半壁江山 (Half the Empire) — An AI-Built Western Jin Roleplay of Six Fates and One Broken River
Final Product: 半壁江山 (Half the Empire)
Cover
The 16:9 key-art cover, painted for this work in its own sumi-and-rice-paper style: on the right, the Prince of Langya in black and deep-crimson court robes stands at the end of a broken river pier, looking across the Yangtze toward Jiankang; beside him the northern general grips a splintered oar, and a thirteen-year-old girl in light armor holds a sealed letter against her chest. Behind them the Central Plain burns, and the river keeps its silence. Ink black, warm paper cream, one restrained note of vermilion.
Gameplay
Actual game screen at 1280×800: the opening of 半壁江山. The title, the premise — Luoyang has fallen, the emperor has been taken, the Five Barbarians' cavalry have crossed the Central Plain — and the choice of whom to act as. The default is 司马睿, the Prince of Langya, who must build a court out of a ruin and knows that every pillar he raises belongs to someone else.
Gameplay
The perspective selector: six playable lives, six different halves of the same truth. 司马睿 needs the great clans to sit on a throne that is not yet his; 王导 balances the crown against the Wang family; 祖逖 wants to march north with an army the court will not fund; 刘琨 holds the last Jin banner in Bingzhou; 石勒 is building a state out of a slave's memory; 荀灌 is thirteen and the only person who can cross the siege line at Wancheng.
Gameplay
Acting as 荀灌, the sealed letter in her hands and the optional first-input field open beneath the start control. The field is where you can set your own opening — the night before the breakout, the road through the pickets, the moment she decides her father's refusal will not be the end of the story. Leave it empty and the AI opens the scene from the world's own hooks.
半壁江山 is a playable political roleplay set in the last years of the Western Jin, when the north had already fallen and the south was still deciding what kind of country it would be.
Luoyang is gone. The emperor has been taken. On the roads south, the great families carry their genealogies and their servants and very little else. In Jiankang, 司马睿 — the Prince of Langya, a Jin clansman with the best southern base and no army of his own — waits for the clans to decide whether a throne is worth building around him. 王导, head of the Langya Wang, is the man who can make them decide, and the man who knows exactly what that favour will cost. 祖逖 has already struck the oar mid-river and sworn to take the north back; the court has given him a title and no grain. 刘琨 is still holding Bingzhou with three sealed letters that no one in Jiankang will answer. 石勒, who remembers every hungry day of his slavery, is teaching himself how to rule. And 荀灌, thirteen years old, is the only one small enough to slip through the siege at Wancheng and fast enough to reach the one general who might still come.
Every way out is built on someone else's dead end. The roleplay never tells you which side of that sentence you are on — it gives you a perspective, a room, a set of people with their own plans, and two to four moves with visible costs. Nothing is decided for you and no ending is assumed.
The weight of the scales. A short ink-wash scene from the same world: at a grain stall in Jiankang, a prince in plain travel robes rests two fingers on the beam of an old balance and learns what the city actually weighs.
Game Features
- Live LLM Narrative Direction — nothing here is a fixed script. A deepseek-v4-flash agent reads your move, keeps each historical voice in register, and writes the next beat, the subtext and two to four actionable choices with their costs. It knows that 王导 does not speak plainly, that 刘琨's reports are more hopeful than his position, and that a favour from a great clan is never a gift. The same agent planned the premise, the relationship graph, the four investigable threads and the attention rule that forbids it from narrating your choices, speech or feelings.
- Six Lives, Six Halves of the Truth — choose 司马睿, 王导, 祖逖, 刘琨, 石勒 or 荀灌. Each starts in a different room with a different kind of power: a banner without an army, a family without a throne, a general without grain, a city without relief, a warlord without a system, a child without permission. The same event reads differently from each seat, and what one perspective calls a victory another calls the beginning of the end.
- Four Investigable Threads — the political geometry is playable, not decorative. 王与马 asks whether the crown is a partner or a hostage; 并州那盏灯 asks why three desperate letters went unanswered; 中流击楫 asks who is quietly starving the northern expedition; 从奴隶到帝王 asks whether 石勒 can build an order that outlives his cavalry. Each thread carries clues, actions, discoveries, a reveal and consequences that change what people will admit to you.
