Author Archives: Kevin McFadyen

About Kevin McFadyen

Kevin McFadyen is a world traveller, a poor eater, a happy napper and occasional writer. When not typing frivolously on a keyboard, he is forcing Kait to jump endlessly on her bum knees or attempting to sabotage Derek in the latest boardgame. He prefers Earl Gray to English Breakfast but has been considering whether or not he should adopt a crippling addiction to coffee instead. Happy now, Derek?

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How to Write: Lesson 2

Accessed from http://www.wga.hu/index1.html

Oriental Writer Cutting His Pen by Benjamin Gerritsz Cuyp (1640).

Continuing our series on how to be a writer, we’re picking up after the first (and truly most important) lesson: Just write.

Today, I’d like to discuss a little more the manner in which we approach this daunting task. There’s really no winning formula for Just Writing (TM). It is partly the responsibility of the writer to figure out what works best for them. Through discussions and reading interviews of other writers, I have come to see there being really two paths one can take to completion. I call this the Pants vs Plans dichotomy. The distinction is easily delineated by how much organizing and outlining an author does before she begins putting pen to paper or fingers to keys.

The first approach, the Planners, is characterized by detailed and extravagant flow charts and chapter outlines. These are individuals that want to know exactly how the narrative will unfold well before they even open their word document. A Planner will have detailed notes on plot progression, character bios and pacing details. The Planner knows exactly how the third act twist will go down and where the final climax of the story takes place. Most of the work of the Planner is done through charts and graphs. The story is a crawling web of connected events and details. What happens when she writes is simply filling in the last few connections between these moments.

On the other hand, the Pantser is a person who knows nothing about his story as he sits down to write. He might have some idea of a character, a theme or even just a genre that he wants to explore. At best, he might have a few events he’d like to include in the story with no idea where, when or how those events will unfold or even connect. For the Pantser, writing is as much a creative process as it is an act of discovery. In many ways, it reflects the journey of the reader. You don’t know what is going to happen on this adventure and you may only have the briefest of backcover synopsis to guide you. The Panster will thus be surprised how his story turns out and it is not an accident but the creative method working at its best when the story concludes in a dramatically different style than what he expected when he sat down.

There is no clear ranking to these two methods. Great stories can come from either. There are, of course, advantageous and disadvantages to both approaches. There isn’t even surefire way to know which method will work best for you without trying them. However, it’s important to understand why these methods work before adopting them so that pitfalls can be avoided.

Take the Planner, for instance. The best part of her method is that she’ll never truly get stuck. She knows exactly what is going to come next and will never truly languish in the fabled “writer’s block.” In fact, the highly detailed notes give her great insulation from being overcome by “what happens next.” Thus, if she starts to find a section that is tedious or emotionally draining, it is effortless to step back, look for a section that grabs her attention and curiosity more and jump to that point and channel her creativity there. The Planner, though seemingly the most linear approach allows great non-linearity when it comes to crafting the story itself. And there is nothing more important than being engaged by your own work. If you find your own words are laborious and boring, chances are that readers will too. And maybe after covering some unrelated part will give the necessary clarity and fortitude to address whatever was initially draining the Planner when she diverged from the original section.

The caution, of course, is that the Planner is front-loading all her work. It’s possible that this method can fall victim to the dreaded “writer’s block” before even reaching the starting gate. Problems in the outline will stall progress to the actual work of writing. It can even lead to a point where there’s comfort in the planning and avoiding the writing altogether! The Planner could spend her whole time fretting over the details of the outline and spend all her time ironing out more and more kinks in the flow charts. It’s a fantastic way to fail the very first lesson while still convincing yourself that you’re accomplishing work. At some point you have to put the outline down and get to the meat of the project.

For the Pantser, he has no excuse for not writing. When the time to write comes, he has nothing else but to write. As such, he’s far more susceptible to blocks to his creative juices. Each day is tempting stagnation and creative emptiness. Completing a chapter leads to yet another blank page that can always gum up the process. Even worse, should some boring section or frustrating issue arise, the Pantser is stuck resolving it immediately. He can’t take breaks and work on other sections. In order to overcome these challenges, the Pantser has to learn to simply press on and forget issues. Resolve persistent problems inelegantly to get them out of the way. Pull some deus ex machina in order to save the soul of the work. Characters will vanish just as quickly as they materialize. Plot threads will be forgotten. Things wouldn’t add up by the conclusion.

The perk, however, is the true rush of creativity. The Pantser is truly free in his approach. While the Planner could revise her outline, that tempts her away from the work. Any issues not predict in the earlier organization stages can slow everything down. The Pantser, however, is infinitely flexible. And there is quite a rush to having a character suddenly breath new life and direction in a story. It’s literary improv and can be just as thrilling. There’s also a storytelling “purity” in a sense to this method. The art of storytelling stretches as far back as language has existed and certainly the most ancient masters of the craft wouldn’t have had exacting plots plotted before their characters started plodding. The Pantser also has more focus on fun since it is his enjoyment of the moment that will direct his path and he can maximize that which holds his interest instead of having to slave away for vital scenes necessary for the overall plot.

These are, of course, taking extreme looks at the method. Really, most writers will likely adopt different elements of the Pantser and Planner approach. It’s more an axis than hard categorization. In fact, I use both approaches when I begin work on a new idea. Generally speaking, I’ve have some outline of characters or the plot and I’ll leave large blanks to be filled in while I write. In fact, I’ve noticed my approach evolving over time to address different projects and their requirements. Certainly stories with heavier emphasis on narrative or theme require more planning than character driven pieces. And the more I structure narratives, the less I need to plan proper pacing and climaxes as they become second nature.

So find what works for you and keep trying new things. Writing is a creative process, after all, and without experimentation you will never discover the new twists waiting to spring from your pen tip.

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The International Conclusion

Accessed from https://storage.googleapis.com/duniaku/wp-content/uploads/2017/03/OG.jpgWell, yet another Dota 2 The International tournament comes to an end. It was full of exciting twists and turns. We even had some records set by the winners. I won’t spoil too much, though I can’t imagine anyone interested in the results doesn’t already know them.

Instead, I want to mention that the TI Curse is still in effect. It’s probably one of the things I really like about professional Dota 2. The Curse, of course, isn’t anything official. It’s just an observation on a continuing trend over the scene for the last seven years. Through a conflux of a number of factors, there has not been a single repeating TI champion. For the last seven years, a different team of five players have claimed the prestigious Aegis of the Immortals. Even more impressive, there hasn’t even been a repeat in teams.

Due to the nature of its competitive scene, Dota 2 teams are ephemeral things. They last long enough to compete in the tournament of tournaments and then evaporate in the wake of the closing ceremony like so much morning dew in the rising sun. This isn’t to say the players themselves disappear. In fact, there’s a rather large, consistent base composing the highest echelon of the game’s competition. And what would the competitive scene look like without BurNing or Puppey? It’s a competitive scene I’m not certain I would want to see. There are certainly new names that break through but it does allow fans to continue cheering for old favourites.

So what happens after TI is the great team shuffle where players are all seemingly tossed into a hat, shaken then spilled out in new groups of five. From this prestidigitation, the top sponsors will then slap their name on whoever they can. Thus, Invictus Gaming has attended pretty much every competition and has claimed a good chunk of the top Chinese players within its roster at some point or another. Surely through mere chance alone a sponsor will land upon two winning teams, especially since there aren’t a lot of major sponsors.

But that portion of the curse has still remained strong.

Finally, the most exciting part of the TI curse is that no region has won back to back.

Due to convenience and… well… geographical delineations, there are about six major scenes in Dota. These are: China, South East Asia, Europe, Commonwealth of Independent States (CIS aka Russia), Europe, North America and South America. Typically speaking, teams will scrimmage and compete against each other in their respective regions for most of the year. The only times these teams come together are for major tournaments and The International. Of these six regions, Europe, CIS and China have traditionally posted the strongest results throughout Dota 2’s history. However, North America was able to snag the championship for the first time two years ago and South East Asian has been improving year after year.

The reason I’m most excited that there are no back to back winning regions is that it demonstrates no real dominance at the highest level of play by anyone. Other esports often get taken over by one area and, as an area achieves more victories, they develop better infrastructure to keep international competitions in lockdown. You see this in most of the other major esports: Starcraft, League of Legends, Overwatch and probably a bunch of others that I don’t follow.

The closest one particular region can claim as dominance is China, I suppose, having qualified the most teams and taken the largest number of TI victories in total. Course, this ignores performance at Valve’s prior Majors and other large tournaments where European teams often have strong showings. But this bleeds down to the game itself and watching TI has never been more exciting as more and more teams are more capable of taking the grand prize.

In fact, 2017 is probably the first year where I was watching and feeling like the majority of participating teams could, reasonably, be winners. Prior tournaments usually had only a handful of stand out teams that looked poise to sweep the finals. But this year it really felt like anyone’s game. Even the weakest teams at the tournament were showing far greater skill than ever before.

I think it really speaks well to the health of the competitive scene. That so many people can play and play in often vastly different styles with distinct strategies while still being competitive with their peers across the globe is truly impressive. To lend to this, only four of the one hundred and thirteen heroes available went unpicked in the entire tournament!

You can truly sit down and watch a game of Dota and have just about anything happen. It’s fantastic and it leaves Kait and me excited for next year when hopefully the competition can be even greater!

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How to Write: Lesson 1

Accessed from http://www.wga.hu/index1.html

Oriental Writer Cutting His Pen by Benjamin Gerritsz Cuyp (1640).

I would like to do a postmortem on The International 2017 but my manager has informed me that I should be offering writing advice instead. Having now published my first book, I feel like I’m a little more qualified to offer tips on the process. There are some past articles I’ve done on related topics addressing the generation of ideas but I’ll try to make this series a bit more direct. There is, of course, a caveat to writing. As with all creative endeavours, what works for one person isn’t necessarily going to work for another. However, I will try and keep the tips and secrets as universal as I possibly can.

And actually, coming up with the first lesson (or tip, really) for writing was pretty easy. It’s the advice I always give whenever someone mentions that they are interested or trying to write their own stories. It’s possibly the easiest advice to give and the hardest to follow. And that tip is…

Just write.

