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?
With NaNoWriMo fast approaching, it seems I should get a few more words out about what I’m doing to prepare for it.
Last time I discussed my NaNoWriMo prep, it was to hone in on a genre that I wanted to explore. As I mentioned, the November novel is my chance to try new tones, genres, voices and styles. Since I don’t do a lot of present day fiction, the urban fantasy genre seemed like a good little niche to poke and prod. It’s adjacent to my regular writing enough that it could be relevant to my stories while being different enough to exercise those creative muscles.
Now, the nice thing about prep is that nothing is set in stone. Things can and, generally do, change. I’m still planning on doing an urban fantasy but my original idea for characters is slowly changing while I consider my option. And speaking of characters, that brings me to my next step of prep.
In my writing, I love to focus on characters. Motivations. Histories. Relationships. Philosophies and ideals. These heady psychological concepts let me put my education to some us but generally help to shape the different people that drive the story. Of course, there is no telling what characters will pop up in the plot, especially since I hardly plan any of my first drafts. But what I will focus on is the main character. And I have several tricks for creating them.
My go-to development method is simply take someone I know and use them as a template for my writing. My friends and family are sprinkled throughout my writing in various forms. Granted, we’re all multi-faceted individuals. Our personalities are not a weekend shopping list of traits but an ever changing kaleidoscope of ofttimes contradictory and inconsistent behaviours and beliefs. That is to say, while I base my characters on people I know they are hardly ever recognizable as the people I know. Generally, I’ll focus on one portion of their personality and design around there.
Take my sister for example.
There are numerous moments where I have based a character on my sister. The most obvious is… well… her D&D character in my short stories. Those stories, written in a somewhat generic fantasy setting, took moments of our lives and recast them as though they were Dungeons and Dragons inspired adventures. As such, Kait’s character (inconspicuously called Kait) was a small town teacher who had a fondness for hikes and rocks. So this fantasy Kait was classed as a ranger and, taking inspiration from the source, was a ranger who had a knack for getting lost and possessed little sense of direction. Furthermore, she loved collecting things and carrying around a large backpack filled to the brim with the random junk she’d find on their adventures.
I like to contrast this lighthearted, clumsy ranger with Therese from my Thyre story. Both had the same inspiration and yet I feel the characters are more different than they are similar. Therese of Thyre’s fame may have shared a love of reading and books but she was a standoffish woman with a cold, controlling attitude especially towards those she felt were foolish or below her own intellectual capabilities. Her prickly exterior naturally led her to having few friends and associates but despite that she had a complicated relationship with her cousin. Her domineering attitude provided an anchor of sorts to his free spirit even if her acerbic wit often manifested in barbed banter between these two seemingly close relatives.
Now, is my sister this cold cousin? Of course not. Nor would she hopelessly be lost in a forest or feel unnecessary compulsion to squirrel away every little bit of coloured string or shiny rock she tripped over. That’s the fun of using real people as templates. Especially those that you are close to. You know how they would react in a multitude of situations so you have a start for your fictional individual that is both real and grounded. But more than that, you can practice the ever enjoyable “what if” scenarios. What if Kait could speak to animals and follow the spirits of wanderlust? And how would that change her? What would stay the same?
Of course, these were early stories where I was a novice at character creation. I will admit that as time goes on I’ve relied less and less on real world templates and have developed my characters wholesale from my imagination. However, now and then, I’ll still pluck the technique if I’m in need of a quick side character that I don’t want to spend a lot of time developing. Or, as is the case here, if I need inspiration where I have no initial spark of creativity.
It was over the weekend when I was attending the first birthday of a friend’s child that I realized I have never written a character based on him. I’m not sure how that happened but as I was struck by that revelation, it did get me thinking. Now, I certainly don’t have any full ideas yet. However, I have a template for a character and oftentimes that’s all I need. What part of his personality will fuel my story? I don’t know. But that’s the fun of writing for me. It’s a practice of exploration and knowing who leads the adventure, even if I don’t know how they’ll lead, is often enough for the first outing.
There is one other element of my writing that I’ll be porting over to this November novel. I quite enjoy playing with expectation. In particular, I have fun turning the mundane into the exciting and the exciting into the mundane. For example, my Red Sabre novels follow a band of rail pirates. Yet though it sounds like a colourful life (and it is!) I also like to think how the day-to-day activities of their lives would exhibit. I don’t place the events of a Red Sabre novel around the height of their explosive adventures. Instead, their adventures grow out from typical problems whether that be finding food, employment, repairs or simply a place to relax after long days of travel. I like buttressing the grand vistas of a new world and the excitement of a gunfight with a glimpse into the actual work it takes to get there.
Likewise, I enjoy playing with things in the inverse. Several of my stories follow rather boring people doing boring things with their lives. That is until everything is upended up the extraordinary. My Middle School Can’t Be This Haunted and Never Ever After are probably the best examples of these janitors turned main attractions. Sophie Caroll in Never Ever After is a girl who works at a laundromat. Her favourite thing in the world is a trashy B-tier television show. She has no skills. She has no great friends. She mostly is spinning her wheels until her life ends. That is, of course, until a school of fish burst from one of her washing machines and a talking red panda convinces her to tumble through a modern wardrobe into a world of crazy creatures and landscapes.
So a young, new father puttering away with his job is definitely something I will play with. And I think this pairs well with the urban fantasy genre. Course, now I have to consider what actually makes my urban fantastical and decide whether I want to take this story more into a mystery or a horror direction. Considering that really I have a likely audience of one for this project, however, I’m more apt to make this a mystery. Plus, it will give me more mystery writing practice.
And, at the end of the day, this is largely practice.
Happy Thanksgiving everyone! I hope you are pleasantly full of turkey, turnip and appreciation for the wonderful things we have in these interesting times. I was fortunate to see some of my family bubble for the festivities and acknowledge the luck and fortune that I was able to spend it with them when others are still isolated or separated. With any luck, next year we’ll look back on just how crazy 2020 was.
So, I was going to do several blog posts detailing my preparation for NaNoWriMo but I have a different course to take today. I’ve been slowly chipping away at Fallout 4 with Derek and, because I like to be on the cutting edge of discussion, have decided to dedicate today’s blog to this five year old video game. Bare with me, this will be a rant.
I readily admit that I have a complicated relationship with Bethesda’s products. On the one hand, I haven’t played anything like their open world games and there is a unique niche in which they occupy. Bethesda crafts very interesting worlds to explore. I won’t necessarily say good. I won’t necessarily say skilled. But the maps and locations they fill their little game worlds do provide a sense of wonder and exploration I have yet to find in any other place. It’s certainly a love/hate relationship, mind you. Perhaps, it is the closest I’ve come to feeling legitimately ambivalent towards something.
You see, for everything that Bethesda does right, I always find two things that are frustratingly done wrong. I applaud, however, the commitment to changing formulas and trying new things even as they pump out franchise sequels year after year. However, if there’s one area I feel you can squeak away with flogging an intellectual property, it is perhaps best in the fantasy genre.
Bethesda is best known for their Elder Scrolls games. These are Dungeons and Dragons inspired fantasy jaunts through a bizarre fantasy land of their own creation which thankfully has cleaved itself from the traditional Tolkien mould. Sure, they have elves and orcs but there’s a lot quite different about the Elder Scrolls that makes each foray into a different section of Tamriel rather exciting. I started way back with Daggerfall which was both mind blowing for its freedom and also frustrating for its obtuseness. Granted, I was a kid when I played that game so I certainly had a hard time following even simple instructions and this was back in the day when design sensibilities didn’t include mini-maps, compasses, glowing faerie lines or what-have-you to lead the player by the hand to the next set piece. I absolutely adored Daggerfall and all its weird peculiarities even if I could not tell you a single portion of its story. I think I beat it on one of my numerous games. Probably playing the weird cat-people race because I was apparently a furry in my younger years. But I’ll be damned if I could tell you anything about it.
But I can tell you all my personal stories. I can tell you about the time I was an infamous burglar – climbing, jumping and somersaulting through the streets of Daggerfall’s cities stealing from wizards and merchants alike. I remember a character being infected with lycanthropy and worrying when the full moon approached and wondering where I would wake up next hoping I was not surrounded by the bodies of innocent farmers. And I can recall joining the mage’s guild, crafting my own spells and teleporting vast distances before dying at the hands of some horrific otherworldly demon. In those days, story didn’t mean much when I could simply tell my own.
