2025 week 49

Dec. 8th, 2025 04:52 pm
larissa: (VP ☄ ⌈Lenneth ; to my side⌋)
[personal profile] larissa

holiday love meme 2025
my thread here

my thumb still hurts, to the point that i'm going to see the doctor about it this week. truly i am so over this.

other than that i don't have much of an update... last week was something of a blur, tbh. i've been dealing with some pretty serious chronic pain (aside from the hand stuff) that's left me unable to do much of anything at times. i cannot overstate how much i would like my body to just chill out.

i did finish reading the first book in the kindom trilogy, these burning stars, and sure enough it stuck the landing and was an instant favorite. i'm a little ways into the second book but i've been reading it more slowly since every chapter is so good i want to savor it. we love quality books.

that's more or less it for now... i feel like there's something i'm forgetting to mention. oh well.

ailelie: (Default)
[personal profile] ailelie
So I've talked a lot about the power system I've observed (primarily) in webcomics. You'll also find versions of this in a lot of tabletop games (e.g., every force gets a face and a goal, etc). But what do conflicts look like?

So! A conflict is when two or more wants are mutually exclusive. What I want and what you want are incompatible. That puts us at odds. The wants can be internal to a single person, too.

(What about man vs nature, you ask? Fate (ttrpg system) provides a neat solution to this. Consider the natural forces as having wants/goals, too. The tornado wants to rage and destroy. The rain wants to fall. The desert wants to be all the extremes. Etc. In Fate, you can assign skills, aspects, stunts, etc to nonliving, nonthinking things. Before you argue that this anthropomorphizes too much, consider nature from the pov of the human stuck in the situation. To them it feels like the tornado wants to rage and destroy, even if that is impossible for a weather system to actually feel or think).

Power, as I've said before, is currency to enact your will and gain autonomy. In other words, power buys what you want. When people and factions act in a story, they are likely acting to either get what they want or to secure enough power to get what they want. The important thing to remember is that power is not the ultimate want. This edge between what someone wants and what they need to get it is where interesting negotiations, alliances, and betrayals can happen. 

But stepping back a moment. 

When conflict is crash between wants, what are the possible outcomes?

If A and B are in conflict, here are their options:
  • Either backs down and the other gets what they want without compromise. Backing down can be giving up, a strategic retreat, or a personal reassessment of what they want.
  • They negotiate, each compromising on what they want so that they get part of it.
  • They refuse to back down and then either one side wins and the other loses, or they destroy each other.
  • They sacrifice what they want to ensure the other doesn't get what they want.

Now lets talk wants a bit more.

A want is anything someone wants to achieve, but there are levels. 

A Heart's Desire is the ultimate thing a person or organization wants. It is the end of the five why exercise, what comes after "so that" or "in order to" etc.

To achieve a heart's desire, a person has Goals. If I achieve this Goal, I will get what I Want.

To achieve a goal, a person has a Plan.

Elia wants to become the leader of the Blue Herons because she believes it is the best way to honor her father and allay her guilt for not returning home when he'd asked. To become leader, she needs to win an election. She is working hard to secure votes.

Despite the language used, Elia's Heart's Desire is to "allay her guilt." Her Goal is to "become leader of the Blue Herons." (Honoring her father is another goal more than a desire. She views it as a want, though. It could be an interesting moment when she finally honors her father, only to realize the guilt remains). Her Plan is working to secure votes.

Now, say Elia is going up against someone named Cory.

Cory is from a village suffering from repeated monster attacks. His people are barely hanging on. The only way to help is to get a faction like the Blue Herons to intervene. He's pleaded for aid, but no one will help. He's decided the only way to help his people is to take control of the Blue Herons and force them to help. He's working hard to secure votes.

Cory's Heart's Desire is to "save his people" and his goal is to "become leader of the Blue Herons." 

Elia and Cory are in conflict. They cannot both lead the Blue Herons. But, if Elia can convince Cory she'll help his people, he could step down. She gets to honor her father by leading, and he gets to save his people. Alternatively, Cory could convince Elia that saving his village is a better tribute to her father. That would let her step down.