That’s it.

Just write.

It sounds rather stupid on face value but there’s no other way you’re going to get your story completed without following it. Do you have a story you want to tell? Do you have a word document or piece of paper nearby? Then write. Have you stopped writing? Open up that word document or grab another piece of paper and start writing again.

Writing is a long process. It’s also a hard process and you’re never going to finish if you don’t sit down and do it. However, I can probably predict how most people will approach the task of writing. They’ll schedule a few hours on a slow day or they’ll find a quiet moment when the inspiration strikes. They’ll get their desk ready. They’ll find a warm cup of coffee or tea. They’ll set aside their writing material. They’ll get a few snacks ready. Then they’ll sit down and—

They’ll look up some songs to play in the background. They’ll browse the Internet for the latest news. They’ll open up their email. They’ll look up some photographs of their nieces. They’ll see their desk is messy and start to tidy it. Oh, but the floor is dirty too. Maybe that could be quickly swept. Oh, I should really add apples to the shopping list. Maybe I should check in with Becky and see what she’s doing tomorrow.

Before they know it, twenty minutes have passed and that blank page is still staring at them. They’ll get up to stretch. They’ll flick on the television. They’ll get started on an assignment due next week. And, you know, that new episode of Game of Thrones is about to start so better catch that. The words can always be done later.

In fact, people have a rather creative knack for avoiding any actual writing. I know this first hand. In fact, training myself to actually consistently write everyday was perhaps the hardest part of becoming a writer. Even if you managed to convince yourself to sit down before the screen, you’ll find your mind seize. Writer’s block will grip you. You won’t know what to write despite having imagined with the greatest ideas ever earlier while in the shower. Nothing will sound right in your head. And that blank page will keep staring at you.

I can’t count the number of people I know who have been trying to write a story. I can guarantee, however, that the reason they aren’t succeeding is because they don’t follow today’s tip.

And you want to know my secret? How do I overcome this initial inertia that paralyses so many others?

I write.

The trick, however, is to turn off your internal editor. Shut out all distractions and focus simply on putting words onto paper. That is the most important part. In fact, those words don’t even have to be good. They will typically be absolute garbage. I’d wager that about a quarter of my writing is actually serviceable. The rest I’m embarrassed to even show my family.

But it doesn’t matter because bad writing can be edited and fixed. But you can’t edit nothing.

And once you start getting things down, you’ll find that it gets easier. The worst is that initial start: that fixed point wherein infinite possibilities expand. It’s like the writing equivalent of the Paradox of Choice. You could go in just about any direction and choosing which one leaves you unable to select any. But once you’ve made that commitment and once you’ve started down that path then you’ve got a direction and focus that makes continuing easier with each step.

So what are some tips for conquering that dreaded blank page and ensure you just write?

  • Write a quick little sketch of the character for your story. It doesn’t have to be a scene that you plan to include. Have your character buy some coffee. Have them practice their sword work. You could take a fantasy princess and chuck her under the ocean or into a Star Wars cantina for all it matters.
  • Write what you see. Describe your work space. Describe your cat sitting on your keyboard. Describe how dirty your curtains are. Just don’t get up and wash them until you’re done your writing.
  • Set yourself realistic goals and don’t leave your writing space until you’ve achieved them. For my first novel, I wouldn’t get up from my desk until I had written 1,000 words. A paltry amount now but back then it could take me until two in the morning to achieve it.
  • Make a schedule and keep to it. Force yourself to write 1,000 words every day of the week. Participate in challenges like National Write a Novel in a Month (NaNoWriMo). I once did a challenge to write a novel (50k words) in a weekend. You really learn to turn off your filter and simply write with a compressed schedule like that!
  • Don’t worry if your writing is bad, your dialogue is stilted and your characters are shallow. Every author’s first draft is awful.
  • Don’t worry if your writing isn’t even connected to what you did yesterday. You can fix issues in your story in post-production (i.e. editing).
  • Write what you like. Don’t worry if anyone else will. You won’t ever finish anything you don’t enjoy. Find the whimsy and excitement in your own work first and let others discover it later.
  • Close this page and Just Write!
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International 2017

Accessed from http://cdn.dota2.com/apps/dota2/images/blogfiles/blog_tcktslsimg2017.jpg

Dota 2 and the International belong to Valve. Check it out! It’s a lot of frustrating fun.

It’s that time of year again. Grab your tide green polo shirt. Pull up a massive bag of trail mix. Block out a week of your life. The Dota 2 International tournament is upon us. This year, the prize pool has broken a staggering 23 million dollars – for those that care about such things. Though Valve has listened to feedback and no longer does the finalist walk away with half that amount and the money is better spread to see that most participants are making a sizeable return should the make it to the prestigious event.

This year there’s no wild card slot. Instead, we had a massive number of teams qualify through regional competitions to get an invite. Of the eighteen participants, only six of them received a direct invite. Furthermore, no team will be eliminated in the first day before the group stages. Instead, the bottom teams from the two pools will not qualify for the main event. This is a reasonable compromise. It means the wild card teams who initially made it will see a bit more play and get a bit of a better chance to prove themselves. And while it sucks having teams invited not make the main event, dropping the bottom teams is fine since they have already demonstrated that they’re unlikely to do well against the top teams and it’s certainly a far better arrangement than prior wildcards received. They even got a cool $55,000 for showing up.

Kait and I are probably more excited for this years TI than most in recent memory. Partly because we missed last year (and Kait missed the year before) and partly because we’ve been trying to get back into Dota 2 as well. We certainly haven’t followed the professional scene and have no idea who is likely to be favourites going into the tournament. I’ll, of course, be cheering for the remnants of Fnatic reborn into the dominating OG team. OG has a tendency for ripping apart the competition throughout the year at Valve’s Major tournaments. Unfortunately, things seem to fall apart once they get to the big one. Will they be able to keep nerves in check and continue their streak? I almost am afraid for them to be successful and draw the awful Champion Curse upon themselves.

Kait, on the other hand, has lost her traditional underdogs. She’s been an Alliance fan since the history making TI 3. But the original players have scattered to the wind and the Alliance organization itself failed to qualify for this year. I think she’s tentatively swapped to cheering for OG as well but her loyalty is fickle and wavering. I know she has a soft spot for Burning so she might start supporting iG even if it seems unlikely for a team to win successive TIs.

All of this indicates that posting from us will be a little sparse over the coming week. But you’re welcome to tune in. Twitch.tv will be streaming the games and, of course, the tournament is free to watch within Valve’s Steam storefront and game client.

Either way, I’ve got my Dota 2 shirts ready and my digital banners ironed. Let’s go OG!

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A Tale of Two Mods

It’s the middle of the summer and outside of complaining about the weather, I have little to share. Unless people would be interested in my vacation to Algonquin. Here it is:

It was buggy.

So instead, I’m going to share my thoughts on how I’ve been spending my free time over the last several months. This site has certainly documented much of my video game enthusiasm – perhaps even documenting too much enthusiasm in the process. However, one thing I really enjoy about this little hobby – and experiencing it on the personal computer no less – is the breadth of experiences you can enjoy. While console gaming which requires the use of a television and a dedicated machine is more popular, the ever present computer has a long history of wildly different opportunities. You can have varied products like exacting flight simulators find success alongside two dimensional whimsical farming games about falling in love with your sheep. Or you can play Dota and give up on just about anything else.

Another oft-spoken perk of the computer is the open access. This applies to both developers (as visual novels are finding their first success there and will likely spread onward) and those that would love to know what developers do. PC games have a lovely history of modification which has led to the creation of wholly new genres of games in the process. Even games that weren’t designed to be modded by their playing community can be wholly changed with enough ingenuity and dogged persistence.

Xcom (the reboot) is a lovely example. It was initially developed by Firaxis for both console and PC use. Many would complain that its design was hamstrung by this split focus. I would, certainly, because anyone trying to navigate some of those pre-fabricated maps with a mouse will instantly see how poorly optimised it was for none joystick manipulation. Its code was pretty locked but somehow a small, dedicated team was capable of releasing the Long War modification that drastically turned a lot of the reboot’s systems on its head.

Accessed from http://media.moddb.com/images/articles/1/146/145811/400px-Enderal_Logo_DE_01.jpg

Enderal: The Shards of Order belongs to SureAI and its associated artists and whatnot. The rest belongs to Bethesda I think? Not sure how mods work with regards to copyright.

Then, of course, there are the massive overhauls on games that are designed to be tweaked and changed by the gaming community. Bethesda may release questionable quality games in the first-person/role-playing domain but their support of fan made changes is to be lauded. It was the one thing I could never understand as Bethesda’s reputation was built and they received commercial success: the joy and enthusiasm for console gamers to have Bethesda port their work to their systems even if they owned a personal computer. For sure I can understand the (misguided) desire to experience what others were enjoying but for me Bethesda’s worlds have always been wonderful little sandboxes awaiting you and your own tools to come and make of them what you will. Some of my best hours have been in heavily modded Bethesda worlds and it’s the sole reason I keep close attention on their newest releases even if they go ahead and shove a dialogue wheel and voiced protagonist in my Fallout franchise.

Thus, I was really excited for the announcement of two fairly long awaited community mods and the time to poke around in them. Over the last six months I have put quite a few hours into Skyrim’s Enderal and Xcom 2’s Long War 2. What makes these two mods special, outside of being complete reworks of two games I love, is that they’re both sequels to community beloved releases that I never played. Enderal is the follow-up to the Oblivion overhaul Nehrim: At Fate’s Edge by SureAI. Derek played it and the mod itself was so well received that several enthusiast publications had it nominated for best role-playing game in the year of its release. I never got to try it since I was busy doing… something. And I rather regretted never getting around to it.

Enderal: Shards of Order is quite obviously a direct sequel as it makes several references to what I assume happens in Nehrim. My first impression of the mod was largely impressed with how incredibly easy it was to install. Not only did it come with its own executable but it had its own mod launcher which I immediately used to apply some of my favourite quality of life mods. Course, this turned into a typical Bethesda modding experience very quickly: spend two days trying to get it to work then not touch it for a week due to life, work and just needing a break from getting all the fiddly bits to cooperate. However, if you’re just hoping to hop into Enderal without any third party (fourth party?) additions, then what SureAI releases is a god send. The executable also packages up your old Skyrim folder so that, when you’re finished with Enderal, you can uninstall it and enjoy all your other mods you have for the main game.