As such, Morrowind, Oblivion and Skyrim were all enjoyable experiences. Sure, it was nice that their narratives improved somewhat. However, I went into these games knowing they would be sandboxes for playing around in a fantasy world doing mundane things like property management and farming. It’s like Stardew Valley but every now and then a dragon shows up randomly to kill your horse. In theory, Bethesda Fallouts should be no different. It’s not like I was wedded to that series prior to its acquisition by Bethesda. I think I tried Fallout 2 when I was little but played very little of it. My first true exposure was Fallout 3 and yet, somehow, I came away feeling a little less enthused than if I had just played a Bethesda’s Elder Scrolls game.
Perhaps it is the setting of Fallout that sets it apart. Yes, it takes in an alternative retro-future where the United States fell into some fevered reality of a 1950’s vision of what the world would look like in 2077. But it’s also post-apocalyptic so you’re not actually living in this strange chrome and bulbous robot future. You’re picking through its wastes. I’m not sure what it is about this world but I find it more interesting on the surface and, consequently, more apt to being pulled apart. Perhaps it’s the lack of wizards.
I mean, fantasy as a genre flies by a lot given that it’s working in a world where people can wave their hands and a person turns into a toad. And certainly Fallout has never been a serious setting. New Vegas, my favourite of the franchise, has an entire area populated by talking video screens terrified of robot scorpions. But there’s a difference in tone that Bethesda seems to keep fumbling. And it’s not helped that it feels like they try and push their Fallout narratives more seriously than their Elder Scrolls.
For example, both Fallout 3 and Fallout 4 hinge on a very personal connection the player has to the narrative. In both, they have a missing family member. In Fallout 3 it was Liam Neeson. And who wouldn’t want to be related to Liam Neeson? In Fallout 4 it is your actual son. So they design the game so your stakes are immediate and visceral. It applies a certain amount of incentive to picking through the canyons of discarded toasters as you search for your loved ones. Yet, Bethesda’s open world is less a world and more an amusement park. I’ve complained about this before, but there’s an incongruity in needing to find your father/son and constantly being pulled and distracted to ride each ghoster coaster you pass along the way.
Unfortunately, Bethesda’s writing just does not hold up when it’s meant to carry you through the experience. I will say there are some improvements. I’m certainly not done Fallout 4 so can’t really say how it’ll eventually shake out. I think their companions are a lot better. They are a lot more developed, probably getting up there to the worst of the New Vegas or old BioWare level of companion writing. Which is a huge improvement over their prior try where Fallout 3’s standout companion was the dog. And I think technically the Elder Scrolls games have companions but really they’re just AI decoys to pull monsters off as you scramble back and fire your spells.
However, I want to highlight where Bethesda’s writing still lags behind by committing far more words to analyzing a side quest than the quest has in itself. The titular Child in the fridge quest is easily the worst quest in the game. I’m tempted to say it’s one of the worst quests I’ve seen. And I found it absolutely baffling to stumble across it in this game that has at least tried to improve in the company’s prior deficiencies.
But first, some background. Child in the fridge is a quest that you stumble across randomly while poking around the ruins of south Boston. I received a muffled cry for help and a load knocking. Looking nearby, I found a fridge which, when approached, you could engage in conversation. Apparently, according to the fridge, a child crawled inside in order to escape the bombs but has become locked in due to there being no latch. You are requested to shoot the door off to free them.
I will take a small moment to sidebar an important conversation. I mentioned earlier that Bethesda is always trying new things with their game. This time they adopted the dreaded “conversation wheel” made popular (undeservedly) by BioWare with their Mass Effect game and has since seen widespread application. It is easily the worst system I have seen adopted into the RPG genre and significantly reduces player roleplaying opportunity. Granted, any video game is going to naturally be constrained by choices that the programmers write into it unlike a tabletop game that adjusts to your choices on the fly. However, the dialogue wheel shatters the flimsy illusion of choice in games by taking things one step further and obfuscating your choice by reducing responses to two or three words. Many times those words aren’t even found in the response and can be quite misleading to what you’re going to say. I would say this system was a natural consequence of having a fully voiced character. Nut after installing a mod that simply lists the full responses in a menu, I can honestly say that it is bad just to be annoying. I hope that it gets dropped in future releases.
Anyway, once you shoot the door, a child tumbles out and looks up at you. The child is hairless and covered in scars – identifying them as a “ghoul.” In the Fallout universe, excessive exposure to radiation can transform some people into a wrinkly, unaging mass. There’s some manner of secondary themes surrounding ghouls and their discrimination at the hands of “normal” survivors in the world. Part of it stems from the fact that, many ghouls that live for an extended period of time start to lose any semblance of higher cognitive functioning. They revert into a more genre typical “ghoul” that is a mindless monster trying to kill anything that comes near it.
So, this child who claims to have escaped the nuclear holocaust by crawling into a fridge could very well be telling the truth. However, there’s one rub. The nuclear war that destroyed the world happened 200 years ago. This is a salient point to the narrative since the main character also survived the war by being cryogenically frozen in a lab. The protagonist’s time displacement is an important detail in the narrative. Well, as important as any details are in a Bethesda game. The protagonist barely survived this lengthy internment even as all the other subjects perished in their cryo-pods. How a child in a fridge survived 200 years, presumably without oxygen and most definitely without food, is a wonder. However, things get even more bizarre.
See, the child wants to go home and see his parents. He asks you to escort him. In Fallout 4’s wonderful dialogue system your options are literally “Yes, of course” or “No but maybe later.” Regardless, you walk maybe twenty feet before a mercenary named Bullet comes up to you and asks to buy the ghoul child from you. That’s it. No explanation why he wants to buy the ghoul. No reason for why he’s literally standing several yards from the fridge in the first place. And certainly no reason why he’s low-balling the offer for the child either. This “moment” represents really the only choice in the entire quest chain. You can hand the kid over for a measly 250 bottle caps or tell Bullet to pound sand. Taking the latter, I then had to escort the ghoul kid carefully around the nearby ruins of Quincy so as to avoid an entire stronghold of mercenaries before arriving him at home.
Which comes to another problem. Not only did this child survive for 200 years in a fridge. But they were stuck in this fridge, literally on the side of the road, right beside a settlement that is explicitly looking for people like him to purchase into… possibly slavery? Maybe a circus sideshow, it’s hard to say. Bullet certainly wouldn’t.
How was it possible that this kid locked in a fridge went unnoticed for so long? Once again without food, water and likely oxygen?
And yet, strangely enough, when you arrive at his former house, you find his mother and father patiently waiting in the hollowed our ruins of a rotting two story building wearing their Sunday bests and acting like literally nothing was different. Granted they too are ghouls and both actually have the “twelve packs a day” smoker’s voice unlike the child. But it seems highly suspect when they cry out that they thought their kid was dead. Well, no shit. It’s been two hundred years and apparently you couldn’t leave your empty house to walk twenty minutes down the road to find him in a fridge.
At this point, Bullet arrives to restate his desire to purchase the child. I guess he doesn’t care for adult ghouls. Also, Momma and Poppa Fridge offered you the exact 250 dollars for returning their child. So outside of being pointlessly cruel, you have no reason to hand Icecube over to the two bit ringmaster. A short firefight later and congratulations, your quest is done!
That’s it. That’s the entire thing. It is… maybe ten minutes long and that’s because I took a wide circle around Quincy. So, not only is there really only one choice, and a shallow one at that, in this quest. It’s all over a meager amount of money and some good feels. Normally, this sort of thing wouldn’t annoying me. However, the game’s other minor quests are at least a little more involved. I mean, there’s one where you’re literally asked to go and mix paint to decorate a wall that has at least one more step involved.
