A Worldbuilding Example – Part I: Introduction and Influences

As I’m procrastinating from some of my other projects, I thought it might be fun to go through the worldbuilding process instead of only writing about doing so. This will be the first post in a series to do just that.

Initial disclaimer and caveats

There are many different ways to go about the process of worldbuilding, approaches and philosophies of creative work, foci and areas of interest in fleshing out a world, etc. I make no claim to be doing things the “right” or “best” way. I’m going to do this in the way that I’ve discovered works for me. I hope it helps you, even if how it helps is in causing you to do things a different way. Failing that, I hope it entertains.

A Starting Place: Purpose

We have a few high-level choices to make before we really get into it. The first is what we’re building a setting for. As I’ve mentioned many times, Avar Narn is the world I’ve been building for a long time and the main setting for much of my writing. Here, I’m going to try to do something different. To a great extent, I foresee that there will be some similar themes and ideas in both settings simply based upon the things that interest me. However, I’m going to try to keep this from being a rehash of the exact same ideas.

Those sidebar comments…aside…I’ve decided that I want to build this setting for a combination of creating a space to write in, a setting to use for roleplaying games should I so choose, and also simply for the enjoyment of the process. You might note that this hits on the main three reasons for worldbuildng I’ve discussed in other posts. The attempt to equally address these concerns I hope will make this series more helpful for others seeking to glean ideas from it.

Knowing my purpose, I’m going to now pick a loose genre. The emphasis is on “loose” here because I really like mixing genre conceits, as is already somewhat and will become more evident in my Avar Narn writings. As Avar Narn is loosely fantasy, this setting will be loosely sci-fi.

A Guide: Genre

A sci-fi setting for writing, gaming and art for its own sake. So far so good. There’re a lot of subgenres in sci-fi that are important to audiences, so I’m going to make some additional choices here to help allay what could become future obstacles.

I like my stories to be closer to the personal, the “realistic” (whatever that is) and the gritty. I’m not a scientist and, while I like theoretical physics and the like, I do not want to have to do any more math than is absolutely necessary. Consequential decisions: I will lean toward “hard” sci-fi but not slavishly so. I’ll try to avoid anything that blatantly violates the laws of the universe as we understand them, but I won’t avoid occasional handwavium if it serves the setting as a whole.

I’ve also decided that I’m going to use the shortcut here—so that the majority of my creative focus remains on Avar Narn—of using a future version of our world (and worlds beyond) rather than creating a sci-fi universe whole-cloth.

A Mission Statement: Theme

The setting needs a good core theme or set of themes to tie it together, much like an organization’s mission statement or the thesis of a scholarly work. We could just create bits of the world and see what themes float to the surface, but I find it far more efficient to decide what you want your world to do and then fill in the details to align with that.

Fortunately, I have a few themes to address with the setting:

  1. If humans have the technology to recreate themselves, what does that look like? How far will humans go and what are the reasons they’ll have for doing so.
  2. How does ideology (philosophic, religious, political, moral) drive history and individuals? What about vice versa? What makes us choose (or leave) an ideology? Do we choose our ideologies for emotional reasons, or practical ones, or something more complex? How strongly are we committed to ideology—what ideologies will we kill and die for, and why?
  3. Control—over culture, technology, relationships, even self. Do we really have it at all? If so, how do we take (or relinquish) control? What is the morality of control?
  4. The macro versus the micro—should humans prioritize large-scale constructs (governments, societies, institutions) or individuals? What do different prioritizations look like?

Four is plenty of high level themes, I think. This will give us a lot to play with but still have enough coherence for the setting to avoid the “kitchen sink” approach.

Assembling Building Blocks: Influences

And now I plan a heist. I’ve already spent a lot of time casing my targets, so it’s just a matter of infiltrating, stealing what I want, and getting back out. Here are some of the sources I’ll steal ideas from:

Novels

Altered Carbon (Richard K. Morgan) – billed as “hardboiled cyberpunk”, this fast-paced sci-fi noir story hits a lot of my sweet spots and (as far as I know) inspired the Eclipse Phase game mentioned below. As we’ll parse out later, I have some serious conflict about the idea of digital-brain transfers, but there’s much in this novel that inspires.

Snow Crash and The Diamond Age (Neal Stephenson) – Both of these novels have influenced me—both as writer and a theological thinker, believe it or not—so I can’t imagine but that I’ll draw some inspiration from them, though I think my own preferences and approach vary significantly from Stephenson.

Do Androids Dream of Electric Sheep? – I’m a big fan of almost all of Phillip K. Dick’s work (strange as some of it is), but this one seems to fit some of the themes and ideas I’m interested in for this setting well.

Old Man’s War (John Scalzi), Ender’s Game (Orson Scott Card), Starship Troopers (Robert Heinlein) – I love military sci-fi and, based on the themes above, there’s a significant role for military conflict to play in this setting.

World War Z (Max Brooks) – no, I don’t intend to have zombies. What I want to draw from this book is how it starts from a fictitious situation (here, zombies) and builds rational and believable sociopolitical events and histories on top. Please, for the love of God, ignore the movie.

Embedded (Dan Abnett) – I like Abnett’s writing for the Warhammer 40K universe, and this military sci-fi novel does a lot really well and has a feel and setting with a lot I’d like to use.

Non-Fiction Books

Future of the Mind, Physics of the Future and Physics of the Impossible (Michio Kaku) — Kaku has for some time been a popularizer of scientific ideas, particularly through his TV appearances. These books contain speculations from the well-researched to the wild and almost certainly unfounded—perfect for sci-fi.

Out of Control: The New Biology of Machines, Social Systems & the Economic World (Kevin Kelly) – a Wired magazine editor’s part celebration, part warning about future technologies.

Movies and TV

Alien Series – I love the industrial look of spaceships in these films, where (if I’m to think about it perhaps overmuch) the ship reminds us of the horrors of a soulless industrial society that places profits above people just as we’re faced with an alien threat.

Blade Runner and Minority Report – As I said, I’m a big fan of PKD and while the films often miss some of his more poignant inquiries, they perhaps make up for that in inspirational visuals.

Inception – as we come closer and closer to virtual reality—and virtual reality difficult to distinguish from real reality being soon to follow—this film has plenty of ideas in it that makes sense in almost any sci-fi setting (especially when combined with the sort of nasty tortures and interrogations that virtual spaces are used for in Altered Carbon).

Firefly and Serenity – while I want to steer clear of the “Western in Space” idea (despite it working so well for these stories), there’re are many ways in which FTL travel would create some Old-West-like frontiers, and stories one might not think of—like Revenant (in SPAAAACCCEEE!) could also abound. In fact, why are there so few “classic” wilderness survival stories in sci-fi? Plenty of spacefaring hard-sci-fi survival stories, but not so many in the wilderness (unless I just don’t know them).

Battlestar Galactica – I have to say that, despite greatly enjoying this series, there’s a lot from it I wouldn’t use in my own sci-fi stories. Nevertheless, I’m sure there’s something to glean from the dross, I’m sure.

Tabletop Games

Infinity – if you haven’t seen the 28mm skirmish game (and upcoming RPG) Infinity, take a look. I typically have a hard time getting into anime, but despite the anime influence on this setting, it’s fascinating and I love the art style.

Shadowrun – this game was really my introduction to the cyberpunk genre and there’re some cool ideas here. As I mentioned above, though, I don’t intend this setting to be strictly cyberpunk, despite some of the influences mentioned.

Video Games

I take a lot of my writing inspiration from visual experiences, so the art style and consequential “feel” of film and games often helps my creative juices flow. When I think of doing a sci-fi setting, I think of Mass Effect (how could one not), Dead Space and Titanfall.

Futurist Reports

To a great extent, I think calling oneself a futurist or futurologist is a way to indulge in sci-fi imagination while still retaining some scientific credibility. Regardless, there are a number of futurologists whose reports provide ready fodder for thinking about human society and technology in the near future. I’ll be drawing on futurist reports, articles, speculative timelines, etc. for inspiration.

Art

As I said above, I’m very visual in my imagination, so I spend a lot of time creating collections of inspirational art and photos, most often pulling them from DeviantArt.com. For this setting, the two artists there that immediately come to mind are Shimmering-Sword and StTheo. Careful going down the DeviantArt rabbithole—you can lose hours wandering through the works of all of the talented artists there (or sorting through the crap that gets posted alongside them).