And if Enderal is anywhere close to Nehrim, I can see how the other game got so much praise. There’s a great attention to detail and clearly a lot of work put into the mod. It’s a pretty near revision of the entire scope of Skyrim. The map, characters, races, magic, levelling system, crafting systems, narrative, menus, armour and combat are all pretty much new. If you’ve plunked five hundred or so hours in the original game, it’s really refreshing to jump into something entirely new. You’re basically getting a new game without having to buy one!

And there’s a lot that Enderal does that’s really good. The story is the biggest improvement and definitely why you’d download the massive conversion. Bethesda’s stories are… workable at best. But Enderal is heavily informed by its narrative. It’s a reminder of the old top-down role-playing games of the late nineties and early two thousands like Baldur’s Gate. In it, you play a character touched by… fate I guess and this gives you access to magic and memories that aren’t your own. Thus, you level through unlocking abilities corresponding to different archetypes. Course, these are your stock warrior, thief and mage but you’re free to pick and choose to discover cute combinations of abilities. Me being me, I was leaning heavily on the mage tree but was starting to make a stealthy mage build that leaned on turning invisible and killing things before they found me. If an enemy didn’t die to my initial backstab, I fell back on otherworldly summons and ghostly bows while keeping away from any retaliation.

As such, I don’t really know how well the warrior and most the thief reworks function but it was certainly a different experience than playing a mage in Skyrim where I could summon demons to do most the fighting for me while I stood back and tossed the odd fireball or stabbing for a short paralysis enchantment with my craft dagger. Enderal definitely had a different vision for its world and how magic and all the underlying systems wove into it. Your progression isn’t tied to your levels and fantastical elements were, on the whole, largely subdued. You aren’t crafting demon armour and becoming godly powerful after about eight hours into the game.

Accessed from https://staticdelivery.nexusmods.com/mods/110/images/78683-0-1473655637.jpg

The art is just beautiful in the game.

Course, a large part of that is changing how the player levels their character. Enderal relies on classic methods of character progression. You earn experience through the completion of quests and after a certain threshold is reached, you’ll receive your next level which grants new perks and an increase to your health, stamina or magic. Skyrim, on the other hand, levels your skills through use. Which leads to the obvious abuse of people doing mindless actions over and over again to pump their abilities as quickly as possible instead of staggering it throughout the entire journey.

And this bleeds into my issues with Enderal. Don’t get me wrong, I love it and think its marvellous. But it’s just not Skyrim. And there’s just something about being in a world created from Skyrim assets with a camera mode suited for Skyrim gameplay and exploration but being stuck in a different kind of game’s mechanical system.

I will readily agree that Bethesda’s games have significant design issues. But part of those arise from its design philosophy. I don’t feel that Bethesda is striving to make good role-playing games. Which is good because they typically don’t. Instead, they create these weird simulation/rpg hybrid experiences. The fun of Oblivion and Skyrim isn’t going through a high fantasy story of good and evil that concludes with the slaying of a god (though that’s ostensibly what Bethesda creates). No, the enjoyment comes from the hunting of an elk across a blistering cold field, felling and skinning it then returning to the nearby village to sell the furs to afford a warm room at the end of the night. It’s learning of some forgotten ruin by a tavern patron and poking through spider filled tunnels for long lost treasures that you immediately sell to afford a modest house in the trade district.

It’s all about the stories you make within the game world with Bethesda’s “crafted” experiences serving simply as window dressing or framing to contextualize the personal journey you take. Which is why I’m so adamant about modding my Bethesda experience to get exactly what I want from the game.

And the whole time I’m playing through Enderal, with its carefully crafted quests and interwoven story, I keep thinking “This isn’t what I want.” At least, it’s not what I want in the format that I’m being presented. There’s this weird disconnect where the systems are at odd with the core presentation. I kept searching Enderal for side villages and little personal stories to craft for myself. But they don’t exist. Sure, there are hidden collectables that reward going off the beaten path but I was more apt to stumble into mobs of enemies well beyond my current capabilities (necessitating that I toss my poor spirit pooch at them as a I sprint madly past) or I came across areas strictly sealed off because I hadn’t progressed through the game far enough to unlock them.

I kept having the fantasy world simulation broken by the necessity for telling me the fantasy story.

Had Enderal been presented in any other fashion – say even in a third person, top-down perspective – I’d be entirely behind it. But more than anything, I kept thinking how it wasn’t Skyrim. It wasn’t allowing me to play some dastardly thief merchant who stole from the one town that had slighted him in order to peddle the villagers belongings a few holdings over leaving them with nothing. There’s simply no room for that in Enderal. It addresses all the complaints people level against Skyrim but in doing so it completely guts the spirit of Skyrim.

It is an entirely different experience.

So I was torn and it’s part of the reason that I’ve abandoned it. It’s good. It’s really good. And I did enjoy the characters and the narrative that they offered. But instead of it making me think “Yes! This is what Bethesda should have done all along!” it made me appreciate more what Bethesda had accomplished. I came to like the flawed systems of Skyrim more while playing Enderal. I liked knowing that areas wouldn’t become too easy to the point of trivialised simply because I hadn’t explored them early enough in my wandering before I progressed past the point of their design. I liked that there was a better contextualisation of levelling up in Skyrim due to practicing and perfecting a skill rather than just magically knowing how to wear heavy armour better because I delivered a letter to a grieving mother detailing the final moments of her missing son.

And as I was playing through Enderal and getting a better grasp of its system, I kept thinking of different character builds I’d like to try that I know I never will. Because anytime I think of restarting the game I remember the lengthy intro sequence and I realize I’d have to go through all those early game zones that are unchanging and with no opportunity to strike out in a new direction. It would be the exact same experience except I could kill the enemies in a slightly different manner.

For the gameplay systems of Enderal to really work, I feel you have to use the traditional presentation systems that it mimics. You need a simple perspective that allows greater content creation and deemphasizes the personal element because those old systems are so impersonal.

Now, I’ll probably try and get through Enderal because its quests and world are so well crafted that I genuinely want to see how a lot of it concludes. I just need to divorce myself from its presentation and remind myself that, while it walks and talks like Skyrim, it is anything but Skyrim.

I’m not sure things will fare as well for Long War 2.

Accessed from http://www.pavonisinteractive.com/360pxPavonisLogoCirclefinalBold.png

Pavonis Interactive likewise own their stuff and Firaxis the rest.

I am definitely one of those players that cranks the difficulty up on most games then downloads mods to make things ever harder. Long War for Xcom: Enemy Unknown was so well received that I was excited to hear the same people (Pavonis Interactive) were going to do a second for Xcom 2. The only reason that I didn’t play Long War was that I was so incredibly tired of playing the same maps over again in the original reboot. Even after the handful of additional maps added in the expansion couldn’t entice me back for yet another run through the same damn bar or train station. Since Xcom 2 had procedural generated levels (sort of), this wasn’t going to be an issue.

And for awhile I really digged the changes that Pavonis introduced. I found their classes quite interesting and was amazed at how much changing up the core classes really freshens up gameplay. Not only that, but all of the Long War 2 classes had three options of perks to choose whenever a soldier levelled so there were even more combinations to consider. I liked their idea of liberating regions and infiltration as it really emphasized the guerrilla warfare theme that was hardly utilized in the original’s release.

It was difficult too. I had to turn down the difficulty for the mod, though I refused to budge off Veteran (even while it was kicking my ass as I learned the systems). It was fun, refreshing and exciting. I was entirely behind the release and could really see why I had such widespread appeal.

And then I cross the twenty hour benchmark and realized that I had made so little progress.

Long War 2 really demonstrates the adage “There is beauty in simplicity.” To be fair, my forthcoming complaint is readily warned in the mod’s name. It truly is a long war. It’s far longer than I can possibly devote to it. I don’t have endless hours in the day and sometimes I may only have an hour or two a night to play. It’s thus incredibly frustrating to get so little progress done in that time. Even more frustrating that there are many missions in Long War 2 that will take over three or four hours to complete on their own!

In order to diminish the “issue” of the godlike alpha squad in Xcom – a group of four soldiers so powerful that they complete all battles for you in the end game – Long War introduced many changes that would ensure you had a high rotating roster in your barracks. Now, I know I read that part of my difficulty was that I also included several map pack mods that increased variability and Long War 2 was most certainly not designed to accommodate them. But when you have a squad of ten soldiers routinely facing off against maps of 50 or more aliens, the game stops being fun and strategic and turns into a massive grind.

Some people may like that. I do not. And it’s not like Xcom is a short game either. When I dropped Long War 2 and went back to grind some achievements, it still took up to two weeks in order to finish a single campaign on normal. I don’t know if I could do a Long War 2 campaign to completion (at least a completion that wasn’t a loss) in six months – of my actual, real life.

Accessed from http://www.pavonisinteractive.com/LongWar2b.jpg

Goodness did Pavonis return the terror of Chryssalids though.

That’s a level of commitment I’m simply unprepared for at this stage in my life. Which is unfortunate since some of their improvements like the adjustment to enemy AI are truly wonderful.

There were other complaints I had for the mod but they pale in comparison. Now, I recognize I was playing Long War 2 during one of its earlier iterations. I’m passingly aware that they have released a new version – ostensibly to remove the fact that a two party infiltration team was pretty much the best way to approach most missions – but am unlikely to return. From my understanding, the massive time commitment is an intended portion of Long War 2. And Firaxis have announced an expansion for Xcom 2 that appears to have some of the better ideas from the mod team incorporated into it.

Which isn’t to say that I wouldn’t want Long War 2 to exist. In fact, I think their mod makes Xcom 2 better. Partly, it allows me to appreciate what the original developers did but overall it creates a more impressive form of communication between creators and fans. It allows a sharing of ideas that really can’t happen in any other way. The original works inspire a new generation which can then turn around and influence those that came before them. It’s rather remarkable and probably one of the best things to come from this type of open system.