But it isn’t just the brevity of the quest that irks me. I can get over a minor, throwaway task. Obviously, or I wouldn’t play video games. No, what really grabs my lion by the tail is the fact that it’s so… insipid. It’s so stupid. There was really no time put into this miniature story. The entire tale is “mercenary bad. family good. fridge thick.” And yet, there’s not a single step in this three step dance that follows any internal logic. I know that pointing out plotholes is out of fashion in these times, but there was zero effort or thought put into this chain. And I can’t even say that the effort in writing matches the effort in production. I mean, all these awful lines of dialogue had to be voiced by four separate actors. And sure the sequence is quick to program but it probably took several weeks or possibly months for it to see full implementation (granted accounting for the voice acting delay). And yet, I have to wonder over the reason for it.
I can’t imagine anyone buying a kid surviving locked in a fridge for 200 years beside a busy road. I don’t care how much radiation magic you throw at it to justify it. And then having the parents magically survive all this time without even looking for the child is even crazier. And Fallout 4 actually has some decent set pieces so I know they can write something bombastic at the very least. It’s not so much laziness that gets me as there’s a fair bit of work involved in creating video games. No, it’s the thoughtlessness that sticks out more than ever. You could have literally replaced the kid with a dog stuck in a bear trap or whatever and told the same exact story while keeping it rooted within the setting. We’ve already seen enough raiders with dogs to know they want them as pets. It stuck in a trap would give the necessary impression that you stumbled across the creature by happenstance and not include this ludicrous timeframe. And you can even save some money by not getting a child voice actor to sound off on some really bland lines.
You do lose those sweet references to Indiana Jones and Ladybug, Ladybug but considering that New Vegas already did it better, I’m not sure that’s worth it.
And then, of course, there’s some really weird implications which I can one hundred percent say Bethesda did not consider when they wrote this quest. First, not only does turning into a ghoul extend one’s life for an indefinite amount of time (certainly a point that comes up often in Fallout games) but it also halts all manner of aging. Icecube has been a child for 200 years. Two hundred years of isolation in a fridge, never growing, never interacting with anyone. Stuck forever in this perpetual nightmare of cramped darkness. Icecube has spent over two hundred times his non-ghoul life not knowing anything more than a five by three foot space. How he isn’t blinded the moment that door comes flying off must certainly be more radiation magic. But it also means that, barring being eaten by a bear, Icecube is going to exist in perpetuity as an approximately nine year old kid. Assuming he doesn’t go feral like the hordes of ghouls you murder throughout the game.
But there’s even more. Icecube is the only ghoul child that you encounter. Which does leave one wondering why there aren’t more. It’s not even a matter of programing – the developers created a model for Icecube – so they specifically chose not to have feral ghoul children anywhere else. There are no ghoul children with any of the mentally stable ghouls. There are none spawning with the ferals in dungeons. Prior games explained this by saying ghouls are infertile so they aren’t making any more. They left what happens to a child exposed to excessive amounts of radiation to the imagination. Perhaps a kid does turn into a ghoul but continues to grow. Perhaps children simply cannot survive that amount of radiation poisoning.
Now, however, Bethesda has no excuse. They have a single ghoul child. The fact there aren’t more falls into the standard Bethesda writing excuse of “Don’t think too much about it, we certainly didn’t.” And I get that children are a touchy subject in open world games. Having a game allow you to kill children is basically a non-starter in this day and age.
Dying Light has left the conversation
But Bethesda normally skirts it by having a handful of immortal children immune to all damage. They normally get around pesky programming issues by making a number of people unkillable regardless of what happens. Which, you know, I get. This is not a tabletop game, some concessions are expected in this creative contract between storyteller and audience. However, why then bring attention to so many incongruities on a bloody sidequest which easily sidesteps all these issues by just using a damn dog?
This is classic Bethesda. Here’s a simple story that is too simple to be enjoyable and yet somehow manages to contradict so much about all their other stories that it detracts exponentially from the whole. And there’s no excuse for this. It’s not due to low effort because a lot of effort went into making it happen. It’s not due to not knowing better because they have contradictory statements elsewhere in their own worlds. It just simply exists. Right there. Like a buffet table laden with succulent homemade meals and a single plate of mouldy cheese swarming with flies and maggots.
And simply put, no matter how nice that dessert is next to it, you can’t keep the flies from flying over and crawling all across it.
So, with today being the first day of October, Kait actually suggested that I do a little series of blog posts detailing my preparation I do for NaNoWriMo.
For those who don’t know what Nano is, it stands for National Novel Writing Month. I was made aware of this auspicious occasion many years back when Derek introduced me to the concept. He actually wanted to participate one year and, having failed in prior attempts, thought bringing in a friend would be the motivation to take him across the finish line.
It wasn’t.
However, it got me into the process. So, the gist behind National Novel Writing Month is to get people writing. You have a full month to get 50,000 words to paper, word document, reed scrolls, human skin or whatever other material you like to use. And if there is one thing I learned from Felicia, in order to hone your craft you must constantly be practicing. So, I have found a lot of success and use for the NaNo competition. First, I have beaten it for… well… a number of years running now. And I certainly can feel the difference in my writing if, for nothing else, the 1,666 words a day limit is no longer daunting. I can still recall struggling until the late hours of the morning trying to hit my word count. Now, NaNo is more of a little vacation. If… vacationing was still work but just less stressful.
See, I like to use my November writing month to take on a project that’s less serious. These are my experimental stories. Ideas that are a little outside of my comfort zone. They’re genres I haven’t attempted. They’re concepts that may not be really great. Since you never truly know if something is going to work until you give it a go. And, just sometimes, it yields value.
See, the first Red Sabre story was a NaNo project. And you can see how well that turned out by checking out my second Red Sabre novel, out today! Get it on Amazon, Kobo, Kindle and whatnot!
But I’ve also written other things that will never see the light of day. Like my zombie/Japanese/anime story which shall remain unnamed and never fully explained. I’ve also written silly super hero tales, murder mysteries, subversive classic fantasy and much more. It doesn’t really matter. It’s practice and mashing up genres is a great way to fertilize the creative grounds of one’s imagination.
And that gets to my first step of preparation: figuring out what on earth I’m going to write.
This sounds a little grander than it actually is. I’m a “panster” type writer so I really don’t have much of a plan when I start. But I do have an idea. My first step is to find that one kernel from which everything is going to grow. Sometimes, it is after a conversation with Kait about story starters or ideas. Sometimes it’s a strange dream. Sometimes it’s because I’ve read something grossly disappointing and I’d like to take my own stab at it.
But what if you don’t have an initial starting idea? Whenever I get a flash of inspiration, I try to write that idea down and let it germinate in the back of my mind. Well, this year (like some prior years), I don’t really have anything germinating. I’ve got a couple of projects on the go but none of them are really NaNo material.
Besides, this can give me something to blog about. So, how do you create a story idea?
Focus on something that interests you. You are your first audience. If you, as the writer, have no motivation for the story then it’s going to be nigh impossible to finish. So, my first starting place would be asking myself one important question:
What kind of story do I want to tell?
There’s a plethora of genres out there. And just because you specialize in one doesn’t mean that you can’t explore others. Even if nothing else interests you, there’s a lot of subgenres that you can plumb. So, do I want to write a Sci-Fi story? Do I want to try something a little different? Honestly, the language of Red Sabre can get a bit ponderous and I do enjoy being able to throw myself fully into modern diction. So I would like to do something either modern or futuristic. I don’t want to do a horror story so I can cross that option right out.
Now I know Kait is on a bit of an urban fantasy kick, so that could be fun. I’ve never read an urban fantasy to completion. I’m not really interested in doing an emotionally heavy, character driven story. This is NaNo after all. So the other big modern genre is mystery. I have taken a stab at a mystery story. The result was… mediocre. So there’s certainly room to grow there. However, there’s also futuristic mystery. And considering the only thing I’ve enjoyed about the few super hero movies I’ve seen recently is the detective element, it is a consideration.
Alternatively, speculative fiction is all about commenting on modern issues by recontextualizing problems to examine them in a different light. It would be remiss to ignore the recent conversation about the glorification of police officers and the lack of scrutiny on their procedures to simply write yet another stock standard crime drama. On the other hand, writing a mystery that does not have the main character as a police officer could be interesting. It’s a fairly large trope in mystery and best highlighted by the Maltese Falcon.