- Everyone's Way Out Is Someone's Dead End — the relationship graph has eleven edges and no clean ones. 司马睿 depends on 王导 and resents the dependence; 王导 promotes 祖逖 and withholds his supplies; 祖逖 needs the court that fears his success; 刘琨 waits for a rescue that would cost Jiankang too much; 石勒 respects 祖逖 as the one variable he cannot predict; 荀灌's father would rather die than send her, and she is the only route left. Trust is a resource, and every promise has a price attached somewhere off-screen.
- History Without Plot Armor — the setting is the 4th-century Jin court, not a fantasy version of it. Clans, clients, grain, titles, marriage networks and the cavalry of the steppe do the work that magic usually does. The attention rule keeps the prose restrained and era-appropriate: no hot-blooded fantasy, no modern idiom, no convenient last-minute army. Choices are offered with their costs, and a refusal is respected immediately.
- Transparent Sprites, Painted Rivers, Zero Install — all six principals were cut out into true transparent PNGs with a birefnet-general segmentation pass, so they stand cleanly over the river pier, the ruined palace, the walls of Jiankang and the snows of Bingzhou. Every scene plate is a painted background from this world's own asset space, generated in the same gpt-image-2 ink-wash house style. The whole experience is a mobile-first page that runs in the browser, free to start, nothing to install, and impossible to spoil by reloading.
Character Sprites
Sprite
司马睿, Prince of Langya and the future first emperor of the Eastern Jin. A black gauze scholar-prince's cap, layered black and deep-crimson court robes with wide sleeves, hands folded, seated with the careful stillness of a man who has learned that every visible appetite becomes someone else's lever. The face is young, composed and unreadable — a banner that would prefer to be a person.
Sprite
王导, head of the Langya Wang and the architect of '王与马共天下'. Grey-blue official robes, tall black gauze cap, a writing brush held like a small blade. He is the one who can summon the southern clans to a prince they do not trust, and the one who understands that the favour will be repaid in offices, marriages and troops. Calm, deep, always mid-calculation.
Sprite
祖逖, the general who rose at cockcrow to drill and struck the oar mid-river to swear the north would be recovered. Bronze-scaled armor worn hard, a weathered face, a broken oar carried like a relic. The court gave him a title and a banner; he is the only man in the story trying to turn a slogan into a supply line.
Sprite
刘琨, governor of Bingzhou, holding the last city in the north that still flies the Jin flag. A scholar's bearing under a soldier's cloak, a long sword, snow and ash on the shoulders. He has sent three letters south and received no answer; the sprite is the posture of a man who has decided to keep sending a fourth.
Sprite
石勒, the Jie warlord who went from a sold slave to the founder of a state. Heavy fur mantle over lamellar, a scarred, thinking face, one hand raised as if weighing a sentence. He is trying to learn from the men he defeated — their clerks, their registers, their idea of legitimate rule — while his own chieftains demand the old arithmetic of plunder.
Sprite
荀灌, thirteen, the daughter of the besieged governor of Wancheng. Light armor over a scholar's robe, hair tied back for riding, a sealed letter held against her chest. She is not a mascot and not a prophecy: she is the only person in the city small enough and unknown enough to get through the picket line, and she knows exactly what her father will say when he finds out.
Production Process Breakdown
Stage 1: World Buildingdeepseek-v4-flash
The world began as an empty stage and was filled with a single historical argument: what does it cost to keep half an empire, and who pays it? The AI wrote the era, the political geometry of the Jin court, the machinery of the great clans and the northern military crisis, then the character bibles for 司马睿, 王导, 祖逖, 刘琨, 石勒 and 荀灌, plus the locations that anchor each life — 洛阳废墟, 建康, 乌衣巷, the north-bank camp, 并州晋阳 and 宛城. The rule from the first page: strict historical restraint, no fantasy, no modern idiom.
The world began as an empty stage and was filled with a single historical argument: what does it cost to keep half an empire, and who pays it? The AI wrote the era, the political geometry of the Jin court, the machinery of the great clans and the northern military crisis, then the character bibles for 司马睿, 王导, 祖逖, 刘琨, 石勒 and 荀灌, plus the locations that anchor each life — 洛阳废墟, 建康, 乌衣巷, the north-bank camp, 并州晋阳 and 宛城. The rule from the first page: strict historical restraint, no fantasy, no modern idiom.
Stage 2: Roleplay & Story Draftingdeepseek-v4-flash
From that canon the agent wrote the playable spine of 半壁江山: the premise, the core conflict, an eleven-edge relationship graph, four investigable threads with clues, actions, discoveries, reveals and consequences, six locations and four opening hooks. It also wrote the attention rule the whole experience runs on — two to four choices with visible costs, never narrate the player's choices or feelings, never assume a political position, never import characters from another story, and keep the prose in the register of the period.