So while Enderal and Long War 2 aren’t really for me, I’m happy that I had them.

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Thyre Version 2.0

We’ve exciting news! We’ve just published our first novel, Thyre: City of Smoke and Shadow.

Ok, this might sound a bit familiar. However, as with most firsts, the prior publication had a couple of problems. I’m proud to say that we’ve managed to figure out the formatting Amazon uses and have corrected them. Or, at the very least, we’ve corrected most of them! I’ve been told that a whole twenty-five pages have been saved through getting the sentences to print proper alone. That’s exciting, right?

Available for Kindle and Print at Amazon.ca and Amazon.com!

So to celebrate this great achievement in understanding web publishing, Kait has been so gracious to provide new cover art for the delightful little book. She has a digital tablet for drawing and everything!

This hasn’t changed anything on the customer’s end, of course. As such, you can find the book at all the old links and with the prior search keywords. In fact, you won’t find any evidence of the old book. So for those of you gracious early supporters, congratulations! You’re now the proud owners of a very limited release. Hold onto them – especially the autographed ones! I’m sure they’ll be worth something extra, someday. Maybe. Hopefully. One can dream.

Anyway, Thyre: City of Smoke and Shadow is still available on Kindle or for online reading from all Amazon sites. The Canadian digital copy is here: Thyre: City of Smoke and Shadow Kindle Edition

And the paperback version is still here: Thyre: City of Smoke and Shadow Paperback Edition

If you haven’t had the chance to check the book out, there’s no better time than now with our beautiful artwork and realigned interior. It’ll feel like an entirely new experience!

Thanks for all your wonderful support, you beautiful people you.

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Be Home Before Dark

I’ve actually beaten Night in the Woods over a month ago. I just happened to get busy with other things to never return and give a proper little write-up about it. Also, I never finished a second play through of the the game. Which gives me a perfect little in for a summary of my feelings towards it:

I don’t know how I feel about Night in the Woods.

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Night in the Woods is developed by Infinite Fall. All associated images and what not are belong to them.

At first, I hated the thing. I was pretty certain after about an hour that I was just going to have fuel for a lengthy diatribe about how crap the game is. I often feel my rants are my best pieces, so that disgust was fuel to keep going. But a funny thing happened the more I played. I… actually started to like Night in the Woods. Then, just as I was preparing a more praiseworthy post (and one likely a bit more dull) a strange thing occurred. I began to hate it again.

So I am the perfect definition of ambivalence.

But teasing out my impressions and organizing them into a coherent whole is what has kept me from writing about the game until now. Thus, I apologize if this review is all over the place. Much like the game, I never really settled on something. Unlike the game, I’m not going to shove in random guitar hero gameplay or strange little mini-games to break up the main experience.

But first, what is Night in the Woods?

What I expected from Night in the Woods was this: a touching little indie story about a college dropout returning home and trying to find her place in a crumbling, backwater town in a life that has moved on from her glory high school days she’s never managed to let go. And, in a sense, that’s what Night in the Woods is about at all.

It is kind of funny, however, as I think the personal story is where Night in the Woods really shines. It’s not really a story that gets covered a lot. I can’t think of college dropouts being a large trope by any means. And there’s adeptness in relaying the sort of troubled life that lead Mae Borowski returning home with little explanation other than a cryptic “things didn’t work out” offered to her mom. Her attempts to reignite relationships from her past are met with middling results. Gregg is trying to save enough so he and his boyfriend can escape the dying town as fast as possible. Bea has given up on life’s aspirations to run her family hardware store though Mae’s carefree squandering of all the things Bea never had are a clearly driven wedge between the two.

And needless to say, Mae is a mess in general.

This gets me into my initial dislike of the game. I don’t like Mae. I think you’re supposed to like Mae. She is, after all, the protagonist of the story and everything is filtered through her eyes. She is, however, a failure and this is made explicit from the moment you begin. Now if she were just a loser, I could probably handle it. But she’s… so damn quirky. It’s annoying. I hate quippy and quirky writing. It feels like a shortcut from having to develop any depth of character. Mae spends most of her time holding pointless conversations about… I can’t even remember anymore because most quirky writing is focused so much on talking about something off the wall that there’s never any meat to the discussion. It’s vapid writing, meant to amuse and satiate for the moment but holds so little value that it’s gone the instant it finishes.

It’s the written equivalent of potato chips with the added bonus of consuming too much leaves you nauseous.

So, I didn’t care for Mae. I didn’t care for her pointless rebellions. I didn’t care for her personal mortification over her prom night with Ted or Ben or whoever. I really didn’t care about her nebulous reasons for giving up on her future.

Had she died in the end, I would have crowed this apathy as being a masterstroke of writing. That she did not suggests I was meant to have a greater personal connection to the self described anarchist than she ever truly earned.

But while I’m torn on Mae’s character herself, I felt the relationships she had were the strongest points of the game. I was coming around to Night in the Woods—not because Mae ever develops into anything more than the weird loser you politely put up with at a party because a mutual friend foists her on you to have a few moments for herself but because the people she interacts with have far better stories than she. I think it was the moment when you go to Jenny’s Field with your mom that I was sold on praising the game. The individuals that put up with Mae are saints in their patience but also far more profound individuals than your avatar into the world. Mae’s mom is clearly trying her best to give her daughter everything that she never had while also frustrated with the fact that Mae is a problem child to the core. But her love for her weird little offspring is so well communicated, and so naturally too, that it’s hard not to like her. Likewise, Bea and Angus are excellent foils for Mae’s absurdity with their calmer and more grounded outlook. There’s a lovely little moment with Angus when you’re watching the stars and listening to how he was abused as a child that is done with such honesty. Or when Bea is discussing her dead mother that really brings into stark contrast the events which shaped these characters wholly absent from Mae.

There’s a bit of irony in that the more muted and understated characters have better excuse to be wacky misanthropists than Mae. The game is designed to be played through multiple times so I haven’t fully uncovered all the little stories but it’s certainly the supporting cast that does the heavy lifting in the character department. Instead of fully developing the relationship with Bea I spent more of my time with Gregg – the wacky enabler and co-conspirator to Mae’s juvenile delinquency. It was… annoying. With touches of sentimentality when the two would have brief but stark realizations that they’re not still thirteen and acting like irresponsible shitheels isn’t the way to continue on in life.

Gregg does have the briefest character arc in that sense, especially when he realizes that Mae is a bad influence on him and it’s more important for him and Angus to get out of Possum Springs than it is that he and Mae smash flourescent lightbulbs behind his work when he’s supposed to be manning the cash register. So my low tolerance for Night in the Woods quirk is compounded by the fact that I accidentally focused on the quirkiest route through the plot.

In my defence, however, Gregg was presented as Mae’s best friend.

Accessed from https://pbs.twimg.com/media/CvsiFhHWIAAqtCS.jpgAt any rate, while the game is starting to take off with its character developments, it’s also laying the groundwork for it’s final disappointing note.

Well, that’s not true, that groundwork is there from the beginning, you just don’t notice it immediately because it is pretty subtle until your second play through.

I guess this is my spoiler warning.

Surprise! Night in the Woods is a Lovecraft story!

There’s a direct parallel to be drawn between Night in the Woods and True Detective. You can read how much I detest True Detective in the archives here but suffice to say that I wasn’t a fan of character drama with a side of super undercooked cosmic horror. In that regard, I would say Night in the Woods is more successful in interweaving its cosmic horror into its identity. There is the whole underlying theme of Mae’s country hometown slowly rotting away. All the little stories from townsfolk and the history it has gone through all lead to this inevitable and unavoidable rot that will suck in anyone that comes near it. And, of course, there’s the weird visions Mae has at night. They start as innocuous seeming dreams that eventually end with a conversation with some silhouette of a massive cat.

But since everyone is a furry in the game, I’m assuming the shape of the cat is meant to be meaningless.

Thus, it isn’t really surprising when you run into the midnight cult in the bottom of the abandoned mine. You’ve been subtly primed to expect some sort of supernatural or nefarious aspect to the whole “ghost” event that Mae spends the latter half of the game obsessed over. So I wasn’t surprised to discover a nondescript secret society of country townsfolk kidnapping people to sacrifice to their Black Goat in order to maintain order and prosperity to their dying towns. I had predicted that after a couple of days and the conversations about Mae’s missing friend Casey.

I was disappointed with how disappointing that mystery is, however. The supernatural abilities of the cult leader are mostly there to explain such pressing questions like “how could he jump over a fence.” And you mostly stumble into the cult rather than truly digging into unearthing their existence and motivation. It’s there, especially in the old newspaper clippings, but it all feels like an aside more than anything else.

So clearly the focus is meant to be on Mae if it’s not the plot. But Mae doesn’t actually grow from this experience. When the gang confront the cult at the bottom of the mine, at Mae’s “lowest point” in the story, Mae herself is just a little woozy from being shot and disoriented from the Black Goat singing at her. There’s a build up that is entirely wasted at the reveal. And the gang’s resolution to the conflict is to literally kick the cult leader down a hole when he refuses to let them leave then drop some dynamite in the old well hoping that resolves the problem. It feels… rushed and under cooked. Like they needed a conclusion to the story though the story was pretty meandering and skimp in the first place.

I’m really disappointed that the solution wasn’t to willingly sacrifice Mae to the Black Goat in the hopes that it would end the cycle (possibly fuelled by the fact I simply wanted to pitch Mae down the pit – but at least it would make her life have value). As it stands, there’s no earned catharsis here. The cult even let the kids going knowing that the truth would sound too outlandish to really threaten their plans. So to have the confrontation with the cult leader shortly after as they’re trying to exit is even more forced. Thus the game even robs the alternative promise of horror that the youths, despite knowing the truth, are powerless to stop the evil cult because they don’t know their identities and no one would believe them.

There’s a happy ending but it’s as hollow as Mae’s character.

My final point of complaint is that I’m not even sure if Mae’s character flaw – ostensibly uncontrollable rage – is in part fuelled by the Lovecraftian horror or not. I’m normally a big fan of ambiguity but there wasn’t really anything to suggest that was the case and it was more a sense I got from trying to pull some meaning from all the cosmic horror elements than anything else. Perhaps if that were the case then there remained the argument that Mae’s insanity was assured just as strongly as Possum Spring’s decay but Mae even admits she feels so much better after dropping tons of dynamite and potentially murdering three fifths of the town the night before.