Also, by setting the principle investigator as a non-civil servant can broaden the type of mystery I could explore. I’ve gone on some rants about how Lovecraftian fiction does not fit well outside of its time period. But what sort of otherworldly mystery could be done in a modern setting?
Yes, I think I may look at doing an urban fantasy mystery novel. Now that I’ve prepared my genre, it’s time to start considering general ideas and characters!
So it’s been awhile and unfortunately I have nothing exciting to share. However, I have been successfully shamed by my sister to at least put some sort of communication on the blog about what is going on. So here I am.
I don’t think I need to remind everyone how crazy a year this has been. It’s not everyday that you go through a pandemic, though being in one now it certainly feels like it. And while there’s never a really good time for a pandemic, this one struck at a particularly turbulent point in my life. At the start of the year, I was going through some rather large life events. First, I got married (yay!) but then I was getting ready to move to another country for my partner’s work. We were going through the process of renting our place, packing our things, selling off what we could and then the border closed. Oops.
So I’ve moved back in with my sister thinking the border closure would last a few weeks or perhaps a month. The closest reference point we had for this kind of event was SARS and that ended up being fairly well contained and low impact. During this time, however, my brother was stuck working from home (like the rest of us) and arranged with my family to take over his child rearing duties since daycares were no longer operating. So for the next six months, I became a full time nanny.
It was nice spending the time really getting to know and help grow my nephews. I also got that first early taste of parenting and… phew, it’s a lot of work. As all parents know, some things must be sacrificed upon the altar of time in order to give children the attention and care they need. However, I was still plugging away at my writing which brings me to the next point.
I’m pleased to say that I’m working away on my second draft for the third Red Sabre novel. The working project name is Drops of the Moon but don’t get excited since that name can easily change. Certainly Cinderborn went through five or so different names before its launch. Drops of the Moon will be a daring adventure through the mountains as Felicity and her crew try to navigate the complicated politics of the Ruan Yu Ren while fending off the vicious attacks of the Ashfoot Confederacy. I’m excited to be exploring more of the western seaboard of Felicity’s world where philosophy, spiritualism and magick and blend together in an intoxicating mix. Hopefully that goes well.
I’ve also been receiving lots of… we’ll call it encouragement, to finish a little project that I wrote last year. Some of you may not know my writing schedule but I have two big project months: April and November. These are set aside specifically to create new narratives outside of the regular editing and revision process. November in particular tends to be when I try things a little more experimental and, as such, those projects generally don’t see the light of day. However, some early readers have been very excited over a mystery that I penned and would like to see it cleaned up. So that’s been added to my plate.
I have also been considering the future of this blog and how I want to continue contributing to it. I haven’t really settled on anything yet, hence my long silence. So if you have anything you’d like to see, please sound off in the comments! I appreciate all the feedback I get from you lovely people.
I also have a couple of other writing projects kicking around in various stages. These may or may not make their way into the public sphere so I’m hesitant to comment on them further. At any rate, I’m still alive and chugging along.
We at Between the Covers are proud to announce the second story in the Red Sabre series: Cinderborn! It is set to release on April 2nd on a digital platform of your choice. This story has been a labour of love for the last two years. Kait and I are excited to continue the adventures of Captain Felicity Metticia and her ragtag band of mercenaries as they seek out fame and fortune on the wild frontier of Athemisia.
In Cinderborn, the action comes to the Thyrian controlled western coast of Albionoria. This recently annexed province bears heavy wounds. The Prisian citizens have little faith for their age-old rivals. The Thyrian conquerors likewise focus their attention on profit and plunder in the old bastion of Mount Royal. Thrust into this boiling pot, Captain Felicity must chart her own path through hostile forces and reluctant allies.
But a greater danger lurks in the darkness. And not all those that carry a light have noble intentions. Something more primal grows beneath the cold stone of the fortified port city. And as weak hearts give over to temptation, a city and its people will be shaken to their very foundation.
Digital copies should be compatible with Kindles, Kobos or just about anything that can read epud format. You can always order a hard copy from Amazon as well, though given the spread of Covid-19 there’s no way to estimate how long shipping will take.
You can order Cinderborn digital or hard copy from Amazon here.
Furthermore you can obtain Cinderborn early if you order from Smashwords here.
So tell your friends. Tell your loved ones. Grab a copy and enjoy the explosive sequel to The Clockwork Caterpillar.
So it has been a few days or so since my last posting. 2020 has turned out to be quite busy, both worldwide and in my own little microcosm. I’m hard at work finishing up the second Red Sabre novel: Cinderborn. This has been a very arduous journey and I feel like I’m nowhere near finishing it yet. Though no one comes here to read my work woes.
I’ve also had a lot of personal changes going on in my life. I’m trying to get things finished for a large move to another country that has eaten up more of my attention and time. It feels like I’m starting a new chapter of my life: filled as it is with the typical apprehension and anxiety that such changes bear with them. So this blog post is hardly a sign that I’ll be getting back to my old posting habits. Mostly, it’s a brief oasis in a turbulent sea of uncertainty.
But, more than anything, I have returned with the news that Plaid Hat Games has turned independent again. There is word that Summoner Wars 2.0 is in the works which got me pretty excited! There’s been no details – naturally – of what that will entail. Will it be a reboot? Will it be compatible with the old decks? Will it be so overhauled as to be entirely unrecognizable?
Who knows? But that doesn’t mean we can’t speculate about it!
In honour of this announcement, I wanted to make a list of things that I would like to see changed or returned whenever this game comes to the market (assuming, of course, it does). These are presented in no real order as this post is entirely my first impressions and enthusiasm for one of my classic games getting a very unexpected breath of fresh air!
So let’s begin on my Things I want to see in a Summoner Wars sequel!
BetterTheme
We’ll begin with the easiest. I wrote at length how bland and generic I found the original Summoner Wars. It’s artistic design was… well… functional at best. If you want to see why I found the Jungle Elves and Swamp Orcs so creatively distracting, you can search through my archives. But it wasn’t just bland flavouring. I also spoke to a great degree how the drab art detracted from the game as well. The original Mountain Vargath look rather indistinguishable which can lead to moments in a game where units blend undesirably together.
However, I also feel like this wish is almost all but guaranteed. I doubt anyone is particularly wedded to the old designs because they were so basic so changes are doubtful to cause outcry. Furthermore, Crystal Clans and Ashes demonstrated Plaid Hats’ evolution in far more distinct art direction. Regardless of whether you like the art in either of those, it at least stands out and I think it pretty much all but guarantees that this is a field in which Plaid Hat will have a one hundred percent improvement. And I hope they push more into their weirder design ideas while keeping a wide pool of wacky factions. Despite having bland names, the clans of Crystal Clans had some nice fantastical variety.
2. Keep the Dice
Here might be my most controversial request. I would really like to see the attack dice return! I know this is often the most maligned aspect of Summoner Wars but hear me out.
I think the dice in Summoner Wars is rather integral to its game. I’ve read numerous articles and design documents from developers explaining how randomness improves complexity and strategy rather than diminishes it. Which runs counter typically to how players and fans respond. But the one thing that randomness does is create dynamism. Summoner Wars is a rather simple game by design and I think its simplicity is an important part to making it popular (it’s certainly useful in teaching it to new players). Removing the dice shifts it to a far more predictable game that both reduces the excitement of turn by turn decisions (since attack actions would be assured) but also decreases design space. We’d lose abilities like Precision, Toughness or even interesting ones like Infernal Preaching (ignore the higher result of your attack rolls). The final second summoners managed to find plenty of additional interesting design space in a system that doesn’t have a whole lot in the first place.
So I’d like to see the dice remain but I would prefer if the system was expanded to give it more support. Having played a bunch of Arkham Horror LCG, I wouldn’t mind something like its “card commitment” system or another one analogous to it added to Summoner Wars.
Finally, Crystal Clans departed from the dice while still adding some element of uncertainty with its hidden card play. And while it was cute, I found it mostly highlighted that I preferred dice. Crystal Clans combat was basically a straightforward game of addition and the hidden card mechanic made it impossible to really play the game by yourself.
And I must shamefully admit that I’ve played a bunch of Summoner Wars on my own. Particularly when I was designing my custom content. I found this unworkable with Crystal Clans even though my games against people hardly took into account what card they played in their defence. It was all but impossible to not consider that information on your own.