Both are going after Power (leader of the Blue Herons) in order to get what they want. If one finds an alternative route to what they want, they no longer need that power. 

...and now my lunch break is over.

10 things about the gay hockey show

Dec. 5th, 2025 09:37 pm
marina: (pretty boys)
[personal profile] marina
So, I've been stuck at home for 3 weeks now with a broken ankle. I've watched so much TV. SO. MUCH. TV. Some of it utterly delightful ("The Summer I Turned Pretty", "Queen of the South"), some of it utterly forgettable. Then "Heated Rivalry" came out, and due to the tragic circumstances of being stuck at home, I've watched the first 2 episodes. Let us acknowledge this up front: I should have only watched this show after it finished airing. Like, week-to-week is a very bad format for me with this show.

However, episodes have been consumed, this show is already doing numbers in fannish circles for obvious reasons, my guess is that that trend will continue, and so I need to get stuff off my chest I guess. Think of this not as a public statement but more as a private space where I process stuff, just for the sake of framing the below.

thoughts in no particular order )

Terms

Dec. 4th, 2025 09:57 pm
ailelie: (Default)
[personal profile] ailelie
I need to be clearer and more uniform with my terms.

A faction is one or more people who wield a specific type of power.

Power is the currency to enact one's will and to have autonomy from others. There are many types of power.

Authority is what enables a person or faction to wield power. Authority can have many sources (e.g., experience, tradition, divine will, popularity, loyalty).

Power has a source, methods (for lack of better term), and requirement(s). The source is very similar to the authority, except it is for the power, not the wielder.

One source of power for martial power type is gratitude. People are grateful they're alive and safe, so they recognize, honor, and obey the military. Other sources are might, fear (both fear of martial might and fear of losing martial favor), and tradition.

Methods are how the power is wielded and expressed in the world. For example, one method the church can use to wield religious power is sermons. They can also offer to grant or remove blessings. In contrast, social power can be wielded through maintaining relationships. In highly structured societies, social power can also be wielded through knowledge and use of the norms and rules.

Requirements are the rules for maintaining authority to draw on the power. The wealth power type requires being wealthy. The religious power type requires recognition. The loyalty of the people power type requires maintaining the favor of the people. Wielding imperial power requires being the emperox or having the emperox's favor.

Obviously, I'm still thinking things through.
ailelie: (Default)
[personal profile] ailelie
Age of Arrogance is a webcomic I'm reading. I talked before about how politics typically take shape in a webcomic/etc. I'm going to use my current one (I just finished chapter 47 of 93 so I'm just past the midpoint). Spoilers will be minimal (if present at all) because I'll be talking about characters and power, not character dynamics or plot.

Here are the major players:
  • Emperor (Imperial power)
    • His empress and her children
    • His mistress
    • The former crown prince (Imperial (withdrawn), Military Might, Wealth (partially via Imperial), Good looks)
  • The Duchess in the North (Defense, Fear, Loyalty)
  • The Former Crown Prince's Tutor (Academia)
  • The Church (Religion)
    • The High Priest (Religion, Magic)
  • Lady Dufret (Information)

Imperial power rests in the emperor or empress. Those the emperox (we'll use that) favor can wield imperial power, but that favor is easily withdrawn. This is why spouses and concubines in stories often represent other powers in the setting. Also, pregnancy and children matter deeply for two reasons. (1) Children, especially new children, can be a sign of the emperox's favor. They are proof the mother has the right to wield imperial power. (2) If a child is the heir, the non-emperox parent has a chance to wield imperial power through the child instead of their spouse. (3) The non-emperox parent of an heir can also wield the power of fear. Once their child rules the land, the parent can bring ruin to their enemies and riches to their friends.

So, it is very unsurprising in this story, that the empress allies herself with the church and the mistress strives to get pregnant. The empress seeks an alternative power source while the mistress tries to strengthen her connection to imperial power.