From that canon the agent wrote the playable spine of 半壁江山: the premise, the core conflict, an eleven-edge relationship graph, four investigable threads with clues, actions, discoveries, reveals and consequences, six locations and four opening hooks. It also wrote the attention rule the whole experience runs on — two to four choices with visible costs, never narrate the player's choices or feelings, never assume a political position, never import characters from another story, and keep the prose in the register of the period.
Stage 3: Character Art & Cutoutsgpt-image-2birefnet-general
Each of the six principals was painted from the world's established references with GPT Image 2, preserving the same face, hair, build and wardrobe across every image: 司马睿's black gauze cap and crimson court layers, 王导's grey-blue robes and brush, 祖逖's bronze scale and broken oar, 刘琨's sword and snow, 石勒's fur and scar, 荀灌's light armor and sealed letter. The portraits were then cut out with a BiRefNet segmentation pass into transparent PNGs with clean silhouettes, so they can stand over any painted room without a halo or a clipped shoulder.
Each of the six principals was painted from the world's established references with GPT Image 2, preserving the same face, hair, build and wardrobe across every image: 司马睿's black gauze cap and crimson court layers, 王导's grey-blue robes and brush, 祖逖's bronze scale and broken oar, 刘琨's sword and snow, 石勒's fur and scar, 荀灌's light armor and sealed letter. The portraits were then cut out with a BiRefNet segmentation pass into transparent PNGs with clean silhouettes, so they can stand over any painted room without a halo or a clipped shoulder.
Stage 4: Scene & Location Artgpt-image-2
The world was painted as cinematic ink-wash plates: the ferry pier at deepening dusk with torches kindling along the quay, the burned skeleton of Luoyang, the grey-green breadth of the Yangtze before Jiankang, the deep lanes of Wuyi where the Wang clan does its quiet business, the besieged walls of Jinyang, and the market where a prince weighs rice against a pitted iron counterweight. Every plate keeps the same sumi black, warm rice paper, restrained vermilion and celadon palette, leaves negative space for dialogue, and keeps the three core visual nodes — Luoyang, Jiankang and the northern fortress — legible at a glance.
The world was painted as cinematic ink-wash plates: the ferry pier at deepening dusk with torches kindling along the quay, the burned skeleton of Luoyang, the grey-green breadth of the Yangtze before Jiankang, the deep lanes of Wuyi where the Wang clan does its quiet business, the besieged walls of Jinyang, and the market where a prince weighs rice against a pitted iron counterweight. Every plate keeps the same sumi black, warm rice paper, restrained vermilion and celadon palette, leaves negative space for dialogue, and keeps the three core visual nodes — Luoyang, Jiankang and the northern fortress — legible at a glance.
Stage 5: Cover, Browser QA & Publishinggpt-image-2
A 16:9 key-art cover was generated for this work — the prince at the broken pier, the general with the splintered oar, the girl with the sealed letter, and the north burning behind them — then the finished experience was captured at 1280×800 in a real browser: the opening screen, the six-perspective selector, and 荀灌's first-input state. Three distinct Studio views (World overview, Character constellation and a character detail card) were captured from this world's studio, and the page was published in one pass.
A 16:9 key-art cover was generated for this work — the prince at the broken pier, the general with the splintered oar, the girl with the sealed letter, and the north burning behind them — then the finished experience was captured at 1280×800 in a real browser: the opening screen, the six-perspective selector, and 荀灌's first-input state. Three distinct Studio views (World overview, Character constellation and a character detail card) were captured from this world's studio, and the page was published in one pass.
Scene Backgrounds
BG
The ferry landing at Jiankang, deep dusk. A wooden barge comes bow-first toward worn pier piles; 司马睿 stands motionless at the bow in black and deep crimson, a herald bows at the foot of the wet stone steps, and northern refugee gentry crowd the jetway with bundled scrolls and a gaunt horse. Porters light the quay torch by torch, and the city wall dissolves into mist. This is the first step of the southern court: arrival disguised as continuity.
BG
Luoyang after the fall. Half the palace wall stands; the other half is a charred skeleton. Ash on the avenues, a broken gate, no court and no guards — only the scale of what was lost. It is the wound the whole story keeps explaining away, and the place every character is measured against whether they admit it or not.