3. New Economy
For me, this is the portion of the game which I would really like Plaid Hat to consider and experiment. The issues with Summoner Wars mechanics has been debated simply to death. Everyone has their own answer for what went wrong. For me, the problem lays here. It was clever to have your events and units also double up as your economy. But in the end, I feel that it was also the greatest handicap to the game’s desired flow.
Particularly, killing your own units controversially awarded you with magic. I’ve heard a number of people comment on how unintuitive this is. Furthermore, it led to a particularly bleak period of the game’s lifecycle wherein the most popular mode of playing was to kill all your commons for magic, build all your drawn commons for magic, then hide behind your walls hoping your opponent would come to you so that your saved champions could wallop them and secure you a victory. I’ve been rather critical of the argument that this style of playing was the “best” and that its proliferation was more due to the delicacy Plaid Hat applied to aggressive faction and unit design.
But this system also pushed the game into a rather tight design corner that made certain units and mechanics far less desirable than they should have been. For example, single attack cards were almost all but useless. Two attack was far more guaranteed to wound your opponent with a decent chance to give two wounds. This made 2 attack 1 health units far and above more valuable than 1 attack 2 health units. Failing to secure a kill had a compounding problem. First, you didn’t get the expected magic from the death of your enemy. Second, it gave your opponent a good chance to claim your unit for theirs. A unit for unit trade at least is an equal exchange. But summoning a unit only to have it fail to generate magic and then die the next turn was far too punishing, especially if your opponent killed it with the unit you failed to eliminate! It set you back the resources on your failed summon, gave them the resource of your failed summon and (in all likelihood) resulted in them claiming their own unit as a small refund! It also made it so 1 attack 1 health units were essentially non-existent outside of very niche decks as they accomplished nothing and gave too much resources to your opponent.
What could they do differently? I’m not certain because changing the nature of the game’s economy will have a massive fundamental change on all aspects of the game. Crystal Clans had an interesting push and pull economy with the crystal tracker. I’m not certain it was successful. Partly because I didn’t play enough to really understand the game. Partly because I think it led to a different issue of evaluating better exchanges and value.
Had I a good suggestion for this, though, I wouldn’t be sharing it here. I would be designing my own game. So I wish the best of luck to Plaid Hat on this front.
4. Maintain the BoardSize
So, I know I’m referencing Crystal Clans a lot but that’s partly because of my disappointment with it being a spiritual Summoner Wars 2.0. It is largely its own beast and the similarities between the two are more superficial than they are worth highlighting. However, the nice thing about Crystal Clans being so different is it allowed me to hone in on what I really liked about Summoner Wars.
There’s a really fascinating spatial puzzle aspect to Summoner Wars. You have to manoeuvre your units around your opponent’s forces and open up corridors of attack. Or you have to funnel an invader into death alleys while protecting your wounded leader from surprise flanking measures. Crystal Clans lacked all this because its board was so small. You had no sense of actually outmanoeuvring your opponent. But that’s what the difference of 48 squares to 9 squares will bring. I want to have to plan crazy sprints of swift units around enemy bodyguards or using guile to shift units to open valuable columns to rush my assassins through. I don’t know if I would want to see the board shrunk, I’d be happy to see it grow but at the very least it should remain substantial.
5. Balance Defence and Offence
Summoner Wars matches can really grind to a halt, especially against some of the earliest designed decks. There are two reasons for this: the board is large enough that you can put your opponent’s summoner on the retreat (this is good). The other problem was that invading your opponent’s board was far too difficult because of the power of summoning walls. Walls were too strong to reliably address in a timely manner if your opponent’s summoner slipped behind them. And assaulting the walls or trying to work around them left you far too vulnerable to your opponent summoning off those walls and stealing momentum and advantage.
Yes, the summoning wall mechanic was the other great contributor to the stagnant turtle strategy. But I don’t want it abolished. I want a nice balance between defensive strategies and offensive strategies. Playing defensive shouldn’t be an inherent advantage (due to the awkward economy of the cards combined with the positional advantage of defending walls). Instead, it should be strong for factions designed around them. The Deep Dwarves losing offensive value to gain an economic edge is a great design. It puts pressure on the attacker to come and get their opponent otherwise they’ll sit and meditate their way to victory. But it also means that, to truly capitalize on the meditating advantage, the Deep Dwarf player has fewer units to defend herself from an assault.
On the flip side, you had Tacullu who was only strong on defence but did not apply any pressure for doing so. His abilities triggered if the enemy was on his side of the battlefield but there wasn’t anything to encourage the enemy to come to him. So it was often advantageous for his opponent to sit across from him, passing and twiddling their thumbs since Tacullu’s defensive style applied no pressure – it merely punished his opponent if they tried to play the game.
I think Plaid Hat was slowly arriving at a good balance near the life cycle of Summoner Wars between offence and defence. But more than that, I want there to be some mechanic to encourage offensive play. Crystal Clans had its crystals which armies fought over. I think Summoner Wars 2.0 would benefit from some manner of map objectives that allowed an aggressive player to seize momentum or an advantage by claiming territory on the board. I think this could open up greater design space too but having defensive factions built around the idea of reinforcing a space on the battlefield instead of just taking advantage of inherent defensive perks. A theoretical faction could then be geared towards claiming a map objective and sitting on it, making it very difficult to reclaim by their opponent instead of being designed around hiding in a corner behind unbreakable walls.
6. Take Time to Future Proof
I will always sing the praises of the final releases for Summoner Wars. Alliances and the last second summoners were, overall, really interesting from a complexity and creativity standpoint. It really stretched the game’s system and made for some really fantastic abilities.
But goodness was Farrah and her deck a novel. Moyra had her own collection of awkward wording and overall the writing on the cards got smaller and smaller as more text was squeezed into unchanging boxes. A large part of this was trying to come up with ways to write really narrow gameplay fixes to prior cards or strange interactions. I think the game would benefit from having a more fleshed out toolbox. Having things like keywords, generic abilities and unit traits can hopefully avoid needing to remember who has the word Light in their ability name and whether Flight counts for that trigger.
I’m hopeful that this is almost a guarantee as well. Crystal Clans and Ashes had these necessary core elements. Crystal Clans hardly tapped into its trait system as it died on the vine a little early. But I’d rather the system in place than the questionable grammar we got from Summoner Wars.
Also, consistent wording and formatting on cards would be a lovely little bonus cherry.
7. The Filth
I want to see the Filth return. That’s it. I just liked the weird demon cult and how their basic unit was body horror’d into all those delightfully weird mutations. But please leave the pink demon clutches in the past, if you would be so kind.
Well, it’s been a little quiet from me, but I have finalised my draft for the reading beta. If you are interested in helping me out with my next release, code name Cinderborn, please sign up for the beta reading list and get an early draft of the novel. Only you can prevent forest fires!
So, I thought I would write about something that I haven’t discussed on this blog in a long time. You see, I recently was graciously given access to the final second summoners for Summoner Wars! Yes, it’s been over a year but, you see, the cards have been out of print and I never got my grubby hands on most of them. So it was a pleasure to finally give these elusive decks a try.
Now, I would normally like to write an indepth review of the decks. Partly because it would give me far more content to post on the blog but largely because I enjoyed analysing the product. Alas, my time with these releases was too short to get a really good understanding of them. But I was able to get a general impression.
And I have to say, it’s a real shame that Summoner Wars ended. Though it was just several brief games, I found these last six decks to be an absolute blast to play and I think they are some of the best design Plaid Hat Games put out for this system. Now, I say last six decks because I do own two of the final summoners: Farrah Oathbreaker and Saturos. So those I have played on my own time. But the remaining ones (Brath, Scraven, Little Meda, Shiva, Natazga and Melanatar) were all fantastic.
Granted, these are hardly the simplest decks released. But though they can kind of get wordy, I am not certain I found them any more complex than the Alliance decks. I also had the misfortune of playing against Oldin as well, and the stark contrast not just in design but in balance was remarkable. Summoner Wars is a weird little game, and I don’t want to slag its early design too much, but given all its mechanical quirks it is so great to see that it ended on such a high note. Even if some of the later releases pale in performance to the first decks, they are all pretty balanced and – more importantly – enormously fun (barring Hogar)!