The crown prince used to have access to imperial power, but he's been disowned for three years. That makes his power potential only. He does use a bit of his father's remaining favor to trade some imperial power for wealth. Being disowned means he has also lost his position as the leader of the military. He still has knights, though, but that makes his military power more personal and loyalty-based. Finally, he's attractive and has always seen that as a way of exerting influence over women. When his new wife barely blinks at him, he's thrown off-kilter. He's lost so much of his power in one fell swoop and now his wife (the Duchess of the North) has unintentionally neutralized one of the power sources he'd thought he couldn't lose (his looks). He also has a divine blessing that grants him a little religious power, but not much.

His time in the North focuses on consolidating power. 

(Note: When I say religious power, I don't mean he can speak for or command the church. It is more the blessing gives him religious authority, if that makes sense. Instead of getting authority through study or years of practice in the church, he has a small amount because the gods said so).

The Duchess of the North draws power by being a defender of the realm. In webcomics, the North is always a cold and dangerous place on the edges of the kingdom. It is vast, but underutilized due to harsh conditions, war, and a dearth of people. The duke/duchess of the north has to be strong to lead such a place. If the North falls, the empire/kingdom will falter. Often, the North is second in power only to the Emperox.

In addition to getting power from fear (what if the duchess lets the north fall), potential (what if the duchess overthrows the emperox), etc, the duchess (margrave, in this story) gets power through loyalty. She has earned the love of her people and they are deeply loyal to her and the land. Her lack of resources made her vulnerable to the emperor in the story, and gave the crown prince an "in" for establishing an alliance with her in the first few chapters.

The other major source of power in the story is the church. Within the church is a second faction that focuses on magic. So the church and the mage tower are basically one. In this setting, though, magic is (so far) evil. The church, on the other hand, is neutral, save for when the faction is involved.

The crown prince has allies. His old teacher carries the authority/power of academia. His aid holds no actual power, but he has influence with the crown prince due to their long-standing friendship. A would-be empress brings with her the power of information (and is shaping up to be an awesome spymistress; I really hope things go well for her).

Everyone either represents a power faction or they have influence with a power faction through personal relationships or some kind of authority (e.g., the divine blessing).

This ramble is probably a mess to read and understand. Regardless.

November 2025 Monthly Media

Dec. 2nd, 2025 06:58 am
cinaed: This fic was supposed to be short (Default)
[personal profile] cinaed
  • * = Rewatch/reread

    Anime/Cartoons

    • Bob’s Burgers 16.05-16.06
    • Hazbin Hotel 2.01-2.08
    • The Mighty Nein 1.01-1.04

    Books/Short Stories

    • Bandits and Breadknives by Travis Baldree
    • The Ministry of Time by Kaliane Bradley 
    • Gothic Tales by Elizabeth Gaskell
    • Take Me With You by Andrea Gibson 
    • Breaking the Dark by Lisa Jewell 
    • The Vanished Birds by Simon Jimenez
    • Alien Clay by Adrian Tchaikovsky 
    • The Incandescent by Emily Tesh

    Manga/Comics/Light Novels

    • Oglaf (ongoing webcomic)
    • Order of the Stick (ongoing webcomic)
    • Wilde Life (ongoing webcomic)

    Movies/Documentaries

    • Double Indemnity (1944)
    • Rear Window (1954)* 

    Theater/Concerts

    • Hadestown (National Theater)
    • Some Like It Hot (National Theater)

    TV Shows/Web Series

    • Abbott Elementary 5.01-5.06
    • Critical Role 4.01-4.07
    • Survivor 49.07-49.10 

    Video Games/Board Games

    • The Great Ace Attorney Chronicles 

2025 week 48

Dec. 1st, 2025 07:25 pm
larissa: (BSSM ☄ ⌈Usagi/Mamoru; shining star⌋)
[personal profile] larissa

in the continuing comedy of errors that is my body, my thumb hurts. this isn't even the thumb on the same hand as the other injury, so i guess i've been overcompensating. i've been resting and icing it all day and am hoping it will settle down on its own... i really don't want to deal with more hand pain than i've already got.