Other

TED Talks will also play some role I’m sure, as I tend to enjoy listening to them and they do relate to technology, after all. To some extent, I may find other podcasts or programs with something to contribute.

NEXT TIME: Some high-level choices about the particulars of the setting.

For the next post in this series, click here.

Word Count Worries

I’ve posted in the past about short short stories (1500 words or less) and you have some examples on this site with regards to my more “standard”-length short stories. My current plan is to write more short stories set in Avar Narn and submit those for potential publication in spec-fic magazines before turning to attempt publishing a fantasy novel.

To that end, I’ve been working for the past short months on what began as a short story. This story–I’m calling it Shadowgraphy–is a noir story set in the city of Ilessa on the island of Altaena in Avar Narn. The story combines a fantasy setting with a noirish subject into something reminiscent of cyberpunk (a favorite genre of mine); it’s an orphan bastard from a genre perspective, but that’s something I love about it.

The problem is that noir stories are, by nature, complex. I must admit that I don’t read much in the way of conventional mysteries and I can’t recall reading a “proper” mystery short story ever. When you add in the characterization necessary to the noir aesthetic–not just characterization of the people within the story but the setting and sociopolitical milieu (arguably characters themselves in such a thematically-oppressive genre)–perhaps any aspiration at writing a noir short story is a pipe dream to all but the most genius and unburdened of writers. I am neither. I think of Churchill’s “I would have written you a shorter letter if I’d had more time.”

When I started Shadowgraphy, I did what I often do with shorter works–I mulled over a plot in my head for a while and then sat down to commit it to paper without rigid structure, figuring I’d go back and edit it into a more structured and satisfying story once I’ve gotten something on paper (or computer screen, as the case may be). After about 4,000 words of this, I realized two things:(1) a noir (or perhaps any good mystery) story requires very careful planning and plotting and (2) there would be no way I’d fit the tale into the more or less 7,500 words usually allowed for a short story.

At the time of this post, I’m at about 17,000 words. This after scrapping those first 4,000 and spending nearly a month on writing and rewriting an outline of the plot–much time of which was spent on addressing little details and questions that had to be answered to make everything “fit.” When I’m done, I expect it’ll be between 20,000 and 24,000 words.

From one perspective, I’m quite proud of that. It will be, I think, a well-plotted longer story that’s given me a chance to really work on some of the skills I’ll need for writing novels. From another, it’s going to leave me with a commercially-useless result. The novella is a length for self-indulgence or well-established authors with a dedicated fan-base, I’m afraid.

There’s something to be said for putting in such effort for the story’s own sake. It’s a labor of love unfettered by the demands of the marketplace. Money does ruin things–especially art–and there’s a freedom for the artist that often comes from a certain hopelessness at commercial success. It’s also proof that I’m writing because I love it, not because I think it will prove lucrative–this is a good lesson in humility, and one I personally can stand to be reminded of.

Nevertheless, it’s only natural for the writer to want others to enjoy his work enough that they seek it out. You can’t generate that kind of audience without getting something “out there.”

So, here I am, scratching my head about what to do. There’s no question but that I’ll finish the story–it’s come far too far not to. But then what? Do I self-publish it on Amazon for nintey-nine cents and see if anyone reads it? Do I post it on the blog and ride the waves of insecurity and emotion upon seeing the analytics of how many actually read it? Do I put it in an (electronic and metaphoric) drawer to be saved for some later time?

I don’t know. When I post on the blog about writing, I usually want to share some humble advice born of my own experience. Today, though, all I have is a venting of frustration.

Thoughts? Similar experiences? Advice from a dear reader?

An Exercise in Confidence

I apologize for my silence over the past two weeks; that strange combination of business and laziness that tends to hit at the end of the year overtook me for some time. But now I’m back, looking forward to the blog in the new year.

I’d prefer not to name names, but a few days ago a friend asked me to read a short selection from a book by a fantasy writer whose name I have heard but whose books I’ve never read. If you’re confused, it’s the author and not the friend who I’d like to avoid naming.

After reading the selection, I advised my friend never to read something by that author again—to his chagrin. When I told him that the author’s style left much to be desired and that life’s too short to waste time on bad books, the look he gave me said, “Yeah, but he’s been published. Many times. How ‘bout you?”

He’s got me there, but that only matters if you think that only good authors get published. Before they disappear entirely, go walk through the fantasy fiction aisle at your local Barnes & Noble—or, better yet, your local library. Pick a few things at random and read paragraphs from them. You might be surprised at how many make you (honestly) say, “I could do better than that.”

To be fair, no writer is “on” all the time, and even great writers can write bad books (they just do so less frequently than the rest of us). Nevertheless, I think that one can often discern between “could be good but isn’t here” and “please stop writing things.”

Regardless of caveats and fairness (because, hey, the whole writing industry isn’t fair in who gets picked up and published and who does not), the encounter above with my friend gave me an idea. In trying to convince my friend of the author’s poor style, I picked one of his sentences, read it, and then gave my “improved” version (which could have been further improved, but I stand by my assertion that it was better than the published sentence).

That’s where my idea comes in. When I was in law school, K wanted to watch some legal sitcoms. I had trouble with how inaccurate they were until I decided to make a game and study tool out of them. I would watch alongside her and point out the inaccuracies, explaining how things should have been done accurately. While this might have put a strain on our relationship (at least with regards to watching TV), it did prove helpful in honing my legal skills.

All writers need to practice editing, and why not boost your confidence while you’re at it? Here’s the exercise: take a book you think is written poorly, select a passage from it, and rewrite the passage. For bonus points, put the original and your version side by side and see which one your friends think is better. If you’re successful there, try moving to better authors and continuing to use your friends as guinea pigs.

If you become confident with that, try moving beyond the technicalities of syntax and structure to playing with the art of style. Take a passage from a good book and rewrite it as if it were in a different genre or a different point of view.

I do firmly believe that life is too short to waste our time reading bad books. But if we can learn something from a bad book? Well, that’s something entirely different.

RPGs for Writers, Part I

This topic comes to mind because I’m currently spending a good deal of time writing short stories for the world of Avar Narn and have also just started GMing a roleplaying game in the same setting.

I’ve always had a love for both roleplaying games and for writing, and I’m convicted that my experience in one medium has influenced (if not shaped) the other. If, like me, you’d like to be a professional writer–particularly, but not exclusively, in the fantasy or sci-fi genres, I highly recommend that running roleplaying games becomes part of your curriculum of self-education. The reasons are myriad, videlicet:

Roleplaying Games Have Heavily Influenced the Modern Fantasy Genre

When watching Peter Jackson’s The Lord of the Rings and The Hobbit movies, I amusedly observed a certain dialectic that had formed between Tolkien’s works and Dungeons and Dragons (and also the Warhammer Fantasy setting). D&D most certainly drew heavy inspiration from Tolkien (though a look at Gygax’s Appendix N shows that that’s far from the only source). The idea of pointy-eared elves, stubborn dwarves (or dwarfs, if you prefer) and long overland quests all originated in Middle-Earth but found a new home in D&D and its derivatives. Likewise, Games Workshop’s much-beloved Old World setting of Warhammer Fantasy began as an close spin-off of Tolkien, and closely associated with Dungeons and Dragons as well (Citadel miniatures where sculpted and cast for D&D use before they ever had their own setting and style).

In the past few decades, D&D (and again, Warhammer) has become as much a part of mainstream culture as Tolkien has (look to Stranger Things or the fact that D&D got its own movies–however awful they might have been). The tropes of D&D now often stand alone, indebted to but moved beyond the original source material J.R.R. provided.

And so, in a strange reversal, I find several points in Jackson’s films that seem to be inspired far more by the over-the-top “epic” fantasy of Dungeons and Dragons than by the rather low-magic setting of The Lord of the Rings books. A few examples: stone giants attacking one another as the Dwarves and Bilbo  traverse the mountains, Legolas skating down the trunk of an oliphaunt, the boar-riding in the Battle of Five Armies and some of the action-oriented scenes involving Tauriel (who is far more a product of modern gaming than of Tolkien).

What this tells me is that fantasy roleplaying and wargaming have become so ingrained in (at least gamer-) culture that we know look back to the original inspirations (Tolkien, Vance, Lord Dunsany, George McDonald) through the lens of the tropes and ideas of these more-modern creations.