BG
Jiankang from the water: grey-green river, low tiled roofs, a wall that is more promise than defense, and the north-bank news arriving one bad report at a time. The city is the board on which 司马睿 and 王导 play, and the reason every clan in the south can pretend the war is someone else's.
BG
并州晋阳, the last city in the north still flying the Jin flag. Three sides closed by the Han state and 石勒's riders, a garrison that has stopped counting its grain in months, and a wall that holds mostly because no one has told it yet that the south has stopped answering. 刘琨's whole story happens inside this frame.
BG
A late-afternoon market in Jiankang: an old wooden balance scale with a pitted iron weight, a bamboo measure tipped over, a pale fan of rice against ink-black shadow, vendors dissolving into wet-ink silhouettes. The prince's sleeve reaches toward the beam; 王导 watches with an unreadable gaze. The scene that gives the work its central image — rule is a question of what the scales actually weigh.
BG
Night outside the walls of Jiankang. A royal messenger leans in mid-speech, his face half-lit by a torch held aloft, sparks scattering like dry-brush vermilion; the prince listens from shadow, and an old refugee woman offers a bowl of steaming water. The city wall and the pines dissolve into layered wash. This is how politics actually arrives in the story — quietly, at night, with a bowl of hot water and a sentence that cannot be unsaid.
Asset Prompts
渡口暮色 — Scene Plate Promptgpt-image-2
"Chinese ink-wash painting (shuimo) with muted mineral color glazes, brush masses resolving forms with omission and negative space. Epic cinematic wide shot at deep dusk, late-Jin dynasty Yangtze river ferry landing of Jiankang. Center-right foreground: a large wooden river barge glides bow-first toward worn timber pier piles; standing motionless at its bow a dignified middle-aged prince, likeness and wardrobe taken from the attached reference @司马睿 — black gauze scholar-prince cap, layered black and deep-crimson formal court robes with wide sleeves, hands folded inside sleeves, calm steady gaze aimed at the shore. He is facing away-quarter view so his features read in elegant ink silhouette. At the foot of wet stone steps a courtly herald in grey-green official robes and black futou cap bows deeply toward the barge. The crowded jetway teems with northern refugee gentry clutching bundled scrolls and saddlebags, a gaunt horse led on a rope. Porters light torches along the quay one by one, warm ember-orange flames kindling, firelight scattering across grey-green jade water. At the far end of the pier a plain grey-blue cloth-canopied horse cart waits half-shadowed, curtain lifted a sliver. Beyond: silhouetted tiled rooftops and city wall of Jiankang, paper lanterns kindling along a winding lane, far upstream horizon smouldering faint orange under a low band of smoke. High indigo dusk sky, ink-black mountains dissolving into washed mist, pale negative space between far shore and sky. Expressive dry-brush texture, splashed-ink tonality, restrained palette of ink blacks, grey-jade greens, dusky indigo, sparing vermilion-gold accents on flame and lanterns. No text, no signature, no watermark, no border."
"Chinese ink-wash painting (shuimo) with muted mineral color glazes, brush masses resolving forms with omission and negative space. Epic cinematic wide shot at deep dusk, late-Jin dynasty Yangtze river ferry landing of Jiankang. Center-right foreground: a large wooden river barge glides bow-first toward worn timber pier piles; standing motionless at its bow a dignified middle-aged prince, likeness and wardrobe taken from the attached reference @司马睿 — black gauze scholar-prince cap, layered black and deep-crimson formal court robes with wide sleeves, hands folded inside sleeves, calm steady gaze aimed at the shore. He is facing away-quarter view so his features read in elegant ink silhouette. At the foot of wet stone steps a courtly herald in grey-green official robes and black futou cap bows deeply toward the barge. The crowded jetway teems with northern refugee gentry clutching bundled scrolls and saddlebags, a gaunt horse led on a rope. Porters light torches along the quay one by one, warm ember-orange flames kindling, firelight scattering across grey-green jade water. At the far end of the pier a plain grey-blue cloth-canopied horse cart waits half-shadowed, curtain lifted a sliver. Beyond: silhouetted tiled rooftops and city wall of Jiankang, paper lanterns kindling along a winding lane, far upstream horizon smouldering faint orange under a low band of smoke. High indigo dusk sky, ink-black mountains dissolving into washed mist, pale negative space between far shore and sky. Expressive dry-brush texture, splashed-ink tonality, restrained palette of ink blacks, grey-jade greens, dusky indigo, sparing vermilion-gold accents on flame and lanterns. No text, no signature, no watermark, no border."