Accessed from http://core0.staticworld.net/images/article/2017/03/20170223011453_1-100713269-orig.jpgAnd that no one seems to notice a large chunk of the adult population missing the next day is pretty bizarre.

Thus, I’d say Night in the Woods is a peculiar beast. It’s one of those few experiences with both a weak beginning and a weak end but a strong middle. Generally speaking you want the opposite: to start and end with a bang. Most video games, at the very least, manage a strong start and middle and flop on the end.

Night in the Woods will make you question your purchase, let you fall in love with the game then make you regret the whole experience at the very end. Much like Mae’s drinking party in the woods that one night.

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Sherlock Holmes: Consulting Cheater

Apparently, within the board game spheres, there exists “birth year games.” These are the board games with the distinction of winning the highly coveted and supremely prestigious honours of Spiel des Jahres in Germany. My Game of the Year is apparently this quaint little tabletop game-gamebook hybrid known as Sherlock Holmes: Consulting Detective. Consulting Detective places its participants in the roles of Sherlock Holmes’ infamous Baker Street Irregulars – street urchins and ragamuffins who sometimes lend their assistance to Holmes in solving his world famous cases. The set-up for the game is simple. There’s a map of London, a London Directory, a collection of relevant (or typically irrelevant) newspapers and the case file. From there, players will be introduced to the particulars of the case through a visit by Holmes’ client and be let loose into the streets of London to figure out the various twists and turns to the caper.

And I’ve just finished it. And if you’re ready to play Consulting Detective, you already know my feelings about it.

Accessed from http://www.ystari.com/wp-content/uploads/2012/04/shcdcouv.jpg

To be fair to Consulting Detective, some of its issues may arise from being an English translation of a French game.

There is a lot of potential in the game. Its entry is really low, making way for people with little experience or little interest in board games able to pick it up and play immediately. Given its flavour and game play, I was able to coerce my family into playing with me. As such, we spent many an hour (and far more than we would like to admit) attempting to sleuth out the secrets of the various cases intriguing and mundane provided in the box.

It’s got an interesting flow where not all relevant clues are obtained by poking around in critical locations or interrogating specific individuals. Oftentimes the newspapers will have little hints or vital revelations tucked amongst their advertisements for new dentures and craiglist-like missed connections. And there are many times that a person of interest will crop up in the case and you must consult the directory to locate their current residence or place of employment.

There’s a lot of fun to be had, pulling these disparate elements together to form a working theory. And there are little revelatory moments where things just fall into place and the grand scheme is formed before you. And flipping through the case book definitely has one of those Choose Your Own Adventures feel to them.

It’s such a shame that these elements are wasted on Consulting Detective.

For, truly, I’m ambivalent to the game. Parts of it I love and kept me coming back case after case. Other parts had me swearing with frustration and anger – typically when reading how Holmes had solved the case and how stupid or ludicrous the solution turned out to be. More often than not, we had reached a consensus to the mystery and, upon revealing what actually occurred, left us scratching our heads because the official solution made less sense than ours.

Part of this problem is that there is a very severe writing issue with the game. When the crux of play hinges on the written word, it’s incredibly disheartening to see so many errors within the texts. And this is just consistency errors – which are the most troubling – but include normal spelling and grammar issues too.

I had not realized how popular carnage rides were in Victorian London. Likely performed by Langdale Pike’s tanks. Nor was I aware of the kilting epidemic occurring monthly in the city. These blunders are humours most of the time but I’m left trying to recall a single case where someone reading the passage didn’t have to stop and try to parse what was actually being said.

And while I will concede that English is a difficult language, this problem predictably bleeds into the game itself. There are numerous cases where Holmes’ solution directly contradicts eyewitness testimony. Most of this doesn’t impact how you reach the conclusion of the case – assuming, of course, that you investigate along the same lines that Holmes does. If, however, you just take the eyewitness testimony as fact and don’t pursue that avenue any further, than it is quite probable you’ll come to a wholly erroneous solution based on those contradictions.

This isn’t even touching that Holmes’ explanations at the end will most certainly contain errors. In one case, Holmes was off by a few years in the age of important characters and the year events took place. In another case, Holmes detailed finding evidence and clues in a wholly different location than where they actually were found – and these locations you couldn’t even visit in the book itself!

Its hard, then, to not feel cheated nearly every time the game comes to a conclusion. This is made even more pronounced given that almost every case requires you to end up in a specific location to learn a vital clue and getting there often requires a true leap of logic or simply guessing correctly on which ally to visit that usually offers nothing but dead ends when you consult them in other scenarios.

This leads me to my primary issue with Consulting Detective. Its greatest gaming component – trying to beat Holmes in the cases by solving the mystery in less leads than he takes – is the most frustrating and unsatisfying element in the whole experience. To play the game in this manner, worried about how you’ll score in the end, is to encourage people to not engage with the game itself.

You see, the scoring is simple. After you’ve poked around the locations and denizens of London, you decide whether or not you’re willing to call the mystery to an end. You can then flip to the back where a list of questions are presented to you. They are sorted into two parts. The first part contains the primary questions concerning the case: typically who was the kill or culprit, why did they perform their crime and sometimes how. There’s a varying amount of questions in this part, from four to twelve, and they will always add up to one hundred points.

Sherlock, being the cheating bastard that he is, will always score a perfect one hundred on this portion. You will also be told how many leads Holmes followed. To determine your point score on the case, you tally up your correct answers, deduct Holmes’ lead total from yours, remove free leads from your total then add five points for each step you beat Holmes or deduct five points for each step you took over Holmes.

Needless to say, you’ll almost always be deducting points. Of the ten cases, my family and I were able to tie Holmes once and beat Holmes once. And this was largely on the backs of answering the second set of questions – which are all bonus questions unrelated to the primary case – by simple deduction and not investigating any of them.

However, we almost always “solved” the mystery well before Holmes had. Usually after two or so leads we had an idea of who did the crime, why they did the crime or how but were always missing one of those details. Unfortunately, finding that one missing step would take upwards of ten different leads to find the information as we scoured through the list of allies for anyone with the potential for tangentially knowing something of use and exhausting every random lead we could follow.

This is the primary problem with Consulting Detective. The manner in which you play is in direct odds with the manner in which you are scored. As a detective, it’s important to follow leads and clues to confirm theories and corroborate alibis. But Consulting Detective directly punishes you for doing so. In fact, you’re better off doing the exact thing which the fictional Sherlock Holmes loathes: make assumptions. If you have any desire to beat Holmes at the game, you need to create a theory from as few bits of information as possible, since each step you take in the game is a deduction from your total score. It’s better to just assume a character’s motives or connection from a single sentence than to ask their colleagues for confirmation or details.

In fact, Holmes himself makes a ton of assumptions in his solutions. So much so that you’ll often be scoffing at how he arrives at his conclusions. Its as if the writers, in an attempt to amaze the player like Sir Conan Doyle did his readers that they forget the players are supposed to be solving the case alongside Holmes. And there is more than one situation where Holmes comes out with information you have no idea how he obtained even after following his outlined footsteps.

Even more egregious, this system encourages players to avoid reading the case book. You are rewarded for not playing, essentially. Which is baffling design to say the least. The “optimal” way to play Consulting Detective is to go to a location and then sit and argue about the details of that location for an hour so you are certain your next step is the most likely to reveal more information.

This gets back to the idea of making theories first and collecting evidence second. You need to determine what you’re most likely to learn by visiting a person before you even visit them so that you don’t waste a step. The problem, of course, is that too many cases hinge on visiting characters that have no right knowing the information they have or following leads with zero indication they would have any relevant clues.

The best example of this, and my least favourite case because of it, is Case Nine: The Solicitous Solicitor. Forewarning, here cometh spoilers.

Accessed from http://www.godisageek.com/wp-content/uploads/Sherlock-Holmes-Consulting-Detective-Screenshot-02.jpg

Sherlock Holmes Consulting Detective is printed by and probably belongs to Ystari Games

Case Nine is the prime example of significant knowledge being doled out to random locations. It is the second last case if you’re doing them in order (and the game heavily encourages you to do them in order) so by this time you’ve got a tenuous grasp on how cases normally unfold. We had, before even cracking open the case locations, knew that the victim was having an affair with a Miss Monroe due to a personal ad in the paper. We had thus determined that visiting Monroe would be a waste of time since it would simply reveal what we already know: she and the victim were in love and why a number of other women were feeling spurned by the debonair corpse.

Unfortunately for us, for some really poorly justified reasons, Ms. Monroe happened to be the proud owner of the victim’s pocketbook which was the sole source of information for why he had been slain. We erroneously assumed it was due to his current work and some form of insider trading because we simply could not afford to follow up and confirm the glaringly obvious to be rewarded with information that Ms. Monroe herself didn’t even understand. She literally just hands you the book at the end of her passage while saying, “Here, you’ll need this.”

Case Nine is rife with moments like that but this issue is persistent throughout Consulting Detective. Often times we can’t find the culprit because we don’t know what rather irrelevant social engagement the victim maintained in his final days would have some unrelated waiter or salty sailor who just so happened to notice the passing connection between the victim and perpetrator.

Even worse, there are a number of small subplots working in the background of each case that, if you’re playing to “win,” you’ll miss because you are punished for following clearly unrelated tangents. One case had a whole fascinating mini-murder mystery going on in the background concerning smuggling and international shipping lines that I only learned about because Kait would read the whole case file after we’d concluded it.

So, outside of correcting the problematic writing in the first place, the biggest issue in Consulting Detective is its scoring in the first place. It’s a poorly thought out and implement mechanic that pushes players from playing and enjoying the work the designers put into creating the game.

Personally, I think a better scoring system that doesn’t punish people for enjoying the adventure would go a long way in shoring up Consulting Detective’s weaknesses. As it stands, once you’ve followed six or so leads and have failed to solve the mystery, you know you’re not going to win. And then the case just becomes an embittered and disconnected affair of throwing caution to the wind and knocking on every door to see if you ever stumble across the answer.