It’s not just the fantasy genre where roleplaying games have had a hand in shaping pop culture. The horror game Vampire: The Masquerade had its own TV series in the 90’s (called Kindred: The Embraced and produced through Aaron Spelling’s production company–find a copy if you can!) and certainly has had a hand in the 21st century vomitorium of vampire novels, TV shows and movies (True Blood, Twilight, etc.).

My point is this: to borrow a quotation from The Music Man, “You have to know the territory!” I’d wager that there are more people who have played D&D than who have read The Name of the Wind or Mistborn: The Final Empire, though both are of a vastly-higher literary quality than any RPG I’ve run or played. There is a certain fantasy mindset that D&D and other games engenders that leaves people with certain expectations (R.A. Salvatore’s sold a lot of books, after all). I’m not encouraging you to emulate the tropes of D&D in your own fantasy works (for the love of God, please don’t!), but you need to know what readers’ expectations and assumptions might be so that you can prey on them (in a completely benign literary sense, of course).

Practice Makes Perfect

In my experience, there are few harsher critics than nerds, and that’s a good thing. Every one of us has our own ideas about what tropes, genres and ideas are cool (or kewl) and which are lame. I love it when nerds find ways to call one another out: “You like Star Trek? How lame! There’s only Firefly.”

Practicing storytelling in front of a tough audience will help you to hone your skills, and RPGs provide a prime opportunity for this. Serious roleplayers (and a discussion of serious versus casual roleplayers merits its own post–but let’s say for now that both are categories are full of respected and valued people) will call you out (or complain behind your back, which is always easy to check on) if your characters are flat or your plot is full of holes. Even those players who prefer to avoid confrontation (in real life–they often play some of the bloody-mindedest characters!) will be happy to help you improve your skills if you ask.

And, as we’ll further discuss below, running a roleplaying game is a very different animal from writing a story on a page. Notice that I called it “storytelling” above–GMing a game is storytelling without the same rigor of grammar, syntax and style of the written text (although it is full of its own set of nuance and stylistic conventions).

I’m a firm believer that style and substance are inseparable in writing (particularly in fiction, when words must evoke a feeling or atmosphere as much as describe events, people and places), but that doesn’t mean that improving the substance by itself–which is possible in some ways at least in the RPG medium–won’t make your writing better as a whole.

Working on the Building Blocks

Outlining a plot for written fiction is a tough task. Making sure you don’t leave any gaps or loose ends, that the narrative flows up and down in drama and tension and that both the logic of events and the characters move in believable ways prove daunting, to say the least.

What can help with that? Having developed characters whose own motivations and personalities suggest the plot and push the story to its conclusion through seemingly-inevitable (but often surprising) actions. Well developed settings that intrude upon the narrative, providing both obstacles and the means to overcome them. Situations that arise organically from the nuance of the setting, creating plot hooks. And, of course, sometimes it comes to a whole lot of creative pondering, brainstorming and working back and forth through the plot as currently written.

Skillfully creating characters, setting and ideas for the beginnings of a story before attempting to sketch out a plot is more efficient (and artistically successful) than starting with a plot and pigeonholing characters and events into it.

As a (good) GM, what are you responsible for: creating memorable characters in an evocative setting and letting the plot develop organically (and often chaotically) out of the intervening actions of the player characters. In other words, creating all of the building blocks for a strong plot and then letting it go, responsively building events and scenes from the characters’ preceding actions.

This is difficult to do at all, much less to do well. But so is writing, and you didn’t decide you wanted to take up writing because you thought it would be easy and relaxing. You decided to take it up because it’s demanding and rewarding and, dammit, you’ll explode if you don’t get some of your ideas out of you and onto paper.

Creative Juices

Because the plot of an RPG develops through the back-and-forth between players and GM, you can only go in with strong building blocks (characters and setting) and a vague idea of plot direction, because no plan will survive contact with the enemy–er, players. The spontaneity demanded of a good GM means that you will have to develop your ability to improvise, synthesize and dramatize quickly and meaningfully. If you become able to do those things well on the fly, just think about your abilities when you’ve got time to sit down and slowly develop and rework a story.

Alongside this, the worldbuilding aspect of roleplaying is, potentially, far more extensive than it is for typical fiction. Tolkien’s example aside, the fiction writer really only has to do enough worldbuilding as will appear “on-screen.” You only need as much culture as will influence the plot and characters, as much geography as suits the story, as much depth as bolsters the fourth wall.

This is not true of a roleplaying game. If your characters wander to the edge of the map (or, more likely, the edge of the scene) and find blank space, they’ve lost all sense of immersion, and the most important aspect of a profound roleplaying experience has been lost–probably never to be recovered. Because of player agency, you need to know what is (or at least, what could and what could not be) on the other side of that hill, what the heretofore unnamed NPC’s life is like if the characters somehow decide he’s more important than you originally intended, what the foreign cultures that the players’ characters may hail from are like. Your worldbuilding has to be far more complete, because the players are not sitting captive in a movie theater exposed only to what appears on the screen–they are holding the camera and may turn it unexpectedly at a whim.

Is deeper worldbuilding always better? No, not necessarily. If you’re writing a standalone story based more on an idea than a setting, it’s probably a waste of time to go into the kind of detail a roleplaying setting demands. But, on the other hand, if the setting itself is part of the fiction you want to weave, why not become adept at doing the thing right?

Go to Amazon and search for books on worldbuilding. If you search well, you’ll find far more books written for roleplaying games with deep discussions of worldbuilding than those for writers. More to the point, you’ll often find the works with “games” in mind deeper and more developed than those with “literature” in mind. This is admittedly changing as Tolkien-esque worldbuilding (along with fantasy map-making and conlanging) becomes more mainstream, though I’d argue that this is another facet of my first point, that roleplaying games have pushed certain aspects of fantasy to the forefront.

A Feel for Narrative

There are plenty of books on “proper” narrative structure. You can find formulae for stories in any kind of genre you can imagine. Plenty of theorists or writers will tell you that there’s only a limited number of dramatic situations (sometimes so few you can count them on fingers and toes) that get recycled from story to story.

Theory is well and good, and I don’t intend to argue with any particular formula or convention here. However, there’s more to plot than the mechanics of dramatic beats and intervening beats, of a rising action and a denouement. The best narrative is like a rollercoaster–it goes up and down, sometimes twists suddenly to the side, gathers momentum or slows, and sometimes, just sometimes, curls back on itself or hangs upside down.

There are even successful stories that in many ways should be described as lacking a plot–Ulysses or Mrs. Dalloway, for instance.

Of course, roleplaying games without plots really don’t work except for players fastidiously (perhaps narcissistically) concerned with their own characters. The point is really that plot must be felt as much as coldly planned.

Running a roleplaying game (well) requires the development of a keen sense of narrative structure, when to rise, when to fall, when to zig and zag. This relies on a sense of mood and audience as much as “rules” of plot.

Sometimes Rules Help to Control the Fun

By this, I do not mean that a novelist should create roleplaying statistics for all his characters and then have them roll against each other to determine how the plot moves. But, especially in the fantasy and sci-fi genres, a lack of consistency can destroy the suspension of disbelief.

Rules in (good) roleplaying games are designed specifically for consistency–to constrain the possible results and ensure that two similar situations have similar odds of resolving in various possible ways. For a game, this is in part a matter of “fairness,” though the best roleplaying games (I find, and so does John Wick–the game designer and roleplayer, not the Keanu Reeves hitman) are patently unfair in ways that mimic real life (and may or may not be codified within the rules). Regardless of origin, though, the consistency of the rules contributes to the consistency of the world, which contributes to willing suspension of disbelief. Nobody likes a hypocrit; even fewer people like a hypocritical fiction.

The “mundane” rules necessary to roleplaying games are unnecessary in fiction writing–logic can help a writer determine when a character dies of thirst without the need to roll dice or consult charts. On the other hand, certain aspects of speculative fiction–particularly systems of magic and superscience–can benefit from a codified rulesystem that ensures consistency. This does not mean that the fiction writer needs to create a mathematical resolution system for these aspects of a fantasy story, but the principles of creating a well-realized and consistent magic system for written fiction and a workable magic system for a roleplaying game overlap so significantly that experience handling one will certainly help with the other. Speaking from experience, the complex systems of magic in the Avar Narn setting are deeply nuanced and influenced by my own inspirations from and criticisms of magic as portrayed both in fiction and in RPGs (I’m looking at you, D&D; your magic is stupid and lacks the fantastic).