I am humbled how you can take a fairly simple system and continually add greater strategical complexity. For example, Shiva gives a player the chance to forego an entire turn phase in order to have unprecedented control of the battlefield. Lessons were certainly learned and, had the game been predominately the releases from the Master Set and on, I think it would have been in a fantastic state. It would possibly be even more loved than it was. These last releases actually renewed my interest and love for the game, which is remarkable because I think after two years of following its product line, I got a bit disillusioned with its glaring flaws.
I won’t rehash its issues here, but seeing Oldin in play and the dreaded “defensive playstyle” I can see where the product line got a bad reputation. And what’s fascinating is the interplay between these final summoners and those early releases. You see, Oldin’s gameplan is to play about eight of its thirty-three card deck. Everything else goes to the magic pile. Playing Oldin looks to be a real drag. Most turns seem to be “draw five cards, kill your starting units, build your five cards for magic, pass.” Repeat until you get a hand of champions and Heroic Feats, throw out Magic Drains to nettle your opponent then summon a beefy champion and kill your enemy with all the extra attack dice your Heroic Feats grant.
But despite how drab that plan is, there was still excitement in the matches against these new summoners who almost all are designed to fight Oldin with this game plan. In fact, some of the summoners just outright destroy Oldin if he does this, forcing the Oldin player to actually play the game the way it was intended. And it was glorious.
Granted, the best games I played were ones between two of these final summoners. All of them have a brawling, fast and active play style and those games were really interesting and engaging.
I’ll give my impressions of the decks. Though, as I said, it have too little experience to really get a grip on their strengths, I’ll roughly organise them by my initial sense of their power from weakest to strongest.
Shiva – Benders
I think my favourite thing about Shiva is how she really captured the Bender feeling without anywhere near the aggravation of playing against Tacullu. Shiva can skip her movement phase to move three of her enemies one space each. This sounds like an awful trade, except Shiva’s deck revolves around Puppets – units that can’t move during her movement phase in the first place. Between them and Sirens (who can move a unit one space as well), you really get a strong sense of controlling the battlefield.
Unfortunately, because of her immobility, Shiva doesn’t make for a really strong attacking deck. And the one thing I noted about most of these last summoners is that they are very strong on the attack. Her events are far less impactful and I found that she got overwhelmed rather quickly when she tried to apply pressure that she sort of fizzled out. She’s probably the deck I played the least, however. I only got one of her champions on the board (Puppetmaster both games but he does seem really good) and I never had an opportunity to play with the Shifter at all which allows you to steal your enemy’s units! So I certainly missed out on some of her shenanigans and power.
Scraven – Sand Goblins
I really like Scraven. However, his base commons leave something to be desired. However, his ability to give three commons a free move at the start of his turn plus guaranteed blockers at the end is so great. I certainly found myself constantly thinking about distances and angles. And it is really hard to get your opponent in a tough position with your army ping-ponging back and forth during your turn. You feel crafty but it is difficult to wield. I’d like to try him some more so I could wrap my head around his battle flow, especially after being told that Wraiths make for fantastic vanguards. I personally had trouble getting him to do anything and he folded pretty fast beneath the other summoners’ pressure. I wanted to get Dinky to the board but was always dead before I got a chance to throw nine dice!
Natazga – Swamp Orcs
Wow, Natazga is crazy. I don’t remember how I ranked her when she was previewed but I know I had a lukewarm impression. I know I thought that she would struggle since she was throwing her attention at walls instead of the enemy’s units. However, most people like to play passive, so there isn’t a big downside to that. Plus, her Skulltakers don’t generate magic on kills so are better for hitting walls. And with Erosion, those walls go fast. My favourite game was between her and Brath, where Brath lost her starting wall and her other two were in the last four cards of her deck! Needless to say, Natazga won though it was a nailbiter game despite this huge advantage!
Generating vine walls immediately at the most valuable locations is a very strong ability. And all of her units hit really hard. It feels like a fast tide of green flowing over your opponents side. Is it fun? You bet. Powerful? Perhaps not. I think she may be the weakest of the swamp orc summoners due to her low vine wall generation (you really take notice of all the unit wall generating powers). On the flip side, she did beat Oldin despite the threat of Besiege the Walls due to the heavy wall pressure she applies plus the small wall generation by her units discouraging the event play to set her back. Also, she totally got lucky on a Gror whiff but that’s neither here nor there.
I like playing her, though, even if she isn’t the most effective. I think she does well against the opponents which are strong against Mugglugg but she certainly struggles with everyone else. Though there’s lots of fun tactical considerations in those struggles. And who knew using Erosion on your own walls would be a good idea!
Brath – Deep Dwarves
Here’s where we get to the meat of the releases. I think Brath, Little Meda and Malenatar are very competitive out of the box and can only get better with deck building if that is your kind of thing. Brath in particular is rather interesting because she sports the lowest average attack value in likely the entire game! Her deck is built around the zero attack Gem Golems, continuing a recurrent theme that most of the second summers kind of minimize their deck building potential by making them reliant on certain commons for their abilities. This concept isn’t new but the integration of these units feels better designed and more cohesive.
Brath, for example, gets around her low attack options by having several ways to make the Gem Golems better. First, she can take a card off the top of her deck to give them an additional die. Second, whenever her Gem Archers attack near a golem, the archers give the golem a free attack. Third, Brath has two events that increase the golem’s attack and she has two more events that allow her to recycle any card she has (and I generally chose those attack increasing ones).
Now, my feelings towards Brath are a little limited as she’s the second deck I played the least. She stomped Oldin, however, even if she lost to Natazga. I found her very fun and very aggressive as she throws her strong golems and supporting army at the walls of her foes. Even trying to wall yourself in doesn’t help as those tricky golems can even attack diagonally! I love them.
Little Meda – Filth
If I was hard on Natazga, I know I was lacklustre towards Little Meda. I really wish I bought her now that I got to give her deck a go. I don’t know how, but the second Filth summoner I think is better than the first. And that’s saying something since I think the Demagogue was one of the best. Now, I’m feeling he’s the worst of his faction!
That said, Demagogue is easier to play and far more defensive so there is a certain amount of play style preference at work. I thought Little Meda would be unwieldy because she needs to keep to her Nanny’s side if she wants to survive. But, in the end, I feel that she’s almost more survivable than the Warden! And she hits three times as hard too!
Granted, she has a bit of a learning curve. She has some magic economy but it is reliant on her Amoeba mutant. Though she has two events to pull it out, my first game with Meda I failed to get the Amoeba until the last couple of turns of the game and by then it was too late for it to have any impact. In later games, it kept getting Magic Drained so mileage on that will vary. Her mutations are a mixed bag too. I think her best ones are worse than Demagogue’s best but her worst aren’t as bad as Demagogue’s worst. She’s more levelled the usefulness distribution. Her events are, much like her forebearer, where she shines.
Probably her best event is her most innocuous. Daddy I’m Scared allows her to move at the end of an opponent’s movement or attack phase, either setting her up in a good position for an attack next turn or (more often) getting her our of harm’s way. I dodged a Heroic Feat bomb doing just that and if you snatch Oldin’s Heroic Feat threat, you nearly defang him. Ironically enough, I find that you are spending more time trying to protect Nanny than you are Meda. Also, their immunity to events and abilities is straight up aces.
That said, she does struggle on a traditional offensive front. Since she’s largely the source of consistent damage and you spend so much time manoeuvring her and her nanny, you can’t rush down your opponent like the other decks. In that sense, she’s more of a traditional deck though she has some measure of applying defensive pressure to force a confrontation even if that pressure is somewhat easily countered.
Very fun though and I feel less complex than the Demagogue because she’s not nearly as reliant on her mutations. The ones she uses are generally ones that you have already drawn so you don’t need to memorize your deck either.
Malenatar – Mountain Vargath
Malenatar has the distinction of having the most hilariously one-sided fight against Oldin. And that’s considering that Brath chased him into a corner and punched him between walls.
Malenatar is a juggernaut. He comes so fast out of the gate and he just does not let up the pressure. He could crowd the walls of all his opponents in the games I played by round two which gives little time for an effective defence. And he hits so hard that the wall is unlikely to stand for very long. Assuming you want to go for that wall. Generally the summoner is waiting just behind it and given a turn, Malenatar has a decent chance to just end the game against a number of summoners.