For me, what I would do is split scoring into two sections. In the first would be a long list of questions. Of these, Holmes would answer only the most pertinent to the case. The rest would be essentially “bonus points.” Thus, Holmes would, say, accumulate eighty points for uncovering the identity, motive and means of the guilty party but miss out on points of what happened to a missing earring or the name of one of the search dogs. Then, there would be a scale for awarding points depending on how many leads one followed. Holmes would always score highly on solving the case in very few leads to round out his score to one hundred.

In this manner, players can always tie Holmes simply by reading and visiting every single location in the story. There is no penalty for enjoying the case and discovering all its various twists and turns. But there is also the knowledge that you’ll never beat Holmes and, really, you’d rank down at Inspector Lestrade’s level for going well over the number of leads that Holmes does.

You win, but you win knowing that you could try beating Holmes if you wanted follow the strategy that we employed originally. This makes for two approaches for engaging with the product and also insulates from the feelings of being cheated since, if you don’t happen to immediately divine the relevance of a visiting French theatre troupe, you won’t lose the case. In fact, if the questions and lead scale are designed properly enough, the optimal method for beating Holmes score would be taking just a few extra steps than him to uncover several additional answers to the mystery.

In this way, you’re encouraged to play more – not less.

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A New Horror

Cosmic horror has seen a resurgence of late. Lovecraft, thanks to the aid of the public domain, has seen a thoroughly widespread infection of the public consciousness. Bits of his horror show up in television shows like True Detective, stories and comics from people like Junji Ito, music from Metallica, DeadMau5 and Iced Earth.

But, perhaps the most famous spread of Lovecraftian lore is in the boardgame sphere. Fantasy Flight has been pretty prolific in offering a line of products focusing on Arkham and all the horrors from which it spawns. These range from card games, dice games to sprawling board expedition games. I’ve written before of my enjoyment of Elder Signs. Thus, I was interested to hear that Fantasy Flight was releasing a new living card game. I’ve also written about their Netrunner product and not only was this new game going to follow a similar release structure but it was also going to be cooperative.

My biggest stumbling block with Netrunner was there’s no middle ground. Either the people I play are very interested in it and I’m wholly outmatched due to my shallow deckbuilding options or I can’t find anyone willing to put in the time and effort to learn the labyrinthine system. But if there wasn’t a competitive element that gave someone with a greater experience lead a significant advantage in the game then I figured it might be quite good for our table.

Thus, I eagerly played the first scenario of the Arkham Horror: The Card Game (referred to as simply Arkham LCG after this).

Image accessed from http://images-cdn.fantasyflightgames.com/filer_public/23/76/23765ffd-e321-4130-b166-fceb78b2cc4a/ahc01_preview1.png

Arkham Horror: The Card Game and all associated image belong to Fantasy Flight Games

And today I’m going to give you my first impression.

It was… ok?

I enjoyed it. The game was certainly entertaining and took a card game in a direction I’ve never seen. There’s a deckbuilding portion which, I had mistakenly assumed, meant it would somewhat similar to Netrunner. You see, you select an identity in a similar manner: in Arkham you pick an investigator and they belong to one of five classes. Each investigator has a specific power and they have deckbuilding restrictions. For instance, I chose Agnes Baker: a waitress at the local diner who was once a deadly witch in a past life. Agnes, for whatever reason, is haunted by the power she formally wielded and is capable of utilising that power to cast some classic lovecraftian spells. As part of her deck building, I could choose cards from both her class (the Mystic) and the Survivor class as well as neutral cards. Other investigators likewise had access to one other class for their deck construction.

Each class has its own speciality too. The Survivor class, from half my deck construction, appears to focus on skill checks and turning failures into successes and successes into ever better results. My fellow investigator was Roland Banks, a Guardian/Seeker cross that specialized in fighting monsters and investigating locations.

It’s an interesting system but I’m not sure how I feel about the deckbuilding portion. Granted, we had access only to the core box which meant that our decks were built for us since there cards that come in the box only allow you to make two legal decks. But decks are apparently thirty cards maximum and in the course of a game you won’t ever really go through them. So there will certainly be a need for redundancy like Netrunner, however you’re fighting against a clock since doom accumulates every round and once it reaches a threshold you’re forced along that scenarios acts.

I’m not sure how I can talk about the scenario itself since it seems highly specific with little variability. What you do during a scenario is move your investigator from location to location attempting to collect the prerequisite number of clues needed to proceed. You have three actions per turn to play items, fight monsters and perform your investigation checks. You must find the necessary clues before the doom accumulates and ends your game. So even though you can spend an action to draw a card – much like Netrunner – you’re disincentivized to do so otherwise you’ll run out of time to finish the scenario.

Now, the locations and the events that happen in them are pretty specific to your mission. I won’t spoil much, but we started the game in our study and the door to our room mysteriously vanished. That’s the sort of opening that won’t really have much recurrence in other stories. So while it sort of followed the loose outline of a standard haunted house, the details themselves were closer to like a round of Imperial Assault.

And this is where I run into my major gripe with Arkham LCG. There is very little variation within the story itself. The act progresses with the same requirements each time. The locations you visit have the same effects each time you go to them. The doom counts up the same track with the same penalties. There really isn’t much reason to replay a scenario, even if it’s only to try out a new class. You’ll have much better idea of what you’ll be facing and will no doubt have to up the difficulty of the game solely to keep interest.

Course, the way the game improves difficulty is neat. Instead of rolling dice, whenever you perform a check you must draw from a bag of chits. These chits will modify your skill number compared to the check’s difficulty – determined by the level of “shroud” in the room you are performing the check. Nearly all the chits in the bag are negatives (one’s even an auto-fail) but the degree that these chits reduce your skill can be adjusted at the start of the game. We played on normal so most of our chits were negative 1 or 0 adjustment to our skill check. You can change it so there are far more negative 2 or 3 chits floating around the reduce your odds of success. But I’m not certain how effective this balances your foreknowledge of the tasks you’ll face and your ability to adjust your deck and fine-tune it for the challenges you know are behind each door.

Even worse, I loathe Arkham’s pricing scheme. I praised Netrunner for not being nearly as gouging to the customer as Magic: The Gathering. However, despite being the LCG format, I feel like Arkham is far worse than Netrunner. You see, because you are playing campaigns and following a story, you can’t really skip releases. The core set launched with a story with three missions in it. But the next releases are set to follow this order:

Accessed from https://www.randolph.ca/wp-content/uploads/2017/02/arkhamcardgamedunwich.jpg

Arkham LCG does provide new and updated art for familiar characters and monsters from the Lovecraft universe and I absolutely adore them for it.

A deluxe expansion the provides the first two missions of a new story arc followed by six booster packs each containing the next story in the sequence. Most of the cards contained in these releases are thus the cards necessary to run that story (the act and mission cards, monsters, locations and rewards specific for that arc). It is impossible to buy the deluxe expansion and simply pick and choose which story boosters you want from its release as they all tie into one another. And it’s not like these releases are cheap either.

The deluxe box sells for around $25. Each booster is $15. For a single post core campaign, you’re looking at $115 for a complete experience. While this is on par with Netrunner, I was never going to purchase each card released since they weren’t necessary to play. Sure, it put me at a disadvantage but it didn’t lock me out of the game. And, for the most part, I could replay with one or two deluxe expansions and just the core quite happily with multiple different deckbuilds that would provide wholly different experiences.

Arkham LCG simply does not work that way. As I mentioned, the core doesn’t change even if I pick two vastly different investigators. The Dunwich Legacy will be the same. And to my knowledge, there isn’t really anything you can do to spice things up. The game requires a set series of events that are triggered by predictable conditions.

Ultimately, it’s the kind of game I simply can’t justify buying. It’s fun and I’ll gladly play with someone but when I look for a game I’m looking for something that I can really get my money’s value. I loathe legacy style games and I won’t ever buy a game that can only be experienced once before losing all value.

Now, I know other people are not held back by these stipulations. And, perhaps for them Arkham LCG would be a far more interesting investment. At any rate, I’m eager to finish off the core campaign and see where things go but I simply don’t see myself stopping by the counter to get my own set to force Kait through at the dinner table.

Which is a shame because I was really hoping to get her into the Lovecraftian universe.

Belles, Balls and Bad Intentions

Here at last is the final preview for Thyre: City of Smoke and Shadow. Happy Victoria Day everyone!

Available for Kindle and Print at Amazon.ca and Amazon.com!

***

Chapter 2: Marcus ha Romonte, Smoke and Fog

The ballroom of the ha Romonte estate was a lavish space. Columned with exquisite pillars carved from imported marble and inlaid with delicate twisting ivy, the room was renowned amongst the socialites of Thyre for both exquisite artistry and almost magickal acoustics. While the band remained hidden behind a half-screen of stained rosewood on the second floor, the sound of their instruments carried to the furthest reaches of the chamber as crisp as if they were but mere feet away.

The pleasant atmosphere nearly compensated for the vivid murals and sculptures adorning the borders. Horrific depictions of the nightmarish untamed appeared twisted and engaged in a brutal conflict with the divine aspects of the Lord. Anointed priests in stylish embellishments displaying the Lord’s favour stood shoulder to shoulder with the devout hosts at the feet of the avatars. Each of the legendary figures depicted one of the divine aspects of the Lord incarnate in all his collected radiance.

The Marchioness ha Romonte held a very public devotion to the great Church and felt it stylish to adorn the manor in all manner of religious iconography. However, in the minds of the most discerning tastes, such vivid representations were best saved for the dated grottoes and niches that had been far more popular nearly a hundred years ago.

It was this decorative reason alone that marred the splendour of the Marchioness’ parties. There was an unsettling way the statues appeared to stare down upon the guests, wavering within the dim gas lamps as if they were alive. The untamed seemed to eye each visitor with hungry eyes, prepared to whisper their lies and damnations to tempt even the most pious from the Lord’s graces. The faces of the priests and host in turn were heavy with suspicion as if they drew bare the sin held in every man’s breast.