Jim Butcher, author of the wildly successful Dresden Files, helped translate his fictional magic system into RPG rules through the FATE-powered Dresden Files RPG. Given his frequent references to roleplaying games in the novel, it’s clear he’s a fan, so I can’t help but wonder if his roleplaying experiences shaped the way he thought about magic for his setting.

To rag on D&D (and its derivatives) again in this section, sometimes a roleplaying game can tell you how not to structure your world. From a standpoint of game design, I have a lot of bones to pick with Dungeons & Dragons (level- and class-based systems, character growth based on violence, etc.), but the worst of it is that (probably more through players’ fault than the games’ writers) the rules of D&D are usually scene as the physics of the work, rather than the rules attempting to model the physics of a fictional world. What I mean by this is that, if the rules say that something is possible, or even vaguely imply that things should work in a certain way, or the history of those rules carries with it such an implication, then some players assume that the rule trumps all logic and narrative coherence. Hence jokes of leveling up by pouring boiling water on an ant mound (millions of 1XP kills, right?) and far less funny arguments between player and GM about the results of some seemingly ludicrous action supported by the black-letter reading of the rules. This experience may be an artifact of my own biases and agenda when running a roleplaying game, but D&D does seem to be susceptible to this occurrence more than any other game I’ve ever run.

Still, there’re several lessons here. First, you’ve got to be aware that the rules can cut both ways, whether codified in RPG mechanics or simply narrative restrictions–if something works once, you can’t complain when it working again hampers the story you want to tell. Second, as mentioned before, audience expectations must be managed carefully. If you’ve indicated to them in one scene that your story or game is going to be zany and over-the-top in its fantasy tropes, readers or players will be confused and upset when later you try to make things too gritty.

The Future of Entertainment?

While I’d prefer to avoid making decisions based on the commercial aspects of writing, it is worth considering that there is good work for writers to do in emerging media. Video games are becoming more and more concerned with strong storytelling and literary elements–see The Witcher 3 (in my opinion, the best video game made to date, particularly on the storytelling front).

With the impending boom of virtual reality, I think that we can expect a corresponding boom in second-person storytelling in ways previously unavailable to writers and storytellers–except through roleplaying games. Responsive narrative crafted through alternatives of player agency marks an opportunity to tell multiple stories through the same outlet, to examine issues from multiple perspectives and approaches in literary style, and to leave a more powerful impression on the audience than words alone (possibly–I’m willing to accept the possibility that technology will never surpass the power of raw imagination).

Without all the visual and haptic special effects, roleplaying games already do this. I know gamers who have had experiences in roleplaying games that have changed them as people, so powerful was the narrative created at the table. In that sense, a good roleplaying game has the same potential to effect change as a good novel–albeit on a smaller and more intimate scale.

Conclusion

So, have I convinced you, dear fellow writer, that you ought to consider picking up an RPG rulebook, getting some friends together and playing a game? I hope so.

In the next post in this series, I’ll explore some different RPG rulesets, systems and settings to think about when selecting which game to play. In the post after that, we’ll talk about the benefits and drawbacks of using the same setting you intend to write in to run roleplaying games.

RPGs for Writers, Part III

Having offered up some game systems to use if you’re going to take the dive into roleplaying, let’s talk now about the bigger question: should you use your own beloved setting for your game? I answer the question with a categorical “maybe.” Here’re some of my experiences to illustrate the ups and downs.

Can you let go of your baby?

This is the hardest part of using Avar Narn for roleplaying games. I’ve spent years thinking about this world, developing nuance and atmosphere and thinking about the kind of stories that take place here.

No GM’s plan survives contact with the PCs. My players do not always get Avar Narn. Sure, they understand that it’s a gritty fantasy setting where magic is as dangerous as useful, sinister forces wait in the shadows but “regular” people are just as likely to be monsters as some demon-spawn, but that’s not always enough. When you play a roleplaying game, there need to be some rules–not just the mechanics of the game, but an agreement (implicit or explicit) between GM and players about what sorts of things happen in the setting. Avar Narn is very different (perhaps by design) than the high fantasy you’d find in a typical Dungeons and Dragons game. Characters in Avar Narn may have supernatural abilities and great skill, but the setting is not one of over-the-top action or near-invincible heroes.

When your players don’t meet your expectations for how stories go in your setting, when they unintentionally misunderstand or intentionally reject some of the narrative constraints of your setting, you will naturally be disappointed.

There are two ways to handle this, I think. First, you let go of some control of the setting. What happens in your games doesn’t have to become canon in your world and may still reveal to you important things about your setting–or give you new aspects about your world to explore. This is easier said than done; I don’t think I’ve ever accomplished this approach and I’m not sure that–at least at this point in my creative life–I’m able to.

The alternative, and it’s a harsh one, is to train your players to respect the narrative “rules” of the setting. Were I to do this with Avar Narn, my players would lose characters on a regular basis, because recklessness or foolishness (or perhaps even a really bad run of luck) would get them killed. They’d eventually come to understand what I (or if I’m to shirk responsibility, the setting’s rules) expect, but at what cost? If I cast my net far and wide, I could probably find enough players comfortable with this to run a game, but I think that some of my regular players would (understandably) drop out because that kind of game doesn’t meet their expectations of what roleplaying games should be and do.

This issue is tough to navigate and can easily lead to either you or your players (or both) being disappointed. Beware.

Work or play?

Serious fiction does not always have as its goal being fun in an obvious way (bear in mind that this is different from being enjoyable–think of catharsis, the emotional experience of terrible events that can be left behind at their conclusion and the intellectual satisfaction of a story well told even if not felicitous). If your roleplaying game is not fun, you have a problem–few players want only the sort of parenthetical enjoyment previously described.

On your side of things, will using your setting to run a game feel like work? C.S. Lewis was once asked by a young lover of theology whether he (the young man) should go to seminary. Lewis advised that the young man ought to consider whether making his profession in something he loved my deprive him of the joy he found in it. So much for “do a job you love….” But there’s a point here–a roleplaying game may sometimes require creativity on demand, which is not always the best kind of creativity in worldbuilding and writing. If you find yourself forced to enter your setting rather than doing so for the joy of it, you may find yourself hampered in progressing in your writing and the creation of your world.

Doubling Down

I started with the negatives I’ve experienced in running Avar Narn games. Let’s now turn to some positives:

If you’re running an RPG set in the same setting in which you want to write, the work you do goes twice as far. Planning your game will tell you new things about your setting, working on your setting and stories will give you ideas you can use in your game.

Further, the improvisational nature of roleplaying games may help you stumble onto unexpected ideas for the furtherance of setting and stories–your players may stimulate you to unlock untapped creativity for your world.

Constructive Criticism

While by no means a market-study or a scientifically-valid survey, your players’ feedback will help you to revise your setting by identifying what’s working and what’s not. In particular, RPG players tend to be quick to point out internal inconsistency–the death of a fictional setting.

Indulgence

I have to admit that there is a deep joy that comes from diving into your fantasy world rather than viewing it from a remove. I readily defy the idea that fantasy is mostly (or even much) about escapism, but there a happiness endemic to humanity closely attached to creation and experience, to the exploration of something other than what is. (If that sounds like escapism to you, I’d argue that there’s a difference between retreating to a fantasy world to avoid reality and diving into a fantasy world for the joy of experiencing that world regardless of its comparison to reality).

There are few other ways to participate in your world in such an intimate way. Indeed, I’d say that if your inclinations are towards worldbuilding itself rather than storytelling, you’ll get much more enjoyment from running roleplaying games set in your world than you would from writing stories about your world. If you’re like me, do both when you can manage and reap all the benefits you can.

Storytelling Plus

Why do we create fantasy settings? As I mentioned above, there is a deep human need to create, and you may well feel that you have no choice in the matter–you are pregnant with ideas that must be born (to use a Renaissance analogy). Then there’s the natural desire to share things we love with others, to get them to experience the same joy we have from something.

Here’s perhaps where roleplaying can do something no other storytelling medium can–you can immerse your players in your world with second-person fiction, letting them experience your ideas in a way far more intimate than traditional writing.

If you subscribe to Joss Whedon’s statement (about Firefly, if I remember correctly) that “I’d rather create a show that five people have to see than one that fifty-thousand people want to see.” (I’m paraphrasing and the numbers used may be off, but you get the idea). That is to say, if it’s really about the art itself (that we could all bring ourselves to such true virtue!), you may well find more satisfaction in running a game for a few people than writing for the masses.

