact with them. motes appear as tiny sparks of colored light floating through the air. single motes imply a small percentage of observers, perhaps as little as one to as many as one hundred. swarms of motes imply a much larger group of observers; some idoru may even have as many as a million individuals tuning into their lives. Fortunately, when the residents of briteness landing desire privacy, they can escape by retreating to their home (a private sanctum where the motes are not allowed to go). idoru can allow both tourists and motes into their homes but they usually charge a fee for this kind of intimate access.

motes attached to a specific idoru will appear in that idoru's totem color. motes are only visible to the idoru they are watching.

// tokens //
the economy of the world of light exists in the form of tokens. each idoru starts its life with a stipend of tokens that are used for various purposes (mostly the creation of buildings and material objects). tokens are earned through exposure to motes. the more motes attached to an idoru, the greater their popularity and the more tokens they earn. less motes confers less tokens. as idoru are first and foremost entertainers (more accurately, entertainment products), these tokens represent their cut of profits generated by the tourists and motes who buy products tied to the idoru in the world of flesh. some idoru abhor this crass commercialism, others embrace it.

idoru may also supplement their incomes by gaining patrons; tourists who pay a sizeable fee to spend time with them. what actually goes on during these often private sessions is entirely up to the desires of the patron and the discretion of the idoru (in this context such an idoru is called geisha, after the japanese word for a courtesan).

using tokens, the idoru can buy permission from the white emperands to create new buildings, objects, servants and even entirely new appearances. wealthy idoru have extravagant palaces and a veritable army of retainers. idoru of more modest wealth usually limit themselves to a small, artfully-decorated apartment and a butler or handmaid.

in short, tokens allow the idoru to create the stages on which to act out their lives.

// iDolls // 
for an idoru, the road to the flesh is difficult and absolute. there is no middle ground and once the world of flesh is chosen, there can be no turning back. the idoru's consciousness is transferred to an artificial body (called an iDoll) and wiped from the systems of briteness landing forever...failure to do so is a very serious offense.

the iDolls are built according to the spec stored within the idoru's "mind," sculpted bodies of a quasi-living material called skyn. artificial skeletons and musculatures are grown and the skyn is shaped over them to become hair, teeth, skin, eyes and internal organs. for all intents and purposes, the iDolls appear to be human, and indeed can walk, talk, feel pain and engage in all manner of physical activity.

but the illusion is far from perfect. iDolls retain an air of "otherness" and their physical natures differ from human beings in many subtle ways. iDolls do not grow old, for instance. their bodies are extremely durable and are able to regenerate skyn that is damaged or lost. subtle changes in hair and skin color may be accomplished (although iDoll eyes can never be physically altered). iDoll skin is pefectly smooth and hairless, save for that growing from the scalp, and even male iDolls display a marked degree of androgyny (most iDolls are female). iDolls can eat, but their delicate internal systems are limited to a substance called paste, a flavored gruel composed of essential nuterients and synthetic agents. it is rumored that the military has procured iDolls that have far more sinister abilities...but these are just that. rumors.

due to their make-up, iDolls may not enter or interact with the world of light.

// stories //
stories set in the world of light tend to be extravagant and operatic in nature. tales of love, loss, betrayal and tragedy are very popular. romantic episodes between idoru are usually brief and dramatic, with both parties "playing to the crowd" in order to gain popularity. familiar tropes of romantic fiction are emphasised, from simple cinderella stories of poor girls falling in love with princes to lavish period costume dramas with incredibly intrigue plot webs. others are much more demure and keep to themselves. needless to say, these private unions are far more lasting than their incendiary counterparts.

affairs between humans and idoru are somewhat rarer and almost always end tragically. more common are instances where a starstruck tourist becomes obsessed with an idoru and devotes much time and money to him or her. a few idoru are known "heartbreakers" but most view such infatuation with a mixture of pity and sadness.

idoru are fickle creatures and love to out-do one another, both in terms of status and creative endeavor. duels, contests and verbal sparring are common and provide much amusement to all involved.

some stories are completely fabricated within the world of light, allowing for a kind of story within a story as character portray idoru portraying characters of their own. These big budget productions are group efforts requiring hundreds or thousands of tokens each that go toward "building" the sets.

// role-playing //
idoru is an extremely narrativist game. there is no winning or losing, no attempt at accurately modelling a reality in minute detail. what is key here is the story and its characters. most of the time, players will be acting in character, immersing themseles in their chosen role. other times, the player may step into the shoes of a supporting character or even a tourist and let the other players step into the spotlight for awhile. The analogy here is that this type of game is like playing in a jazz band. Everyone has their own instrument and is allowed to solo, but the theme is never abandonded and each player is expected to provide back-up when needed. The result is an organic, involved piece of art that moves along to its own internal rhythm - a magical thing to behold and to be a part.

unlike the majority of games, idoru has no one person controlling the action, adjucating decisions or filling in the details of the world. just as each idoru is given power to define themselves and their own environment, each player is given free rein to explore, create and evolve the setting of briteness landing. characters invest a part of themselves into their character and this persona becomes their primary mouthpiece. through the character, the player may shape his or her surroundings and interact with the other players and their creations.

The final result is a memory - a lasting impression of an ephemeral moment in time.

// character //
characters in idoru are defined by their appearances, personalities and the qualities of conflict, expression and pose. for each quality there a brief description and list of possible uses. Also, descriptive terms are given - these are not part of the setting parlance and players may add to the list or ignore them altogether.

conflict: dueling, be it physical or verbal. masters of conflict are highly skilled in the arena of subterfuge and intrigue. those untrained in this area are meek and reserved, unwilling (or unable) to assert themselves.

conflict is used when: dueling, spreading rumors, lying, standing your ground

expression: emotional sensitivity and empathy. expressive idoru are great poets, composers and lovers. those without the ability to express themselves tend to be aloof and distant.

expression is used when: composing, speaking your mind, wooing a suitor

poise: elegance and refinement. an idoru with a great degree of poise carries itself well and exudes sophistication and refinement. idoru with low poise are rude, bestial and obnoxious.

poise is used when: holding court, performing ceremonies, being insulted

// sources //
idoru has been touched by many hands before coming into my own. william gibson's "san francisco trilogy" (virtual light, idoru and all tomorrow's parties) and j.g. ballard's short story collections (vermillion sands, myths of the near future) were major fonts of inspiration. virtual reality and the concept of the idoru (or even the robot) have both been dealt with in many books and movies, too numerous to mention. and while i'm not a particularly great fan of the japanese animation known as anime, the concepts presented here are best represented by the impossibly beautiful, dewey-eyed ingenue of those animated films. as always, the fine folks at gaming outpost have offered their opinions and ideas as well.