Despite the unsettling décor, all who received an invitation from the ha Romontes always accepted. For beneath the foot of the gargoyles hung thick brocade curtains over expansive bay windows, crystal chandeliers glittered from the great cathedral ceiling and carved mahogany divans stretched alongside the balcony wall. Above all the modern gaslights hissed softly like sibilant caged snakes.

The ha Romontes were rich and they were powerful. For that reason, every family with a daughter in Thyre hoped to catch the favour of the brooding Marquis. Now that the dashing heir to the title and fortune had returned, marriage was was on every great family’s mind.

Like the ringing of a crystal wind chime, Vivian’s voice twinkled through the air between the notes of the live band in their hooded balcony.   

“Did I not mention? I have a daughter who takes after me, if you catch my meaning.”

The lady addressed a crisply dressed military officer: an ageing man with great white whiskers and a number of military commendations pinned to his breast. He stood upright and proper, paying appropriate attention to the lady without presenting any interest for the direction the conversation steered. It seemed no coincidence that the one ornamentation he lacked was a wedding band upon his finger.

“And could you believe that she has still not posted the banns? I mean, a marvellous young woman, much as I was in my prime if I may, still unwed! Still unengaged! Such a travesty, is it not? General?”

The younger woman sighed at the sight of her mother’s poor attempts at subtlety.

“Forgive me, my lord,” Isabella said. “I would like to say mother is not always so forward, but my father told me I should never speak falsehoods.”

The lord looked upon her, unable to suppress his smile. His partner in this dance was the most exquisite creature he had ever seen. Even now, though a hooked expression of annoyance pulled at the soft contours of her face, it failed to mar her perfect complexion.

“That is your mother?”

“Not by choice, I can assure you.”

He had heard of House Riviera’s reputation. His parents, the Marquis and Marchioness, were more concerned with pedigree than character. The Riveria’s southern origins were not favourable despite that country holding the seat of the holy charters. But now, clutching the dainty hand of his partner, he couldn’t help but grow curious about this little noble house.  

“This is absolutely marvellous stuff have you tried it, General?”

Once more, the lord’s attention was drawn back to the exchange of the senior Lady Riviera. Madame Vivian held the thin glass delicately in her fingers. The container was nearly drained, but the woman’s need to lean against the officer suggested where most of it had vanished.

“It’s Commissar, Madame. And that stuff would be wormwood.”

“That is not an answer,” Lady Riviera smiled, the glass shaking accusingly in his direction.

Isabella caught her partner’s curious gaze, drawing his attention back to the dance. She smiled as she directed – with the most discreet of touches – the pair back towards the centre of the room.

However, their passing caught the attention of the matron. Upon spotting her daughter and dance partner, her hand immediately relinquished the crystal. Fortunately, her escort was quick to snatch it before it clattered against the floor.

“Oh dear, now we’ve been discovered,” Isabella whispered. “Try and ignore her, else we’ll just make things worst.”

As one, the two dancers stepped gracefully amongst the sea of twirling pairs, two lone individuals gliding in a stream of rustling cloth and fabric. He looked resplendent in a swallow-tailed jacket, ruffled shirt and pressed cuffs. Gold buttons glimmered in the candle and gaslight while his polished shoes shone brighter than the beeswaxed floor they tread. A hale face emerged from the raised, embroidered collar. The clean shaved cheeks revealed a strong jaw punctuated by the famous ha Romonte chin. Two blue eyes, like tiny sapphires hidden beneath hooded lids, pierced the thick, manicured brows.

And while he looked remarkable, she was practically aglow. Her hair was bound up, and the unruly tanned curls had been straightened and gathered beneath a soft lace weave. A few strands had been strategically hung to frame her oval face, draping the immaculate skin. High cheekbones drew a soft line to thin, glistening lips. A small nose separated her eyes: a pair of soft emeralds that modestly followed just above her partner’s shoulder. She claimed heritage to the lavish Tuscien stock; a paragon of the race known for their bronzed skin and deep, captivating eyes. There was a reason she was known as the Gem of Tuscien.

At the strike of a chorus of horns, he released her hip and she followed his lead, stepping out as her dress flared in a whirl of cloth. Her free hand bent just slightly, touching the soft, exposed neckline that led to a modest amount of shimmering bosom.

Vivian Riviera looked up into the face of the man who held her. Taller and thinner, it was his green eyes that betrayed his relation to the stunning Isabella. Knowing well his wife, Lord Riviera produced a small fan with which the Madame immediately began to shake vigorously.

“Good sir, I do believe I may be full of the ether. Please tell me who that ravishing pair are?”

“You are being silly,” Lord Riviera said. He manoeuvred her glass upon a passing servant’s tray.  

“I always thought only a military man would tolerate her…”

“They are only dancing.”

“… tell me, good sir, what she is doing with that nobleman!”

“The two-step.”

“And not just a nobleman but Marcianus ha Romonte?”

“Shall I prepare your mausoleum? Has your life reached full expectancy?”

“I do believe it has!” Madame Riviera gasped.

Isabella rolled her eyes and shook her head with resignation. Her parent’s exchange was loud enough to be heard by every ear in Thyre and least not that of the highborn man holding her.

“You are going to deliver me much hassle.”

As the song concluded, the dancers slowed. With the last note, they joined their hands in respectful applause.

“I suppose it would be too great a burden should I request a second?” Marcus smiled.

“Indeed, it would,” Isabella replied, giving the Lord a courteous bow before turning and slipping into the crowd. Marcus watched her go, paralysed with shock. He was not accustomed to flippant dismissals, especially not at a ball thrown in his honour.

Already, a mass of young girls filled the void spreading between him and the beautiful Isabella Riviera, each one more than willing to take his hand next. But he only had eyes for that strong back as it pushed its way into the throng of partiers, never once turning.

He smiled politely as the boldest approached, quickly stepping around new couples eager for their turn as the band started their next performance. He took a passing servant by the arm, gently requesting a glass of brandy before edging his way to a darkened corner of the hall.

A lone lady stood amongst the shadows, batting thick lashes and coyly bowing her head as if she had been caught in the last moments of preparing a nefarious trap.

“Lord Marcianus, it is a pleasure to meet you. You may not know me, but I am Rosemarie and it is truly an honour to be here.”

He gave her a short smile, his eyes rolling over her meticulously designed ensemble with its calculated amount of bosom. She watched him, noting where his eyes went and how long they strayed. It reminded him of the dark creatures that stalked the eastern jungles. Those were deadly beasts – monsters born from the nightmares of man. Marcus had stared into their caliginous eyes and seen the cold cunning of its gloomy mind.

He saw the same cunning here. But instead of claws and fangs, this beast offered a far worst death: the merciless promise of obligation and restriction. It was a promise of chains with only the single-minded purpose of enslaving his soul.

“Save your appreciation, Madame. It was not my invitation that you received but my parents.”

“The ha Romonte’s are truly a generous and gracious family.”

“Generous enough to cut the allowance of their only son in order to force his return to a city he detests. All so they can try their hand at political arrangements.”

“I assure my Lord I do not know of what you speak,” the girl blushed, her hands suddenly searching her ruffles for a fan clearly forgotten.

“Then I shall speak it plainly. I have no interest in the holdings of your father nor the size of your dowry. No amount of prestige or power could persuade me to take an interest in a face so plain I would half-expect it no more on this floor than in the scullery.”

For a brief moment, confusion coloured the poor creature’s face as her mind reeled beneath the impropriety. Once she had recovered, and feeling the burn of the insult crawl slowly over her cheeks, the girl turned and ran for one of the powder rooms. With any luck she would spend the rest of the eve within, perhaps being consoled by a lady in waiting. For but a moment, Marcus felt for the poor creature.

But his sympathy was fleeting.

Marcus suddenly found the ball dreadfully dull and turned to excuse himself. This would no doubt earn him scorn from his father. But gone were the years when Marcus feared his wrath. He was a grown man now, and his parents’ expectations and punishments could be damned. He had no interest in these women here – these unremarkable girls whose only glowing qualities would be their connections to some ancient lineage or wealthy household.

Isabella had been the one bright moment of the entire drab evening.

Marcus stuck to the outside of the dance hall. No doubt this party would be a tremendous success for the Marchioness amongst the vultures of the elderly nobles. Women’s politics were so narrow-minded: focused more on public appearance and lavish dances than important matters. It was little wonder that men dominated the seats of the House of Parliament. Only the Queen herself appeared capable of rising above the weaknesses of her sex.

As Marcus approached the side exit, he caught a glimpse of a vaguely familiar dress. That young, brazen woman from the shadows looked quickly about her before slipping through the entrance to the west wing. Curiously, it should have been locked to prevent ladies mistaking it for an unoccupied powder room. Marcus moved to follow her when a hand fell upon his shoulder.

“Nature has not an inch of the savagery as that which resides in the heart of man.”

Marcus turned, a crooked smile breaking across his face at the sound of the deep voice.

“I knew my family had lowered their standards but not so much as to let in any riffraff.”

“It is the son to blame, I’m afraid. Without his disdain, they wouldn’t dare extend their charity below his own pedigree.”

“Kieler, it has been too long.”

“I’m sure, Marcus, that it has not been long enough.”

The two gentlemen embraced.

“What have you been up to, my friend? You’re not still attending the University are you?”

“I’m afraid my studies have… come to certain conclusions,” Kieler replied, shifting slightly. The man’s dark eyes darted uncomfortably about the busy hall, skittering over the flowered ladies and tapered gentlemen like twin flies unable to find peace enough to land.

Marcus’ serving lad arrived with his drink. The lordling took the glass, resting a steady hand on his friend’s shoulder and directing him to a small, private card room. He slid the connecting doors closed, shutting out the chatter and bustle of the party.

The dark gentleman seemed to relax slightly in the solitude, though he wandered the perimeter of the room with his finger slowly drawing over the rough backs of the thick volumes lining the walls. Marcus slipped into a large chair, crossing his legs and idly watching as his colleague completed his rounds until his nerves were brought to rein.

“I see you have not changed much over the last few years,” Marcus smiled, sipping his brandy.

“On the contrary, quite a bit has changed in your absence,” Kieler corrected. “It’s just the appearances that remain the same.”