Conclusion

While I recommend that speculative fiction writers at least try roleplaying games to see how the genre helps them with their craft, I see justifications both for and against using your own narrative setting for those games. If, like me, you have trouble relinquishing artistic control, you may be better of using a different setting for your games. In so doing, whether you use a published setting or a new creation of your own, you’ll learn things that you can readily apply to your spec-fic setting.

If you can let go a little, or especially if you enjoy collaborative creativity, you may well find a deep joy in running games set in your world that enhances the other joys your setting provides.

 

RPGs for Writers, Part II

In the previous post on this subject, I offered some arguments for why writers (particularly speculative fiction writers) should consider adding the running of roleplaying games to their toolbox for development of the craft. This time, I’m going to suggest a few particular games that might help you to begin.

A Bit of Theory

If you spend much time with online forums about pen and paper roleplaying games, you’ll come across a few particular common theories that inform the discussions found there. The first is GNS theory, meaning “Gamist, Narrativist, Simulationist.” In short, the idea is that there are three main approaches or sets of goals people have when approaching RPGs. Gamists want to achieve and “win.” Narrativists want to indulge and immerse themselves in character and plot. Simulationists focus on the coherence of the rules and reality in which they play, especially as those rules help create narrative that meshes well with our the player’s own experiences of how reality (extrapolated for fantasy and science-fiction, of course) tends to work. About this, I’ll say what I say about most attempts to categorize things into neat theories–it’s a gross oversimplification that misleads more than helps, I think. I’ve never found a person who fits solidly into only one of those descriptions.

That said, GNS theory has proved useful because it encourages us to think about the games we play critically. At the heart of GNS theory is the idea that different RPGs are about different things; they have different goals that (at least when done well) lead to different rules, attitudes and atmosphere.

The more modern argument about the classification of RPGs is whether they are “traditional roleplaying games” or “storytelling games.” In many ways, this relates to discussions about whether games are or should be “rules-light” or “rules-heavy” (though this is more often called “crunchy.” The argument I commonly see put forth is that storytelling games are an entirely separate category from roleplaying games, the supposed focus of storytelling games being on collectively creating a narrative with very few rules getting in the way and the focus of roleplaying games using rules (extensive or not) to decide the outcome of events in the progressing narrative at least as much, if not more, than “mere” dramatic requirements. Again, I don’t buy this; there are plenty of rules-heavy games that focus on the creation of meaningful narrative above all else, and probably some rules-light games that focus more on the game than the story.

Why bring all this up? Truthfully, probably because I’m a pedant. In my defense, though, these are things I’ve been thinking about lately as I lay the groundwork for creating a roleplaying game for my Avar Narn setting. Since both worldbuilding and creative traditional fiction with Avar Narn are goals I’ve set above a marketable (or even playable) RPG, I’ve been looking at lots of systems to determine how many and what kind of rules would be best to capture the feel and nature of Avar Narn in the improvisational format of the roleplaying game. To speak more plainly (I hope), my thoughts on the above influence the recommendations I’ll make below.

RPGs for the Writer

Roleplaying games have come a long way since the birth of Dungeons and Dragons in the 70’s. “Modern” games have moved away from the wargaming roots of the genre’s pater familias and toward a focus on narrative. By “narrative” in this context, I mean a focus on capturing the feel and structure of traditional fiction.

The gamer/writer will probably get the most out of games with a narrative focus (though any RPG has a narrative focus if you run and play it that way). So, my top three suggestions are some of my favorite narrative-focused RPGs.

FATE (Evil Hat Productions)

If you’re a writer who wants to try running a roleplaying game and it’s something you’ve never done before, I can’t give a better recommendation than FATE. The FATE RPG runs relatively rules-light (although it’s really a toolkit for running the type of game you want to run, so you can make the rules as involved as you like by grafting on additional systems) and, by design, uses narrative logic to influence the mechanics of the game.

The primary vehicle for this is the aspect. An aspect is a short narrative tag on a character, scene or object. Examples might be Sucker for a Pretty Face or (my favorite) On Fire! At the same time an aspect tells you something about the character or situation, it carries oomph–under the right circumstances (usually by spending a character resource called Fate Points, but sometimes for free) a player or the GM can reference an aspect to affect a roll of the dice. If the aspect positively affects a roll, the actor gets a +2 bonus on the roll (quite significant given FATE’s range of results). If it would negatively affect a roll, the same bonus is added to the resistance to the actor.

Aspects can also be compelled by the GM or a player to cause the player to act in a manner that is counter-productive but fitting for the character to complicate the plot. The noir detective with Sucker for a Pretty Face may fall for the femme fatale even though everyone else knows what’s going on. In exchange for accepting this narrative turn, the player receives a Fate point, which he can spend later to help his character succeed (or maybe just survive).

FATE uses Fudge dice, which are six-sided dice that have two blank faces, two faces with a “+” and two faces with a “-“. You roll four, looking at the appropriate character trait’s rating and adding one for each plus and subtracting one for each minus. That number is compared to the difficulty of the task to determine success.

I could go on and on about the innovative and influential aspects of the FATE system (see what I did there?), but there’s more ground to cover and you can find full reviews elsewhere on the net. I’ll summarize by saying that FATE has a system that’s easy to grasp, fun to tweak and that feels intuitive to the creative writer.

I will also say, however, that many of the principles of FATE can be used in other roleplaying games without using the mechanics whole cloth.For instance, you don’t need to spend a lot of time writing down scene aspects on notecards to take a look at the description of the narrative and the scene and say “circumstances should affect your action like this, so here’s a modifier” in other games.

Either way, it’s worth a look. Best of all, it’s free!

Cortex Plus (Margaret Weis Productions)

I’ve heard Cortex Plus called “FATE with more crunch.” I suppose that’s true, but given the toolkit nature of both rulesets, there could be wide variation in the “heaviness” of the rules.

To name drop, Cortex Plus is produced by Margaret Weis, co-creator of Dragonlance and is written by (among others) Ryan Macklin–a major force behind FATE, Rob Donahue (who’s written for many different games) and Philamena Young (who has worked on some of my favorite games–Shadowrun and World of Darkness–and who has become a voice worth listening to in terms of both game theory and gamer culture). Maybe to recommend it more, Cortex Plus is used for the following franchised RPGs: Marvel Superheroes, Leverage, Smallville and Firefly.

The base book (really the only you need unless you’re going to play one of the above-mentioned settings) is the Cortex Plus Hacker’s Guide.

Like FATE, Cortex Plus focuses on a strong dialectic between narrative and mechanics. Conflict is resolved by forming a dice pools from different sized dice that represent different traits, skills or belongings of the actor and rolling against a dice pool created from the opposing character’s traits or the circumstances of the task and scene. The two highest-rolling dice (this can be manipulated) are totaled and compared to determine success or failure.

By giving you control over the categories into which relevant traits fall, Cortex Plus allows you to use a toolbox game to create the feel of particular types of narrative–from the dramatic television represented by Smallville and its ilk to heist-style stories a la Leverage to the thrillin’ heroics of Firefly and much much more in between. This provides the writer a way to customize the stories she tells in RPG form and even to set the mood of the game without much heartache. A game where you receive dice for your pool based on the nature of your relationship with a person and one of a handful of ideals feels very different from a game with character statistics like “muscle” and “guns”. Same mechanic, different atmosphere.

I’ve run and played in several Cortex Plus games–I’ve even used it to run Avar Narn. The “heroic fantasy” rules in the Hacker’s Guide provided a good starting place for developing the grittier more dangerous feel of my own world.

I really like the way the Cortex Plus system works, but I do have a few complaints. While reskinning rules and attributes to fit the tone of your setting goes a long way, a universal system like FATE or Cortex Plus will never match what a customized ruleset will do to accentuate and define a setting. Also like FATE, I think that some of the concepts from Cortex Plus can be used effectively without needing to resort to mechanics to enforce them. That’s my opinion and the people I game with very much like both FATE and Cortex Plus.

HeroQuest (written by Robin Laws and published by Chaosium)

No to be confused with a number of other titles with the same or similar names, Robin D. Laws’ Heroquest is another narrative-focused ruleset that would suit the author experimenting in roleplaying games quite well.

Robin Laws is unqualifiedly a master of narrative in roleplaying games. His Robin’s Laws of Good Gamemastering and Hamlet’s Hit Points are excellent books for people who want to run games well (no easy task). Writers should read Hamlet’s Hit Points even if they don’t ever run a roleplaying game.