Night Outside Jiankang — Scene Plate Promptgpt-image-2
"@王导, Chinese brush-ink painting: a tense night camp outside the mist-shrouded walls of Jiankang. A robed royal messenger leans in close, mid-speech, his face half-lit by a crackling torch he holds aloft, sparks scattering as dry-brush flecks of vermilion. Beside him a composed young prince in pale silk robes listens with a calm, unreadable expression, eyes narrowed in thought; behind them a bent refugee old woman lingers in shadow, offering a steaming bowl of boiled water. The city walls and dark pines dissolve into layered wet ink wash and generous negative space, the night rendered through deep sumi blackness and ink concentration implying faint torchlight. Restrained mineral-color accents only: warm vermilion on the flame, celadon green on silk folds. Calligraphic pressure-varied brush lines, controlled dry-brush edges, wet ink bleed, absorbent rice paper grain; contemplative, quietly charged atmosphere of political intrigue at night, no text."
"@王导, Chinese brush-ink painting: a tense night camp outside the mist-shrouded walls of Jiankang. A robed royal messenger leans in close, mid-speech, his face half-lit by a crackling torch he holds aloft, sparks scattering as dry-brush flecks of vermilion. Beside him a composed young prince in pale silk robes listens with a calm, unreadable expression, eyes narrowed in thought; behind them a bent refugee old woman lingers in shadow, offering a steaming bowl of boiled water. The city walls and dark pines dissolve into layered wet ink wash and generous negative space, the night rendered through deep sumi blackness and ink concentration implying faint torchlight. Restrained mineral-color accents only: warm vermilion on the flame, celadon green on silk folds. Calligraphic pressure-varied brush lines, controlled dry-brush edges, wet ink bleed, absorbent rice paper grain; contemplative, quietly charged atmosphere of political intrigue at night, no text."
市秤首帧 — Reference-Driven Scene Promptgpt-image-2
"Use the two attached portrait references: reference 1 is the young prince Sima Rui (black gauze scholars cap, layered dark and crimson court robes), reference 2 is the elder minister Wang Dao (grey-blue official robes, tall black gauze cap, slender grey beard). Keep both faces, hairstyles and wardrobes exactly consistent with the references. Chinese brush-ink painting on warm rice paper, weighted calligraphic brush masses, ink bleed and controlled dry-brush edges, monochrome sumi palette with restrained vermilion and celadon accents, rice-paper grain. Scene: late-afternoon southern market of Jiankang, a refugee prince in plain travel robes pausing at a grain stall. Foreground: an old wooden balance scale on a low counter, its dark iron sliding weight pockmarked, the beam tipped; a pale fan of rice spills from a tilted bamboo dou measure onto the counter, chalky white against ink-black shadow. The prince stands in three-quarter view from behind, one wide white sleeve reaching toward the scale beam, calm and watchful; behind him the minister Wang Dao in grey-blue official robes watches with a deep unreadable gaze, hands folded in sleeves. Around them a hazy crowd of vendors and buyers dissolves into wet-ink wash silhouettes, low eaves and a cloth awning frame the top, slanting afternoon light implied by layered wash depth and generous negative space in the sky. Quiet, tense, contemplative political atmosphere of weighing and measure. Wide cinematic 16:9 composition, clear focal subject on the scale. No text, no signature, no watermark, no border."
"Use the two attached portrait references: reference 1 is the young prince Sima Rui (black gauze scholars cap, layered dark and crimson court robes), reference 2 is the elder minister Wang Dao (grey-blue official robes, tall black gauze cap, slender grey beard). Keep both faces, hairstyles and wardrobes exactly consistent with the references. Chinese brush-ink painting on warm rice paper, weighted calligraphic brush masses, ink bleed and controlled dry-brush edges, monochrome sumi palette with restrained vermilion and celadon accents, rice-paper grain. Scene: late-afternoon southern market of Jiankang, a refugee prince in plain travel robes pausing at a grain stall. Foreground: an old wooden balance scale on a low counter, its dark iron sliding weight pockmarked, the beam tipped; a pale fan of rice spills from a tilted bamboo dou measure onto the counter, chalky white against ink-black shadow. The prince stands in three-quarter view from behind, one wide white sleeve reaching toward the scale beam, calm and watchful; behind him the minister Wang Dao in grey-blue official robes watches with a deep unreadable gaze, hands folded in sleeves. Around them a hazy crowd of vendors and buyers dissolves into wet-ink wash silhouettes, low eaves and a cloth awning frame the top, slanting afternoon light implied by layered wash depth and generous negative space in the sky. Quiet, tense, contemplative political atmosphere of weighing and measure. Wide cinematic 16:9 composition, clear focal subject on the scale. No text, no signature, no watermark, no border."