thanksgiving was nice; i got to see some family i hadn't seen in a long while, so it was good to catch up. (also i had some excellent pumpkin cheesecake.) other than that, there hasn't been a lot going on in irl news.

this week's ff14 update is that i'm pretty much done farming mogtomes aside from weeklies, so it's been back to the diadem. i am nearly done grade 3 botany, at which point it will be on to grade 3 mining. then i'm home free. (i am not even remotely home free; i still have 200k+ points to get in both botanist and miner.) other than that i've been working on the crafting portion of the ishgard restoration grind; i really should be working on the moon crafts as well but i haven't caught a lot of weather windows for it lately.

in reading news, i did not end up continuing the trilogy i was struggling with. instead i read a quick, lighthearted sci-fi romp, and have since started a space opera, bethany jacobs's kindom trilogy. i'm only halfway through the first book, but if it sticks the landing it's definitely going to be a favorite: excellent writing, characters, and plotting in a genuinely fascinating worldbuild. the characters are really what's selling it more than anything; one of the leads is refreshingly unlikeable and makes for a great character to follow.

that's about it for now. i really hope my body chills out in the coming weeks, because i am so over all this pain...

Writing politics and power

Nov. 30th, 2025 07:32 am
ailelie: (Default)
[personal profile] ailelie
This was originally a comment on reddit.

I think the advice that says politics is about power is good to consider. However, I would add that it isn't just power for power's sake. Power is energy. If it isn't doing anything, it is only potential--something to account for, but not something that is having an active effect on the world. Politics is kinetic or power in motion.

Power allows its wielders to accomplish one of two goals: secure their autonomy or enact their agendas. These often, but don't always, go together. Sometimes, when they diverge, it depends on the source of the power. Note: Autonomy isn't just freedom, but is also the ability to meet your own needs.

For example, two students go to university; one cooks his own meals and the other eats in the dining hall each day. The latter has paid for convenience and possibly for more time to devote to her studies (fulfilling an agenda), but the former has more personal autonomy. If the dining hall suddenly shuts down, he won't be going hungry.

So, since sources can affect how power is used, I think it is most important to start with those.

Some major sources of power are

  • tradition
  • religion
  • wealth
  • political structures (e.g. a constitution)
  • access
  • influence (both broadly/culturally and singularly/personally)
  • fear
  • might
  • knowledge.

It is important to know how each source grants/uses, limits, and revokes power. By grants/uses I mean what are the ways a person can wield the power of the source? In political structures, one way is laws. In influence, one way is a whisper campaign or advising a friend. In religion, one way is declaring something anathema so that adherents avoid it. Each power source determines, to a degree, what a person can do with it. Most people and organizations cultivate multiple sources to widen their menu of actions and to compensate for limitations.

For example, wealth grants power by enabling the wielder to convert the wealth into a different type of power.

For example, they can buy off a priest for religious power or they can spend to be on the edge of trends for influential power. They can cultivate a salon of innovative ideas for both influential and knowledge power. The power of wealth only lasts as long as the money holds out, however. Anyone relying on wealth will find themselves powerless when the money goes, unless they've, for example, collected blackmail (fear-based power) or connections (personal influence; being someone others listen to). Another limitation is that power bought by wealth may carry the stigma of money (e.g., they bought their way in, etc).

Another example, political structures may elevate one person as ruler over the land, but they are limited by the description and responsibilities of their role. They may also need to work with other entities created by the same political structures. Many leaders cultivate another power source to ensure they can enact their agendas (e.g., influence, tradition, religion).

Also, note, no source is infinite. The fewer who draw on a source, the more power they have.

The next step is identifying who in your setting has power and what kind of power they command. Guilds have knowledge power--they're the ones who know how to do crafts. They may also have access power aka the decision of who gets to learn the craft. That access power could also belong to the local government, church, etc.

So, figure out who the players are and what kind of power they access.

Next, going back to the top of this post, think through what each player wants to do with their power. Is their focus fully on remaining free from any strictures and being able to meet all their needs, or do they have an agenda they wish to see fulfilled? Or is it some combination of both?