Funnily enough, his commander common is fantastic yet I find I never used more than the starting one. The guard can keep it alive for so long, is cheaper and also can protect aspirants who were pitching most of my dice.
Malenatar did make clear that the biggest thing holding aggressive decks back was the restriction on moving units. When pushing across the board, you have to choose whether to keep up your attack or replenish your line. But if you weren’t going to commit to the attack, why did you go into it in the first place? So aggressive pushes traditionally were more like assassination attempts. You throw a lot of resources on a single attack and hope it gets you the game.
But Malenatar alone can move five other cards when he moves! Will he? Of course not! But you will likely be moving an additional one for free (with Battle Procurement) and that alone helps maintain a continuous assault. Aspirants, of course, help things shimmy along.
Guards, of course, help things keep going since (with some Unity), they can help protect Malenatar from being in poor positions when the enemy walls start to come down. And talk to a Moyra player about how big keep a well placed unit around for an extra turn or two can be.
I have to say, I was really impressed with Summoner Wars last hurrah. It was such a good note to end on and refreshing to see such variability in design. My favourite games were the ones between these last summoners. They were fast, frenetic affairs that felt like they could go either way. That the game was balanced on the edge of a die roll. And now I’m sad to know that these great decks are out of print and impossible to find.
My memoirs have proven to be a most unexpected boon. They have provided me clarity to that which I most assuredly would have fallen victim otherwise. I have perused my prior entries numerous times. I have gone over older passages only to discover attempts to alter or deface them. I have no recollection of these sabotages but the handwriting is unmistakably my own. The effect is unnerving. But it also proved to be the key.
Perhaps those of duller mind would have not pieced together these disparate elements. I can already imagine how the prior owners of this home were little more than mewling babes abandoned in the woods awaiting the wolves. But I am not one to be so easily defeated.
While some of the passages were defaced beyond legibility, I was able to still use them to decode the pattern. The changes fell upon entries which aligned with the passage of the moon. Consulting the old farmer’s almanac, I was able to notice my sleep most disturbed upon certain phases of that heavenly body. I know those of simpler intellect would think this witchcraft. But mine is far more sharply honed. It was during this period that my sleep and, consequently, my thoughts were most disturbed. This was not the first stages of madness: this was some otherly force bent on my ruination.
It is clear to me that I must learn more. Something wishes me ill. My prior knowledge and understanding of the world is incomplete. In order to guard myself, I have to uncover the roots of this malignant power. Even now, recognizing when I am most vulnerable, bolsters both my spirit and my resolve.
Whosoever chose to entangle themselves with Ezekiel Gravenhurst will soon discover the great folly of their hubris!
1668, Ezekiel Gravenhurst
Through careful experimentation, I have localized the source of the problem on the house itself. Awaiting the arrival of the full moon each month, I endeavoured to spend my evenings in different locals then examine the effect it had upon my slumber and my diary. The effect was most pronounced during twilights spent at the estate. I believe it drew weaker if I were to camp in the woods. It still touched me in the village. But I can only describe its influence as negligible the farther I get from Silvercreek.
This has not been my only avenue of research, however. I have felt a growing curiosity towards the prior inhabitants. There is scant details on the Williams. The locals are most reluctant to speak of them as though they had hoped my occupation would expunge the family from their recollection. But while these simpletons may offer tight lips, the village records at least provided some small measure of illumination. I am unconvinced of the argument that they built the homestead. I believe they came into possession of it much like I had. They were strangers to the area as well and there appears to be a similar reluctance of these villagers’ ancestors towards the estate as the current generation hold.
This superstition has, peculiarly, worked to my advantage. There was some concern over the disappearance of a pastor Jebediah Harrows and Miss Lilias Lammermora. I had but only a brief conversation with the reeve, asking if I had known this pair. I queried whether they were married and the answer was a most assured denial. Thus it was with a clear conscience that I said I had never seen them. That seemed to resolve the matter and while there was consternation in the village that still lingers, none truly have an explanation worth persisting.
I feared to press the matter too deeply but I think I have come to identify them as the intruders whom I spied upon my arrival. While I am certain it would bring some measure of peace to their families for them to learn their true fate, I find myself unable to educate them on the means of their passing. Suspicion has already been cast between the two families and I have no desire to make things more tense by informing them that the man and woman were the cause of each other’s demise.
Best to let sleeping dogs lie, as they say.
1676, Ezekiel Gravenhurst
There is no wholesome end to this, I fear.
Ten years have passed since I have come into possession of this house. Ten years I have carried this burden with me. My efforts move at an agonizing pace. My enemy’s, however, are unperturbed by the passage of time. There are more nights I feel no closer to an answer than the day I first arrived compared to the brief breakthroughs that inevitably lead to more questions.
I am hampered by my own reason. Of that, I am certain. I keep looking for a rational explanation to this damnable vexation which works upon my mind every day. I used to find relief far from Silvercreek’s perimeters. But I am starting to sense it reaching beyond now. I think… I believe I carry a piece of it. Somehow. Like a rotted seed has been planted in my heart and begins its slow germination.
I have begun to cast my net wider, so to speak.
I now feel the presence of others in the home. I thought, perhaps, this was conjurations of my own guilt. I entertained the notion that the locals’ own superstitions were chipping away at my rationality. I have begun to remold the house into my image, believing I can banish the remembrances through turning each room wholly into my own. By taking true ownership of this place I hope to purge these ephemeral hauntings that so plague my unwaking hours.
I have considered leaving this place.
Truth be told, this route has always been on my mind. My diary confirms as such. From the very first night, flight seemed the most reasonable direction. But anytime the notion takes firm grip, I awake the next day rejuvenated. I discover the homestead more agreeable and so I push my former misgivings away. I let down my guard and it creeps in ever slowly once more.
Now? I am convinced I am forever bound to this place until some dreadful recourse occurs.
In part, I recognize I am nothing without this home. It has provided for me far more than I could have ever hoped. The grounds are surprisingly fertile. More fertile than any earth in my inexperienced hands should be. There have been numerous treasures as well that have helped build a fortune I could scarcely imagine as I pawn the trappings of former generations to foolish peddlers lacking in proper sense.
Such fortune could have been used to secure a sanctuary far from here. Instead, I have poured those sums into exposing its secrets.
It started with consulting the locals. Silvercreek is hardly a repository of knowledge and wisdom. But through the years, I have gained a sense for the community’s heartbeat. The faithful scorn the less pious, believing them to be in league with the devil. What foolishness. I have listened to members of the Harrows preach in the rectory of passages of uncertain origin. They are surely not of the King’s bible.
I have also endeavoured to entreat the Lammermora ladies with fine dinners and pleasant company. They are a most reserved bunch. But wine works on the fairer sex just as well as it does on the other. My greatest tool, however, is the grounds themselves. These women are near mesmerized by the woods and fields. I have found them skulking about the lands on far too many eves. At first, I resented the intrusion, chasing them away for concern over what they may discover.
But I have come around now to their evening gatherings. With my permission, they have less need to lurk in the dark. Curiously, their interests peak in accordance with the phases of the moon. I have found some comfort in their torches outside my windows on those nights I cannot arrange distant lodgings. The presence of others soothes me. For my kindness and confidence, they have shared some of their beliefs.
Both of these houses have opened my mind to possibilities previously ignored. I now seek tomes of unspoken origins. Texts of which few willingly speak. My answers await on moldy shelves, in locked cabinets and secured behind unwavering vows. And as the shadow follows me in my journeys, I know the answer isn’t merely to save this inhospitable spit of land: it is to save my very soul.
It is, without a doubt, my favourite television series of the year. It is also quickly becoming my favourite television series, period. When people mention how well the medium has developed over the last decade, I hardly believed them. But Dark presents a very compelling argument for how services like Netflix allow a maturation of content for television that would never have been realized otherwise.
I recall now that I have not done my “favourite things” series for this year. I had plans to do so. As I always do, however, I became busy over the months where I generally list things that I love. So, let’s count Dark as a much belated entry to that list. Though, Dark would argue that it is not late – it arrived exactly when it needed to.