In addition to writing about RPGs, Robin Laws has written for more RPGs and publishers than I can count and has published a number of RPGs of his own design, including Feng Shui, Hillfolk and HeroQuest.

Like FATE and Cortex Plus, HeroQuest turns narrative descriptions into actual mechanics. The mechanics of HeroQuest are simple and streamlined in the interest of telling fast-paced stories where the rules bleed into the background. Does that make it a storytelling game rather than an RPG? Don’t know, don’t care.

While I’ve played FATE and Cortex Plus extensively, I have not played HeroQuest; I’ve only read the rulebook. That said, it made me excited to roleplay in a way that only a few games do, and I’ve considered using it for games I want to run on many occasions.

Conclusion

The three games I’ve mentioned here are on the rules-light side with a stated narrativist agenda, for whatever that’s worth. Really, they’re just games that are or seem to be easy to run, easily adaptable to your setting of choice and focused on the aspects of roleplaying games most useful to the writer.

Online publishing has been a Godsend for gamers, as it’s allowed an explosion of new games and innovative ideas that are not forced to run the gauntlet of publishing pitfalls (which exist even, if not especially, in the gaming world, I gather).

There are many excellent games to play, many very good rulesets (though I’ve found none I’m willing to call perfect) and many interesting settings to explore to pilfer inspiration from. Go out and find them!

In the next post in this series, I’ll talk about the ups and downs of using your own fantasy setting for running a roleplaying game.

Learning for Science! (Or Worldbuilding)

In one of my previous posts (“Worldbuilding – An Education”) I talked about the value of the worldbuilding hobby for expanding one’s educational goals and accomplishments. This time, I’m going to approach the same topic from the other side–how learning helps your worldbuilding. In particular, I want to share some resources that have been helpful to me in my own practice of the pursuit.

As you know, most of my worldbuilding is done for the purpose of creating settings for my speculative fiction (or, less frequently, for roleplaying games). I’d like to pause for a moment for a brief confession: learning for the purpose of gaining knowledge and tools for worldbuilding is something of a safety net for my productivity. Writing is almost always difficult (sometimes the words come easy, but making them say something worth saying in a way that holds attention is far from automatic) and often frustrating. As much as I enjoy it (and feel called to it), writing is often work.

There are many things that I like to do that are not work. Exercising (though it’s only slightly less difficult than writing–particularly running), reading, building things, watching TV, listening to music, pretending I can draw, and–especially–video games (even though Jane McGonigal would not entirely agree that video games are not work of a sort, and I agree). When writing becomes difficult, the seductive call of things that do not feel like work becomes ever more powerful, and discipline in writing is, for me at least, a difficult thing to maintain as it is. So, when I give in to temptation to mindlessly play video games, find some project around the house to help me procrastinate or otherwise avoid what I feel like I should really be doing, I play an audiobook. That way, I’m at least learning something that will be useful to me when I sit back down to write. A lot of what I have to offer in this post are things I’ve come across during that liminal state of wishing I was writing but lacking the motivation to actually be writing.

Dan Carlin’s Hardcore History

I’ve mentioned Dan Carlin several times in various posts on the blog, but it can’t hurt to bring him up one more time. His Hardcore History series covers many topics throughout human history from the 20th century to the very early historical period. A worldbuilder must be a student of history. Fiction is, in some ways, simply created dramatic history. This is often on the personal level, but the fantasy genre also often thrusts its characters into world-shaking events of epic importance. To do that well, or to create a setting that supports any kind of fantasy story, you need to be able to have a general sense for the flow of history–that is how one event influences and shapes those that follow–and for communicating the feeling of history; that is, giving the reader a sense of what it is to be alive and in the culture and history of the setting.

Dan Carlin is an excellent historian in general I think (though he doesn’t describe himself as such). Where he really shines is in communicating the feeling of history. When you listen to one of Carlin’s series, he takes the time to ask the questions and give the descriptions that invite you to imaginatively and emotionally participate in the events discussed. So, I’d recommend him both for the substance of his histories and for his method of historiography. Carlin gives us an example of how to think about histories–real or fictitious–in ways that bring them to life.

Great Courses

I love the Great Courses series (www.thegreatcourses.com; also available through Audible.com and Amazon). This is partially just because I’d be a perpetual student if I could be. Nevertheless, the breadth and scope of courses offered by The Great Courses company allows you to target specific points in history or culture (or science or politics and many other subjects for that matter) and delve deeply into that subject–for tens of hours.

If you’re not familiar, the Great Courses are essentially recorded undergraduate classes comprised of 30-45 minute lectures prepared and given by some of the foremost professors in the higher education systems of the Western world.

Here are a few courses I’ve personally found useful (your mileage may vary, as they say):

“Buddhism” by Prof. Malcolm David Eckel

“Religion in the Ancient Mediterranean World” by Prof. Glenn S. Holland

“Espionage and Covert Operations: A Global History” by Prof. Vejas Gabriel Liulevicius

“The Italian Renaissance” by Prof. Kenneth R. Bartlett

“The Renaissance, the Reformation, and the Rise of Nations” by Prof. Andrew C. Fix

“The Late Middle Ages” by Prof. Philip Daileader

“The Fall of the Pagans and the Origins of Medieval Christianity” by Prof. Kenneth W. Harl

“The Medieval World” by Prof. Dorsey Armstrong

“Medieval Heroines in History and Legend” by Prof. Bonnie Wheeler

“The Other Side of History: Daily Life in the Ancient World” by Prof. Robert Garland

As a note: I have a master’s degree in medieval and renaissance literature and my B.A. in History also focused on that time span, and yet I always gain something new and fascinating in these courses. Knowledge is funny that way, I guess.

Curiosity Stream

Curiosity Stream is a subscription, on-demand service like Netflix except that it is only for documentaries. Feeling lazy and want to veg while watching TV? Here’s your excuse to do so and still like your making some progress on your worldbuilding.

The best part of Curiosity Stream is the source of many of its documentaries–BBC and Sky from the UK and various subtitled or dubbed documentaries from the rest of Europe. This gives you access to docs you won’t find on Netflix or Amazon Prime (the selections on which I often find disappointing) and gives you a look at topics from other than an American worldview (this, also, is essential for good worldbuilding–your cultures must stand on their own, not as representations, modifications or critiques of your own culture).

Worldbuilding Books

To be honest, there are few worldbuilding books that seem worth the investment of time once I’ve gone through them. Some are just too generic and obvious to be helpful; others want you to dive so deeply into things like plate tectonics and the albedo of your planet that (unless you’re writing something where such details are important to setting or story–I’m looking at you, hard sci-fi) you’ll end up wasting hours making calculations that (if you’re like me) probably end up wrong and that you’ll forget and never use anyway. Still, you do need to be able to avoid (or, I suppose, willing to ignore) glaring mistakes in the creation of a world that will distract its visits from the willing suspension of disbelief.

One example–rivers tend to converge; they do not tend to (but on rare occasions do) split into multiple major waterways (with the occasional exception of the river delta, though that’s different, I’d say). Maps or geographic descriptions that do not follow real-world data (and that do not have some sort of in-setting explanation for the variance) will annoy those with the specialized knowledge to point out the error and may even unsettle others who have a sense that something doesn’t add up even if they can’t put their finger on it.

Most of us do not have the time to become intimately familiar and comfortable with such diverse fields as geography, geology, planetary physics, ecology and biology, etc. Having a worldbuilding book that helps manage some of these issues can be a great time-saver (and an interesting read).

I only have two recommendations in this category that I’m really comfortable making:

The Planet Construction Kit, by Mark Rosenfelder. This is a great book for negotiating some of the larger scientific issues if you need to create a whole planet or want your setting to be that detailed.

Holly Lisle’s Create a Culture Clinic. This book outlines many aspects of culture that a worldbuilder might want to define, along with some writing exercises to bring that information into narrative form. I won’t say that this book alone is going to inspire you to create a culture, but it is very good at asking the questions you ought to ask while building a culture.

Both Rosenfelder and Lisle have a number of other books on worldbuilding (and language construction, if you’re into that sort of thing) available, but the two above are the only ones I would say should definitely sit on a worldbuilder’s bookshelf (or in the memory of her Kindle or iPad or whatever).

PBS’s SpaceTime Series

This is a recent discovery for me. It’s a show viewable on YouTube (without any subscription) that tackles advanced physics questions in ways understandable to a lay audience. If you’re into hard-science settings (or at least high-plausibility in your sci-fi), there’s a wealth of information here on how to accurate depict artificial gravity (using centrifugal force at the proper radius and rotation speed to achieve 1G while minimizing the Coriolis effect), the feasibility of various sublight and FTL drives, etc.

