Isekai Punishment Program
People
The History of Isekai Punishment Program so far
No one used to live here. The world is a fabrication—each simulation is custom-generated for the punishment of a specific criminal, built around prewritten story templates and populated by artificially grown, psychologically conditioned individuals who believe the world is real. These characters, often called “organics,” are raised from birth inside the simulation, with fabricated memories and scripted roles designed to serve the scenario. The geography, history, and culture are all procedurally crafted to support the illusion of a fully realised world—but it only exists for as long as the narrative needs it to.
The characters think they have ancient histories, noble lineages, divine prophecies, and ancestral wars. In truth, those histories are nothing more than well-coded backstories—props in a play where the villain’s death is the climax, and the world resets when the curtain falls.
Current Species & Cultures
Within the simulation, the world is populated by a variety of humanoid “cultures,” each created to fulfil a specific narrative function. The dominant civilization is the Human Empire, a rigidly class-based society ruled by noble houses and guided by divine prophecy. Nobles are said to descend from magical bloodlines, while commoners live under strict control and serve roles of support or sacrifice. The Holy Church wields massive influence through the Saint system, believed to be the divine will of the gods, and its teachings shape most moral and political structures. The Demonkin, a race demonised by history, exist as an external enemy and symbolic threat—designed to raise tension and provide the villain’s downfall, though they may not be inherently evil.
In truth, these “cultures” are fabricated lore sets—modular, prewritten societal structures programmed into the simulation and assigned to organic NPCs bred or inserted into their roles. Their history is nothing but elegant code, looping endlessly to support the illusion of depth.
Needs & Relations
Nobles (Highborn Humans)
The nobles are the magically gifted elite, descended from ancient “heroic” bloodlines and tasked with upholding the empire’s honour, traditions, and supremacy. They look regal and refined—perfect appearances shaped by selective breeding and glamour magic. Their greatest need is status—to gain and maintain social and magical dominance through marriage, prophecy, and spectacle. They rely on commoners for labour and validation, and on the Church to legitimize their power. Nobles view others as either tools, threats, or stepping stones, and consider emotional vulnerability a weakness.
Commoners (Lowborn Humans)
Commoners are the broad foundation of society—shopkeepers, servants, soldiers, and students. While they lack noble blood or significant magic, they often possess practical talents or raw magical potential. They need protection, stability, and recognition, but most are taught to accept their station and revere the Saint system as their moral guide. Many resent the nobles but fear them more. Some secretly hope for change; others cling to the idea that nobility is divinely earned. They see nobles as distant and dangerous but unchallengeable.
The Church / Saint System
The Church serves as both a spiritual institution and political force, claiming divine authority through prophecy and the Saint. It needs control over belief—the power to guide public opinion, dictate morality, and protect its chosen champions. It depends on nobles for funding and legitimacy, and on commoners for faith and reverence. The Church sees nobles as useful but corrupt, and commoners as sheep to be shepherded—or sacrificed if necessary. The Saint is both their symbol and tool.
Demonkin (Outsiders / Villains)
Demonkin are feared magical beings said to have betrayed the gods long ago. They vary in appearance—some human-like, others monstrous—but all are marked by glowing sigils and corrupted magic. In truth, they were written into the world to serve as a living threat and justify war, divine wrath, or the villainess’s fall. They need freedom and recognition, but are instead hunted, exiled, or used as narrative tools. They view all others as either jailers or lost kin. Occasionally, one slips outside the script.