I’ve been trying to consider how to write a review for this series’ first season for the last couple of days and, overall, have miserably failed. It’s hard to talk about the show in any great depth without spoiling it. It’s also hard to talk about the show without rambling because there’s so much to discuss and organizing one’s thoughts on Dark requires the attention normally reserved for a paper than a quick blog review.
So let’s address the easier portion. What is Dark?
Dark is a German language Netflix original series. It is set during 2019 in the small, fictional village of Winden. It ostensibly follows the young Jonas Kahnwald whose father has recently committed suicide after writing a letter that is not meant to be opened until months later and on a specific day at a specific time.
I say ostensibly because Dark is an ensemble piece that truly follows what feels like the entire village of Winden. You are quickly introduced to a whole host of characters – all of whom are important and have their own entwining relationships and character arcs. Part of the brilliance of Dark is how it both navigates these numerous threads but also utilizes them to maintain its perfect pacing. This ensemble, however, is probably my only complaint. You’re thrown so many faces and names that it is hard keeping track of them all. It’s made even more complicated because their relationships – both familial and romantic – are important to their motivations and behaviours so it’s a constant exercise of trying to remember one round German face from another and why who hates who for what reason.
Dark is hardly an easy show to follow. But it is also a show fully aware of its difficulty. It introduces its various twists, turns and drama deliberately. It affords enough time for you to become familiar with the current issue before layering on another. Then another. And then another.
For Dark has multiple layers. Its story spans over three generations of these families in this sick town. And once the series starts showing you scenes from different generations, you’re left floundering while relearning the faces to names you’ve become intimately familiar with. However, Dark also uses your familiarity with these families to reveal further secrets and revelations as you understand that the issues facing these characters have quite deep roots.
But there is a greater mystery to Winden than Jonas’ father’s death. In fact, very few people seem rather affected by his suicide outside of his son. No, the crux of the show revolves around another family – the Nielsen’s. Jonas has a tie to them, naturally, as their daughter Martha and Jonas are friends/brief lovers. Things are made overly dramatic when Jonas returns from a brief therapeutic break from school to learn that his best friend Bartosz has moved in on Martha in his absence and the two are evidently dating. While trying to adjust to this unspoken betrayal, the three teenagers decide to go out into the woods surrounding Winden in search of a hidden stash of drugs rumoured to belong to a missing contemporary of theirs (Erik Obendorf) whose disappearance has gone unsolved for the last couple of weeks.
Unfortunately, the Nielsen parents leave Mikkel, the youngest of the Nielsen brood, in the care of Magnus, the eldest, and Martha while they have a townhall about Erik’s disappearance. The gaggle of teenagers’ misguided midnight adventure is interrupted when they arrive at Erik’s secret wooden hideout and find Franziska (I told you there were a lot of people) had already beaten them to the drug stash and claimed it as their own. There is a brief conflict over the weed before the children get startled by a noise in the caves behind them.
Frightened, they run for the safety of the village. In their fright, they get separated and only once they convene on the bridge beneath the streetlights do they realize that young Mikkel is missing. Frantic, they retrace their steps hoping to find him.
When that proves futile, they contact their parents – interrupting the townhall. Worried, the adults of Winden hurry out to the woods but are unable to locate the young Nielsen child. Katharina and Ulrich Nielsen are inconsolable, partly because Ulrich’s younger brother disappeared under similar circumstances thirty-three years earlier. Strange things begin to happen around the town of Winden and, chief of police Charlotte Doppel, warns Ulrich that things are “happening again.”
Phew. That should give enough of a tangled overview of how complicated the story of Dark is. Fortunately, the weave is even more knotted but I wouldn’t want to spoil any of the delightful twists and turns. The great thing about Dark is both its predictability and ability to keep me guessing where it’s going. It balances perfectly its mystery with audience expectations. Each element is a struggle to understand and just as you begin to wrap your head around the disparate elements and get a grasp of the situation, Dark throws several more twists your way. But these never feel contrived or forced. In fact, a number of them are hinted earlier in prior incongruities that largely get lost in the cavalcade of issues facing the families of Winden. It perfectly replicates the confusion and building dread of its residence in the audience.
And given its premise, it’s hard not to draw comparisons between Dark and Stranger Things. For me, personally, Dark exceeded Stranger Things on all fronts. I can see where others may prefer the latter. Stranger Things is like comfort food. It’s so steeped in nostalgia and genre cliches that you pretty much know its plot and pacing from the start. It almost never strays far from expectations since, largely, Stranger Things is an homage to the horror genre of the eighties and the influential authors and creators of that time.
Dark, to my knowledge, stands on its own. If it is a pastiche of anything then its of works unfamiliar to me. Thus, I am more enthralled with its mystery. I also found the characters a lot more compelling. For one, they are interwoven more tightly to the narrative even as Dark has a larger ensemble than Stranger Things. However, the characters of Dark are more complicated than Stranger Things. I can understand if people struggle to identify with them since they don’t represent stock personalities or generic roles like those in the American thriller show. I would think the number of people who could, say, identify with Ulrich who as a child had his brother go missing then, as an adult, had his youngest son face the same fate. That’s a pretty niche slice of the audience population that can probably understand his turmoil on a personal level. Contrasted with Jim Hopper whose child died and wife left him leaving him to spiral into an alcoholic depression and you have a more standard individual who, even if his personal circumstances aren’t relatable, has certainly been seen in various other forms of media to at least be familiar.
Course, outside of some superficial similarities, Dark never truly invites comparisons between itself and Stranger Things. It doesn’t take long into the series for it to be apparent that the show is striving for a different tone and effect. It stands on its own merits. Its plot keeps you guessing and riveted for the next revelation. If I had any other criticism of it, it would be that its premise makes it rather difficult to account for flaws in the plot. I can’t tell if some things are clues for further reveals or plot gaffes which, surely, must crop up with something as complex as Dark’s theme and narrative. Certainly, the show has already taken some elements that didn’t seem to fit with its story and later reveal that they were done purposefully. Which makes it hard to review at this junction as there are two more seasons of the show left to address all the little foibles and quirks. Course, the premise of the show always gives an easy explanation for anything that isn’t directly covered. But whether that’s a flaw or clever arrangement by its creator I suppose is up for debate. Either way, it makes for compelling television. And why I am absolutely glued to this series.
I simply love Dark.
It is, without a doubt, my favourite television series of the year. It is also quickly becoming my favourite television series, period…
Well, the International 2019 has come to an end. I was quite excited with the outcome and overjoyed to see the performance of my favourite team. They’ve really come into their own.
Wait, why am I worried about spoilers here. People who read this blog likely don’t follow the game anyway.
OG took a second championship! Back to back! It was incredible. Not sure it was worth staying up all-night to watch, however. I’m relieved to hear that next year’s tournament will be in Stockholm.
Anywho, onto business.
I’ve been pretty quiet around the blog recently since I’ve been hard at work penning (or typing) the sequel to The Clockwork Caterpillar. Well, the good news is that I may finally have something approaching readability. But I need your help.
Yes, your help. Picture Uncle Sam pointing directly to you through your screen – preferably a big one for extra effect. For this release we’re doing something a little different.
We are testing what Kait is tentatively calling “Beta Readers.” I suppose it’s much like beta testers for software or games. How it’ll work is that you can fill out this survey. You will get your choice of digital format and we will send you an early draft of the novel along with a questionnaire. For your gracious participation, you may be featured in the acknowledgement section – with your permission of course – upon release of the novel in 2020. You can also proudly boast of your creative genius in bringing a story to fruition!
We’re looking to start this process around mid-October. More information will follow to those who send us their contact information. We shall not keep your information for any advertising purposes and you’re welcome to not append your name if you so wish.
I’m sure there will be some legal notifications attached when this rolls out but that falls a little out of my wheelhouse. I’d like to hear your thoughts and this is kind of the best way to engage a bit more directly with readers themselves to hear what they think. We’ll see how this process goes and, if it is successful, I know Kait has it in her mind to try this on future releases as well.
So grab a friend and get your name down! We’ve a goal of around twelve or fourteen but the more the merrier! Here’s the link for one last easy click.