Have you, dear readers, found some valuable fonts of knowledge and learning that have helped you in your own worldbuilding? Please share through a comment!

 

 

Collections

(You can read this short story in PDF here: JM Flint – Avar Narn – Collections)

Putnam nearly jumped out of his chair as the door burst open, the bubbling elixirs and preparations in the alembics and retorts arrayed before him sloshing and spilling onto the table, some harmless but others hissing and spitting in their upset. He fumbled to stand, twisting the high-backed chair behind him awkwardly and almost falling over it, catching himself on the ornate backrest and hauling himself to his feet with some effort.

In the doorway stood a silhouetted figure, hulking and garbed with malice, idly grinding underfoot one of the splinters from the broken door frame. “Putnam,” he growled.

“Who—Who are you?”

The intruder stepped forward into the light, casually throwing the open door back toward its frame; it bounced off of the remnants of the door jamb but settled in a mostly-closed position, open only a crack. As the light of the everlamps illuminated the man’s face, Putnam gasped, “Taelainë’s balls!”

“Taelainë doesn’t have balls, old man.” He was Blooded of the Rukhosi, easily seven feet tall as he raised himself to full height upon entering, clothed in pure muscle, enlarged incisors peeking from his lower jaw, giving him something of an underbite.

“No…no, of course she doesn’t. You’re one of Berem’s men, yes?” Putnam attempted a smile as he spoke, but his face resembled more of a Temple grotesque with its mouth lopsidedly open in a look of confusion.

“That’s Blind-Eye to you. You’re two weeks late on your payments. We take our debts very seriously in the Sisters.”

“I have…no—no doubt.” Putnam stuttered. He took a deep breath and steadied himself, brushing the crumbs of his last meal from the front of his robes. “But perhaps we can come to some arrangement. Some collateral?”

“You’re a second-rate alchemist at best, Putnam. Otherwise you’d have turned some lead into gold or somesuch instead of taking a loan from Blind-Eye. What do you have to offer?”

Putnam looked past the kneebreaker then, caught in a personal reverie. “You are correct, of course. Even at university, my poorest performances were alchemical.” Shaking his head as if to clear it of old memories, he turned his gaze to the Rukhosi-Blooded thug. “Still, I’m so close to the end of my experiments! And, as you said, alchemy is the least of my talents. I’m an accomplished shaper. A sword! Yes, how about that? An enchanted sword. Seems enough to by me a week, at least.”

“I have a sword,” the man told him, his left hand fingering the grip of the weapon at his hip—a longsword to most men, but Putnam had no doubt that the man could wield it effectively in a single hand if he desired.

“Yes, but what about a sword you don’t have to sharpen? One that will not break? There are many effective enchantments to be placed on a weapon.”

“Have you ever used a sword, alchemist?”

“I’ve had the good fortune that it’s never been necessary.”

“Then you have no business making swords. Your thaumaturgy means little in a fight—it is the balance of the weapon, the way it feels and plays in your hand that matters. It’s not easy to find one that fits, and not much makes it worth getting used to a new one if you don’t have to.”

“Perhaps your sword, then? I could enchant it and you’d not need to acquaint yourself with a new weapon. If you’d just hand it over…”

The enforcer smiled. “Clever, old man.” He raised his hands, opening them with palms toward Putnam so their massive size became evident. “But don’t you think that, even if you had my sword—a weapon you’ve admitted to never having used—I couldn’t easily beat you to death with my bare hands?”

Putnam’s shoulders fell. “Yes,” he said, almost a whisper, the reluctant apology of a child who only regrets being caught. Then, he lifted his head with realization and actually smiled. “But you haven’t said ‘no’ outright, have you?”

The large man shrugged. “It doesn’t hurt to listen. Actually goes a long way in my line of work, believe it or not.”

“Then what might you want?”

When the enforcer looked to his shoes, Putnam knew he’d found an in with the man. “It’s about a woman, isn’t it?” The large man’s fierce visage as he raised his eyes from his footwear confirmed the alchemist’s suspicions. “You want a love potion, then? A simple matter, really.”

“Is it, now?” The growling voice dripped with suspicion. Clearly, the thug had never become accustomed to being vulnerable, which Putnam mused might very well be the cause of his amorous failings. “I am no fool, nor do I wish to steal affection through guile.”

But coin is another matter, now, isn’t it? Putnam thought to himself. “What then?” he asked.

“It’s…how I look.” The enforcer admitted.

“I am no back-alley fleshcrafter!”

“Putnam, I came here to take some fingers. If you’re going to buy yourself some time, you might consider being what I want you to be.”

The alchemist looked back at the man, a hardness in his eyes. “It is a left-handed practice.”

“But it is something that you could do, is it not?”

“If I wanted to be hunted by the Vigil.”

“Come now, you know that the Vigil holds no authority here. Besides, they’d have to find you first. I already have.” The Rukhosi-Blooded thug cracked his knuckles for emphasis, the sound almost echoing within Putnam’s apartment laboratory.

“You want to look more like the rest of us? Fine. Come back tomorrow and—”

“No. Tonight or not at all.”

“You’ll need a sacrifice.”

“What, like a person?”

“God, no! Well, I mean, yes, that would work, but there’s no need to be so macabre. Something of great personal value to you will suffice. A longtime keepsake, something you acquired at great cost, a symbol of your greatest achievements, something with meaning.”

“Why?”

“We don’t have time for the explanation. I apprenticed under a magus and then spent years at university trying to understand, and even the scholars and professors have only theories and conjectures, though they call them Laws.”

“What if I don’t have anything like that?”

Putnam frowned. “Flesh for flesh then. A finger or two should do.”

The enforcer glared, apparently not a fan of irony. “I need my fingers.”

“Toes?”

“Balance.”

“Ears? Nose?”

“Defeats the purpose, don’t you think?”

“Umm, yes, well…”

“Blood?”

Putnam smiled faintly. “Yes, that will do, but you’ll need a bit of it.”

The thug pulled a wicked dagger from his belt, blade curved and serrated. “Why not yours?” He growled.

“That would work, um, yes, but then I wouldn’t have the wherewithal to perform the working.” Putnam wrung his hands.

“Fine,” the man said, moving the blade over his forearm.

“Wait!” Putnam objected. “Not yet, you fool!” The alchemist sorted through the multifarious miscellany that cluttered a nearby set of shelves, returning with an empty wide-mouthed bottle and a small vial filled with ochre fluid. “You’ll bleed into this,” the magus said, setting the bottle at the man’s feet. Indicating the ochre liquid, he continued, “When you get the signal from me that you’ve bled enough, you’ll put this on the wound to close it.”

Without additional words, Putnam began to sketch out a rough set of circles and symbols in chalk on the wooden floor surrounding the large man. The designs complete, he started to shuffle through the apartment on seemingly-random errands—collecting a book and opening it upon a nearby lectern, burning some fragrant herb in a small bowl he set at the edge of the circle, mumbling to himself as he gathered a short wand and a clay talisman.

When Putnam looked ready to begin, the man warned him. “If this doesn’t work, I’m going to kill you.”

The enforcer was met by a look of silent confidence on the magus’s face. “There will be no need for that.”

The alchemist began, the words becoming a frenetic rhythm of unfamiliar sounds, the air becoming heavy with the weight of possibility. With a motion, Putnam signaled to the man. He gritted his teeth, incisors sinking into his upper lip, and drew the blade across his left forearm, crimson trickling neatly into the waiting bottle at his feet.

He bled for what seemed a long time, his vision beginning to close in to a tunnel shape, sounds the sound of Putnam’s voice beginning to distort slightly. Just as he turned the dagger in his hand to use it on his quarry, Putnam signaled to use the elixir. The thug pulled the vial from where he’d stuck it in his belt, tore the cork away and poured the contents onto the cut in his arm.

The wound did not begin to knit itself closed as the enforcer had expected. The flow of blood from the severed veins instead increased in volume. He moved the dagger back to his good hand and began to move toward the alchemist, wrath burning hot in his eyes. He stopped when he came to the interior edge of the circles drawn on the floor and found that he could not leave the circumscribed space. Passionate wrath turned to cold anger at being outwitted, turned to panic and desperation. On the outside of the circle, Putnam smiled as he continued to intone the words that held the arcane cage in place.