River Pier at Dusk — Scene Plate Promptgpt-image-2
"@王导, Chinese brush-ink painting on warm rice paper: a river ferry pier at deepening dusk during the Jin dynasty southward crossing. Weighted calligraphic brush masses resolve a weathered wooden trestle pier stretching over dark, broad water, its posts suggested by bold dry-brush strokes. Along the pier, newly kindled torches bloom as restrained vermilion accents, their flames scattering broken gold-orange flecks across the inky current. At the far end, a low traveler's carriage draped in muted celadon cloth rolls quietly toward the hazy silhouette of a walled city on the horizon, its curtain lowered, only a faded old family crest hinted in pale ink. On the near steps stands a young exiled prince in travel-worn noble robes, composed and still, while his attendant leans close whispering at his shoulder rendered half-dissolved in wash; below, a waiting envoy holds a small lantern, face left as an unfinished void. Behind them, a loose crowd of refugees presses as blurred wet-ink silhouettes, a few heads turned with watchful intent. Atmospheric void dominates the upper sky, layered wash depth implying recession; ink bleed, damp mist over water, dry-brush breakup in reeds along the bank, subtle rice paper grain throughout. Monochrome sumi palette with minimal vermilion firelight and celadon accent conveying secretive political tension, quiet calculation, and the weight of a first step about to be taken."
"@王导, Chinese brush-ink painting on warm rice paper: a river ferry pier at deepening dusk during the Jin dynasty southward crossing. Weighted calligraphic brush masses resolve a weathered wooden trestle pier stretching over dark, broad water, its posts suggested by bold dry-brush strokes. Along the pier, newly kindled torches bloom as restrained vermilion accents, their flames scattering broken gold-orange flecks across the inky current. At the far end, a low traveler's carriage draped in muted celadon cloth rolls quietly toward the hazy silhouette of a walled city on the horizon, its curtain lowered, only a faded old family crest hinted in pale ink. On the near steps stands a young exiled prince in travel-worn noble robes, composed and still, while his attendant leans close whispering at his shoulder rendered half-dissolved in wash; below, a waiting envoy holds a small lantern, face left as an unfinished void. Behind them, a loose crowd of refugees presses as blurred wet-ink silhouettes, a few heads turned with watchful intent. Atmospheric void dominates the upper sky, layered wash depth implying recession; ink bleed, damp mist over water, dry-brush breakup in reeds along the bank, subtle rice paper grain throughout. Monochrome sumi palette with minimal vermilion firelight and celadon accent conveying secretive political tension, quiet calculation, and the weight of a first step about to be taken."
Why Choose Neta Studio
Professional — a cloud harness runs the whole production from world building to roleplay direction to browser QA and publishing, with no local setup. Stable access to the latest models: GPT Image 2 · deepseek-v4-flash · birefnet-general.
One-click generation — officially tuned skills drive every step: world building, roleplay drafting, portrait and scene generation, transparent cut-outs, in-browser visual QA and one-click publishing. Fork the world, rerun a single card, swap a model, or regenerate the cover without rebuilding the rest of the production.
Built for stories that stay in character — the world bible is not a prompt you paste once. 司马睿, 王导, 祖逖, 刘琨, 石勒 and 荀灌 live as character atoms with their own art, histories, wants and weaknesses, and the roleplay agent reads the same canon every turn. That is why 王导 can be generous in one scene and ruthless in the next without becoming a different man, and why 荀灌's age is never used as an excuse to take the decision away from her.
A community of worlds — publish a playable link anyone can open, keep the world editable underneath, and let other creators remix the parts that work. 半壁江山 sits inside 世界模拟器 beside its sibling histories, sharing a visual language of ink, paper and restrained colour while keeping its own cast, its own river and its own accounting of what the south cost.
Studio Interior
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Play 半壁江山
Luoyang has fallen, the river is wide, and six people are waiting for you to decide what the south is for. Choose a perspective and take the first step onto the pier. No coding, free to start, nothing to install.
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