Also, what are they willing to lose to keep their power and to fulfill their goals? These are not the same. For example, a person may be willing to accept another's patronage (losing autonomy) in order to gain more cultural influence (gaining power). And, if goals conflict, which ones take priority?

Next, remember that there is a difference between the organization that consolidates power and the individuals who act upon it. Some people can cultivate power on their own, especially for personal or cultural influence, but often it is the organization that amasses power and the individuals who spend it. Those individuals all have their own agendas or desires for autonomy and so politics is a fractal.

Finally, power does not exist in a vacuum. It is all connected. Every move tugs strings that affect others. There is two major things to consider here--connections among power players and effects of actions.

Some players, in your setting, may be automatically opposed. This is usually because they are drawing on the same source. If the university starts teaching basic physics and machines, the guilds may be upset that the university is intruding on their knowledge-based power.

This immediate opposition has consequences for individuals as, in order to keep drawing on their institution's power, they must maintain the rivalry. A new guild master is best friends with a university professor, but they hide this because the guild would revolt if they knew or would expect her to use personal influence on the professor to make the university drop the coursework. Etc.

This conflict between the organization the draws and consolidates the power and the people who use it opens up a lot of opportunities for back-channels and manipulation.

The other type of connection to consider is effects. Every action has an intended primary effect and, often, intended secondary effects. Every action also has unintended secondary effects. Then think through who supports and opposes the primary and secondary effects and why. Also, the same player can oppose one effect while supporting the other. So then you need to think through how they act on that divided support/opposition.

The government passes a law that all laws will now be translated into every language in the empire so that no one may claim ignorance of the law. The intended effect is to stop that line of defense from a group of rebels. The unintended secondary effect is that this grants additional power to the university who house the most translators.

The rebels oppose the law because it limits them by reasserting the empire's control over them. The church also opposes the law because they do not want the university to grow in power. However, the church does support limiting the rebels. So, the church makes a show of supporting the law in public, but then works behind the scenes to revise or revoke it in favor of the church's solution to the rebels. Or, maybe, they support the law, but then appoint a few priests to reach out to the rebels in sympathy or take action to require all translators work through the church. Etc.

Anyway. These are just my thoughts on the matter. I hope they're helpful!


Creating Villains

Nov. 30th, 2025 07:20 am
ailelie: (Default)
[personal profile] ailelie
Originally a comment on reddit.

How I'd design a villain for a story is different than how I'd do one for a ttrpg game, which differs from how I expect I'd do one for a video/computer game. Here are some thoughts and ideas to keep in mind, though.

Type of Villain

I think you can divide most villains into three categories: good motive/bad means, bad/disputed motive, and chaos or self-seeking.

Type 1: Good motive/bad means
The villain wants to accomplish something that the heroes don't find all that objectionable. They're seeking a cure, trying to save the environment, etc. However, to do this, they cross lines the heroes can't condone, such as murder, human testing, etc.


Type 2: Bad/Disputed motive (means vary)
The villain wants to accomplish something the heroes disagree with either partially or fully. An example for 'partially' might be that the villain wants to protect vulnerable people from enemies. However, they label some ordinary group of people as enemies. An example of fully might be that they want to call forth a sadistic god to subjugate the planet. Means could vary. Cultists who distribute literature about their god in a bid to get enough people performing regular blood sacrifices to call their god forth are rather different from those who sacrifice people against their will.


Type 3: Chaos- or self-seeking
The villain has a personal drive they're satisfying that may or may not be clear to outsiders. Their actions may seem erratic as they are motivated solely by some internal compass. That said, some do develop patterns. I'd classify murderers and rapists in this category, but I'd also shelve in characters like the Joker.

Something to also keep in mind is that many villains also have one of two traits: (1) they're holding onto some old slight or regret and can't let go; or, (2) they embody a positive value to the extreme.

Also, all of these villains may have bad guys working for them. Mooks, though bad, =/= villains.

Villainous Goals and Threat Level

I grouped these together because they determine whether or not a villain should be pursued.

