GR: Did you take any ideas from books, games, or movies for this environment of evil winning? Which and how?
MacLean: The Black Company was very influential, with is an excellent show of a world wherein the cast of characters know the stories and myths of the magical bigwigs but are only semi-aware of how it all actually works. Black Company also had a great sense of soldiers-as-people and it didn’t fall into the brash-hero/peasant-savior nonsense that most fantasy novels can’t help but repeat to death.
Myth: The Fallen Lords was also a big influence, with its grim take on the true cost of being a hero. Myth was also inspired by Black Company, and like Myth, Tyranny features magical sociopaths with personality-driven powers set alongside grim, desperate regular folk trying their best not to die.
A world wherein there’s one big evil dude on top really only works when it’s sold with great big lies that get the average person invested in the evil (or just dependent upon it), instead of willing to resist it. And for evil to win long term, it also needs to be immune to self-implosion (since we’ve all read enough fantasy literature to know that evil defectors are involved in 9 out of 10 evil regicides). So with that in mind, I’ve found most of my inspiration comes from non-fiction: fascism, American exceptionalism, drug cartels, capitalist corporations, and militaries through the ages have all provided a great deal of inspiration as to how evil wins.
Megan Starks, Narrative Designer: I really like the dark humor in many of the Orcs' lines in the Lord of the Rings movies. I also like to think a bit about some different bad guy groups like the Governor or the people running Terminus in The Walking Dead, the raiders in Fallout 3, the reavers in Firefly, US prohibition-era gangsters, or hired gun type characters (whether it be a spy like Brock Samson from the Venture Bros or a sellsword like Bronn from Game of Thrones).
For examples of good people, or just normal people—both good and not-so-good, caught in situations they don't have much control over (you do what you have to protect your country and/or to survive)—I looked at various war movies for inspiration. If these influences seem like they're all over the place, it's because they definitely are. It's good to consume a lot of different types of narratives and character portrayals and blend them together new and interesting ways, in my opinion.
Paul Kirsch, Narrative Designer: I take some inspiration from Michael Moorcock’s Elric of Melnibone series—not as much from the sword & sorcery angle as the impression that the protagonist comes from a context so inherently dark that cruelty and atrocity are the benchmarks for normalcy. If doing something unspeakably awful is presented in a casual tone, chances are fair I’m tipping my hat to Elric.
Another of our big themes is power and how it gets wielded. We take a lot of inspiration from Soylent Green—specifically the scene where Charleton Heston is supposed to be investigating a murder and he spends most of the time looting the victim’s upper-class apartment. He’s operating within the rights that his station affords him, he’s being a huge dick about it, but he doesn’t spend a moment questioning the ethics behind this behavior. That’s a good roadmap for understanding how the Fatebinder expresses their authority.
Robert Land, Narrative Designer: I played a lot of D&D growing up and was the DM most of the time so I spent days designing my own worlds and filling them with both good and evil, so I usually tap into those stories if I want something particularly evil to write about. But I love sci-fi, horror, and fantasy, so there's a gigantic mess of twisted ideas roiling around in my brain.