Finally at rest, the gentleman slid into the chair opposite the lordling. He crossed his legs rather uncomfortably, revealing hemmed pants slightly too small for his tall frame and a shirt faded from extensive wash and reuse.

How he had managed to blend into the crowd gathered in the main room was more a testament to Kieler’s skill than to his appearance. He had the dark brooding look of the barbarian tribes of his ancestors. His hair was as dark as charcoal and poked unruly from beneath a slightly torn top hat. Matching dark eyes were half-concealed beneath equally dark and shaggy brows. His face showed the shadow of a beard that could never truly be shaved and a few nicks from an old razor’s edge suggesting the man tried, nevertheless.  

“I am glad that my family had the presence of mind to invite someone I like to my ball.”

“Well, their disapproval has not changed,” Kieler confessed. “But your estate still proves to be far too simple to penetrate.”

“How delightfully intriguing. May I, perhaps, muse over the method?”

“As you desire, my Lord.”

“Was it forgery? A clever ploy that involved intercepting the delivery of an invitation and mimicking the seal through arcane measures?”

Kieler sighed, his gaze drifting once more to the room’s interior. His eyes were piercingly cold but had a habit of wandering away from things which failed to stimulate his interest.

“Nothing so extravagant.”

“Perhaps, then, some wickedly deceitful glamour to bypass the wards? It would be quite the feat to surpass the skills of old Fraust but something I am sure lays within your calibre.”

“Sorcerers and their spells. Too many think their magicks are infallible and rely too greatly on their esoteric knowledge when vandals more often resort to simpler, mundane means.”

Kieler tapped impatiently against the chair as his eyes settled once more upon his host. There they lingered about his frame before returning to his face. A passing smile haunted his lips.

“I suppose I should ask about your travels. That would be the polite discourse?”

“I would hate to bore you with the details,” Marcus dismissed. Truth be told, he had received little interest in his wanderings. Once ascertaining his health, his family completely neglected his journey insisting on prattling about their own concerns.

“It would be polite,” Kieler said. “While you may wear the familiar clothes, you are not quite the man I once knew. Your journeys have changed you, for that I can plainly see. There is strength to your character and yet certain trepidation to re-enter the world which you once knew. More remarkable is that your eyes seem brighter.”

“Brighter?”

“The spark of life has been ignited within yourself. I dare say your very nature has been altered by your experiences. It is quite transparent for those trained in how to look.”

“You do say the most peculiar things.”

“Also, I see that the trip has done your anatomy some good.”

Marcus laughed.

“I know not how I could possibly relate the experiences I have gained,” the lordling said looking wistfully into his glass. Within the soft red spirit floated vision of the distant mystical lands.

But faced with actually speaking of his trip, he was at a sudden loss of words.

“I have felt the very measure of my worth tested beneath the harrowing breath of terrible storms. I have climbed mountains that seemed to anchor the very sky. I have stared in the eye creatures so alien as to be rendered from a madman’s ravings. I have touched the clouds, kissed the ocean and slept within the very bosom of the earth herself!”

“And you have returned.”

“And I have returned.” He made no effort to hide his resignation. The sorcerers say that the purview of the mystical experience lies in the few blessed souls born with the talent. However, Marcus swore that he had touched the power Kieler held in his own travels. There was a very special magick he experienced that could never be replicated in this city of smoke and steel.

“Tell me, old friend, how has the city treated you in my absence? Has any excitement occurred since my departure?”

“You have not missed much,” Kieler sighed. “The city continues to breathe its black breath. I am not good with gossip, you’d be better talking to one of those prettied ladies you so despise.”

“That life is my parent’s desire,” Marcus said. “Tonight, I am Lord Marcianus Pallero ha Romonte. But I know not how my family can expect me to return to that when I have been Marcus for over two years.”

“The trappings of the noble are easily re-adorned,” Kieler said. “Much like putting on an old housecoat, I imagine.”

“Exactly. It is a trap. If I had my heart’s desire, I would still be out in those wilds.”

“Might as well try catching lightning with your hands,” Kieler quoted. “But do you not fear the dangers of the wilderness? It is said that once man is freed from responsibility he descends to the level of his darker urges.”

“I feel that the darker urges are here in the city,” Marcus said. “I felt I belonged more out there in those strange lands than I do in the comfort of my own home.”

“That is just Marcus speaking. I’ve already seen the old Lord Marcianus tonight.”

“If only we could trade places. You could be the lavished lordling and I the mysterious gentleman.”

“You would not wish to trade,” Kieler smiled. “Then you would have to forsake Isabella.”

Marcus’ smile was sheepish. Of course his friend had seen him with her. It was always his way to know his most intimate thoughts. It was what endeared Marcus to the young man.

“Well, there must be something you can tell me about what has transpired. What keeps you busy these days?”

“Nothing. Thyre persists, much as it had when you left. You can see for yourself the idle fancies one must partake to avoid the constant weight of the city. The poor busy themselves with the rich and the rich busy themselves with the poor.”

“Whatever do you mean?”

“Crime. It is all that ever seems to amuse the aristocracy – the savage heart of man and all that.”

“And what about the rich’s interest catches yours?”

“Their interests often become mine,” Kieler said, uncomfortably straightening his jacket.

“Anything now?”

“Recently? Burglary. There has been a string of silver thefts from estates all across town. All wonder the identity of the daring rogue and what is being done with their cutlery.”

“Theft seems rather petty,” Marcus frowned. “Such a pedestrian occurrence hardly seems worthy of attention.”

“It was mostly unremarkable until the ha Valrontes lost most of their family heirlooms one night. It has been quite the scandal since. The constabulary has been unable to track down even a single missing earring.”

“Likely it is being smuggled through the slums,” Marcus mused. “Guards rarely go through there and would it not be too troubling to stow it through the storm sewers to the docks?”

“That’s what I first imagined too,” Kieler laughed.

“Then the police should place a few constables by the grates. Surely even the gangs would leave them alone if they were there in large enough force.”

“They did. Canvassed the entire area with three patrols and found not even the slightest indication that anyone had passed.”

“Did they consult a sorcerer?”

“Dorsche Gereau. He could find no trace of the missing silver. Considering the ridiculous legend of that element’s association with certain forbidden practices, the University was quite eager to work with the constabulary. There was not even a mote of an incantation to be found.”

“So, either the culprits are very good or the docks are not their route of transportation.”

“And therein lies the mystery,” Kieler said. “No one knows where the silver is going. It’s become quite the obsession. Many speculate but more are concerned about their own property. If the ha Valrontes could be victims…”

“Then anyone can,” Marcus finished. “Well, the ha Romontes have not been struck. I doubt mother would hold this lavish gathering if she were concerned about her pearls. And even the pickpockets of Kulkattu could not get a single coin from me. There is no method by which our household could be penetrated by these burglars.”

“If only confidence itself could be used as a ward,” Kieler laughed.

“You think our defences could be breached?”

“I broke into your ball.”

“But you did not steal our jewels. Besides, a sorcerer of your skill would hardly pass beneath the constables’ attention. Even if Fraust failed to catch you, certainly someone else would notice your passing.”

“So, the best burglar is one that knows his victims?”

“To a point,” Marcus said. “Be too familiar and you are likely to be a suspect. Should something be reported missing, surely your… upbringing would be noted by the authorities.”

“You think it impossible for me to go unnoticed?”

“Well, you are familiar with our staff. Certainly that grants you some favour once you breach the grounds. In fact, you could possibly walk in as simple a guise as a servant until you passed the guards and gain entry through any number of the below-stairs entrances without being stopped.”

Marcus shook his head.

“That is it then, your mysterious method?”

“I said it was nothing too extravagant,” Kieler smiled. “However, if we take this lesson to heart, one must appear familiar without actually being intimate in order to gain entry.”

“Precisely. It is only of the serving men one needs to be wary. They have eyes and ears like the rest of us, and while their employers typically pay them no mind, the constabulary turns to them first. Most of my staff know you as a friend and would be unlikely to stop you. Failure to garner their attention, though, and you would have free reign to pilfer whatever riches you wanted.”

“Then you have the matter of procuring the objects and getting them to a seller, for what is a heist if not a means to greater wealth?”

“Except the more people you involve, the greater the chance of apprehension,” Marcus said, leaning back in his chair. “Theft is such a lowly form of crime with base desires behind it. Were there no element of mystery to these heists, they would not attract the attention they do.”

“It is the want of idle minds to light upon the current enigmas of the collective consciousness.”

“But the only appeal of the mystery is the unknown. Once the method is discovered, the allure vanishes like so much smoke and fog. Do you not feel the same?”

“I find theft rather uninteresting,” Kieler said. He stood and moved towards the door.

“And what is it that grabs the great mind of Kieler Dietrich? What perfect crime would impress upon his immeasurable skill?”

“Murder.”

And with that, the gentleman slipped from the study and vanished. Marcus looked at his glass, the red liquid seeming thicker than before.

A rap at the door drew his attention and he turned to find the wizened face of Fraust.

“At last, young master, I have found you.”

Drastian Fraust had served the ha Romonte family for as long as Marcus could remember. He had dressed for the evening, the formal suit looking quite stiff and out of character on the man.

“Is there with something I can assist you?”

“I’m afraid that there’s been some meddling with the manse’s wards. I have not been able to find your father to inform him. If I may, I must borrow you for a moment to bolster the incantation.”

Marcus smiled.

“No need to fret, I have just spoken with Kieler. I am sure it was his doing.”

Fraust frowned at the younger sorcerer’s name but he merely shook his head.

“It… interests me to know that your friend is here tonight. Though, this is unlikely his doing. The tampering was rather crudely performed, something that even your friend is not apt to do.”

“Very well,” Marcus said, standing. “I am certain there is nothing wrong.”

***

Thyre: City of Smoke and Shadow is available on Kindle or for online reading from all Amazon sites. Canadian customers can find the digital copy here: Thyre: City of Smoke and Shadow Kindle Edition

Paperback versions are also available but only from a limited number of Amazon sections. If you are in Canada, you’ll need to order from Amazon.com. If you’re in the United States then you don’t need to worry! Check it out: Thyre: City of Smoke and Shadow Paperback Edition