For a game, a villain with a clear goal is the least frustrating for players. This does not mean the villain is easy to thwart, only that they're easier to engage with and they tend to generate longer stories. (Chaos/self-seeking villains are either one-shot adventures or too hard to predict to plan around).

A goal is simply what the villain wants to accomplish. If the villain is leading or part of a cult or organization, it is a good idea to have the organizational goal, the villain's reason for leading/working with the organization, and the villain's personal goal.

The Cult of Salt is stealing blood for a ritual to flood the land, returning it to aquatic creatures. They believe their god will reward them with appropriate bodies when the time comes and then they'll rule the seas. Marin Wavewalker is leading the cult but she is doing so because flooding the Temple of Ove is the only way to prevent a prophecy about the end of the world from being fulfilled. If the Temple is under the waves and its priests drowned, no one can call down destruction from the stars.

Threat Level refers to the villain's speed, brutality, and capability.

Speed refers to how quickly and frequently the villain is acting. If a villain is planning a long-game, they can be back burnered for a while as the players address a more immediate (and level appropriate) foe. If the villain is attacking right now, then they're of a higher threat than a more brutal or capable villain that isn't.

Brutality refers to how much the villain's actions hurt people in terms of the impact and length of their effects. If they use magic to make people fall asleep for a day, they're far less brutal than if they cause people to sleep for a year. A villain who beats people up is less of a threat than one who kills people. And the guy who kills people with a single shot to the head is less brutal than the one who tortures them first.

Capability refers to the villain's ability to make things happen either personally or through cat's paws, allies, or underlings. If a villain can't make things happen or their plans often fall through, they're less of a threat than one who can.

Stages to the Plan

Accomplishing a villainous goal should either require multiple steps to complete or be something that never really ends. Summoning a god via ritual is an example of the former while protecting the environment is the latter. (Though, a villain could develop a master plan to save the environment that has multiple steps).

To do this, start with the ultimate goal and ask "What does the villain need to accomplish this?" Brainstorm maybe 3 different things. Then, for each of those things ask the same question, but this time, brainstorm 2 things. Finally, either stop there or brainstorm one thing for each of them.

Level 1
  • For example, to summon the Salt God, the Cult of Salt must create a lake of blood, chant a song in unison, and provide a vessel for the god to occupy.
Level 2
  • To create the lake of blood, they need to drain many people of blood and they need a special herb that keeps the blood from coagulating.
  • To chant the song, they need to track down the lyrics hidden in a cave and hire a bard to draft an easy-to-learn and sing melody for the words.
  • To provide the vessel, they must collect the bones of a leviathan and construct a doll from them.
Level 3
  • To drain many people of blood, they have created a competition among murderers and thieves.
  • To collect the herb, they have blackmailed a guild into selling it to them at a steep discount and to sell it to no one else.
  • To find the lyrics, they are hiring adventurers.
  • To draft the song, they will commission a famous bard.
  • To collect the bones, they are stealing them from various museums, adventuring guilds, and private homes across the land.
  • To construct the doll, they have kidnapped a toymaker's daughter and won't release her until he creates the doll.

Then just put those things into a timeline and you've got a lot of little actions for players to slowly realize are all connected and some clear goals for them to mess with. Honestly, having them be the ones to find the lyrics for a client in an early adventure could be a great way to make them care a bit more later on about stopping the villain.

To ensure that stopping one level 3 event doesn't stop everything, villains should have plan Bs. You free the toymaker and saved his daughter? Lovely! But the villain had some bones in reserve or will pull another heist and, this time, they work on swaying a puppet-maker to their cause so that they'll build the doll willingly. Etc.

Level 3 goals should always have a Plan B. Level 2 goals are necessary. If they are missing in full or part, the final goal comes out wonky. Level 1 goals have no back-up plans.

I know this isn't a clear step-by-step guide, but I hope you find it helpful regardless.

Note: Level 3 goals can also have multiple stages.
  • The cult hires adventurers (through an intermediary) to locate the lost lyrics. Let's say they hire the heroes.
  • The University of Wrynn is also seeking the lost lyrics for personal study. They have hired a rival group of adventurers.
  • The heroes compete with this rival group to locate a map to the cave, overcome the traps, defeat the corrupted guardians, and find the key to the iron bookcase housing the lyrics. Then they must prevent the rivals from stealing the lyrics from them or they must plan a heist to steal the lyrics from the university.
It could be a good 2 to 4 sessions of gameplay, depending on how you planned it and how your players engaged with it.




ailelie: (Default)
[personal profile] ailelie
So, one feature of the isekai/etc comics I read is the inclusion of politics. Some do this very well and others...not so much.

I was coming back to a comic I'd read part of a while back and it took me a bit to remember the storyline. As part of my remembering, I started identifying and aligning factions without thinking about what I was doing. Once I noticed, I realized there was a pattern that is potentially useful for other stories (and for tabletop games).

Anyway! Every faction in these comics has the same goal: power. Power is an interesting goal because it is really just a type of currency. Power enables its wielders to shape the world in specific ways. The better comics get into what the factions want to do with said-power, but often that is just left unstated. 

In a comic, every faction has an alignment of sorts that basically comes down to how they feel about the main character's chosen faction (or the MC's romantic partner's faction). The alignment has little to do with good/evil, noble/selfish, etc. While those can be factors, what ultimately matters is whether the faction promotes or obstructs the main character's goals.

Anyway! The factions you typically find (though you may not find all of them in the same story) are the following:
  • Imperial/royal: The people who rule the realm (this faction may be divided by the ruler and the spouse. If so, the spouse is likely tightly connected to either the traditionalists or the progressives).
  • Traditionalists: Typically older noble houses that support tradition
  • Progressives: Typically new noble houses that support change
  • The Defenders: Different from the military, this is often a noble house or guild charged with the specific duty of defending the realm, such as from monsters. This faction is often represented by 'The Northern Duke.'
  • The Church: These may be represented by an actual church, priesthood, or a saintess.
  • The Military: These may be national forces, a mercenary group, etc.
  • The Magic Tower: Not always a tower, but an organized magical group; may desire control over magic.
  • Merchants: These are rich commoners whose wealth may be on par with nobility.
  • Scholars: These may be represented by a university or guild; typically they are innovators developing new technologies.
  • Information Guild: Rarely a power-seeker on their own, but can sometimes become a close ally rather than mere resource.
  • Common folk: Rarely a faction on their own, though.
Each of these factions draw authority/power from different places.
  • The imperial faction typically gets their power from the societal structure, primarily, though they may also borrow divine authority.
  • Traditionalists get their power from the weight and importance of tradition and history. They also tend to have wealth. If they're nobles, they also get power from the societal structure.
  • Progressives get their power via an alliance of whatever faction is fueling or most benefitting from change. So they may get the power of populism (common folk), innovation (scholars), etc. They also likely have wealth and, if noble, societal structures on their side.
  • Defenders get their authority from fear (the fear of what happens should they stop their defense).
  • The Church gets power from a perceived connection to the divine. They represent a power beyond humanity. They may also have power from populism if well-liked by the common folk.
  • The military gets power through might, primarily.
  • The mage tower gets power through might as well, but they may also have innovation on their side. (Innovation is the ability to do something others can't or do something more effectively than they can using a new method).
  • Merchants have wealth on their side, primarily. Wealth lets you buy the kind of authority you want. 
  • Scholars primarily have knowledge and innovation for authority.
  • Information guild relies on knowledge.
  • Common folk have the power of numbers. They are numerous.
Other types of authority that can occur, but that are a bit less tightly aligned are reputation (this includes honor), connections (knowing people as this grants access, information, and favors), romance, competence, etc.

Anyway. I think when setting up a game (or basic world), it could help to decide which factions you want to be major players. Then, decide how each faction is represented in the setting. Then ensure each faction has a unique authority (unless you want them fighting for control of an authority). For bonus points, decide what each faction wants to do with their power. What do they do with what they have? What have they planned should they get more? What do they fear if their power wanes or another faction's power grows?