When Blind Eye’s agent had finally collapsed into a pool of his own blood, Putnam let the working collapse. Stepping delicately over the body and attempting to avoid tracking bloody footprints through the apartment, he gathered his research notes and most important books and placed them delicately into a leather satchel. He gathered his staff and his broad-brimmed traveling hat before going to the drawers in a humble study desk in the corner of the apartment’s single room. Sliding the drawer open, he pulled out a heavy linen bag about the size of his fist, tied at the top and clinking with coin. Stuffing this into his bag, he sidestepped the body once more and swung open the broken door.

A moment later he had exited the tenement building and walked under a starlit sky, both Nyrynë  and Iamor visible overhead. He whistled to himself softly as he made his way toward Ilessa’s western gate, only a short jaunt from the The Scraps, the beggar’s quarter where he’d set up his humble laboratory only a few weeks before.

He tipped his hat at the night watch as they passed, smiling.

Rites of Passage

[The short story below has perhaps not been edited as thoroughly as it should be, but I’m anxious to get a real sample of my fiction on the site, so here it is. As is suggested by it’s location, this is a short story set in Avar Narn.]

(Read this short story in PDF by clicking: JM Flint – Avar Narn – Rites of Passage)

Emryn looked conspiratorially across the large and ancient table that dominated the center of the apprentices’ study, the candlelight shadowing her face in a way that struck Amaric as both erotic and sinister, like one of the Aenyr. “But don’t you think we could?”

“We could, maybe, but that doesn’t make it a good idea,” Amaric said, his quill scratching an idle doodle on the parchment where he had been taking notes from a mildew-scented copy of Délathë’s Thaumaturgical Theorems and Postulates.

“It’s simply a matter of doing it right. If we’re careful and we do the research, where’s the danger?” She closed the heavy tome before her as she spoke, a cloud of dust rising from between the pages.

“Remember what the archmagus says? ‘Fates worse than death.’ I like my soul in my body, thank you.”

“Amaric,” she began, looking to ensure that the door was closed before she reached across the table and grasped his hand, “you’re being over-dramatic. We could do this. We’ve been studying under Magus Albrith for two years and we’ve never seen a summoning! How are we going to learn conjury if he doesn’t teach us? I don’t think they let apprentices who don’t know their conjury into university.”

He wasn’t listening. When Emryn leaned over, Amaric found himself staring down the front of her dress now that her breasts had become suddenly more apparent. The smell of almonds wafted over him and his fingers warmed in the remembrance of her skin. At the edge of his vision, he noticed her looking down, her nose an arrow to the cleavage that had captured his imagination. As she looked back up, he followed the movement of her face until their eyes met. He blushed, first for gawking, then for blushing. A coy smile passed across Emryn’s lips as she returned herself to her chair, kindly removing the distraction.

After collecting himself, Amaric struggled to return to the conversation. Unable to recall what Emryn had just said, he started afresh. “This is going to be like our first attempts at evocation all over again,” he muttered.

“Psh. First, it was only a small fire. Second, that one was your idea. This is completely different.”

They both laughed at that. She twirled her auburn hair in her finger, a gesture that always managed to stir Amaric’s heart, though he never quite understood why.

“Well, we might learn something from a spirit that’s more useful than the nonsense in this book,” Amaric said, wiping the quill and his fingers with a vaguely damp and ink-stained cloth before returning the writing instrument to its rest. “But we’ve got to choose carefully. Something safe. Maybe one of the Ninvenai or the Qalenëdhai…”

“Or the Unëdhai,” Emryn said, her eyes twinkling with innuendo.

Despite himself, Amaric laughed softly. “Okay, we’ll see, but we’re not doing anything until we have more information about what all is involved.

“Deal.”

“So what’s the plan?”

“We’ll need to know about the theory and practice of conjury—I’ve got that covered,” she said, standing and walking into her adjoining room without a further word. Rather than questioning her, Amaric simply watched the crewel-work dolphins—her family’s symbol—on her dress swim back and forth with her hips as she walked. She returned with a small stack of books, some of them in terrible condition. “I’ve been collecting these for the past few weeks while in the library. Doesn’t seem that Magus Albrith thinks much of them, but they’re what I could find.”

“Busy girl,” Amaric said, his mouth a thin slit of tension between amusement at her resourcefulness and unease about how real the thought of performing a summoning had suddenly become. “So, do you have a formula for a specific spirit in any of that? We’ll need a true name to make sure that whatever we summon is really under our control.”

“Unfortunately, no. These are guidebooks to the Practice, but they either never had any lists of spirits or what they had has been lost to time and decay.”
“So, step two, find the true name and instructions for a particular spirit.”
“Right. After we make sure that we understand these,” she said, passing one of the books to Amaric.

“Studying, sure,” he said, making eyes at her.

“Yes, studying—for now, at least.” The corner of her mouth turned up with the hint of suggestion.

They had grown close over the past two years, whether by real attraction to one another or simply because there were no other adolescents to be found in Albrith’s manse neither knew. Learning the arcane necessarily meant their seclusion from broader society, and the manse occupied an isolated valley in the foothills of the Engmaic Amisnoth north of Asterfaen.

Emryn had always been kind to Amaric despite his low birth; she treated him as an equal. She had been plain when she arrived, and Amaric had first grown fond of her wit and unabashed playfulness. About a year ago, Emryn emerged from her rooms one morning recognizable but made beautiful; reshaped by some arcane working.

Amaric had heard rumors that all arcanists became beautiful like the Aenyr, but mostly the Temple priest had told the village children this as a warning against the corruption of thaumaturges. Later experience told Amaric both that this was not entirely true and that a working of that kind of permanency required sacrifice—symbolic or literal. What Emryn had sacrificed for her beauty he knew not and dared not ask.

Both apprentices steadily approached adulthood during their studies, and thus it was perhaps inevitable that their friendship might accrue some amount of the romantic and erotic in the midst of adolescence. Albrith either did not care or pretended not to notice the attraction between them—he revealed little in his demeanor.

The two apprentices spent weeks in furtive preparation, studying the tomes Emryn had collected in the late evenings between the work their master had assigned them and the trysts that often occupy young lovers. Finally, they felt ready to move forward and agreed one night that Amaric would make his way to the library to find the name of a suitable spirit while Emryn collected the sympathetic components necessary to the working.

*          *          *

The library lay within a broad and squat tower at the corner of Albrith’s manse, a base floor ringed with shelves full of books menacingly surrounding a few ornate desks, the shadows of light from the smokeless everlamps playing the dance macabre across the reading space while their smoky essence mingled with the smells of mold and material entropy. Three balconies of tomes, scrolls, stone tablets and other questionable pieces claiming to be writings looked down upon that central area, pronouncing the judgment of wisdom lost and the thoughts of long dead men upon those who stood below.

Throld, Magus Albrith’s librarian and scribe, perched upon a high stool before a scrivener’s desk near the first story’s wall, where he busied himself with the copying of a tome fully intent on crumbling to dust without notice, his seat creaking in protestation as his weight shifted back and forth in scratching out each line of text.

When the magus had first shown his new apprentices the library, Emryn had matter-of-factly informed her master that the printing press could make far more copies of his books in far less time, and without all the cramped hands. Albrith had turned her suddenly to face him, his cold eyes looking deep into hers; she had feared he would work a sorcery upon her in angry response. Instead, with a subtle smile and a voice stern but not unkind, Albrith had merely stated, “There are some books that ought to be difficult to share.”
As he entered, Amaric made no sound but nodded respectfully to his master’s servant, receiving a warm smile in return as Throld emerged for a brief respite before diving back into his work.

From a pouch at his belt Amaric drew a piece of folded parchment, stretching it open for review. Upon the skin he and Emryn had listed the names of known conjurers whose notes, journals or publications might contain a specific formula for the conjuration of a spirit. He searched, aimlessly at first, for texts written by someone on his list. Many of the works had no information on their spines or covers, forcing him to search book by book, pulling each delicately from its place, careful not to disturb is neighbors, blowing free the accumulated dust and slowly opening each in hope of success. Only the smell of old vellum and leather, sneezes and the brief excitement of opening old tomes that threatened to crumble in his hands rewarded him.

Amaric had often wondered why Albrith had not organized his library like those in Asterfaen; this search brought him understanding: the chaos provided a defense against something the master wished to remain occulted. No locks, no chains, only the more effective defense of drudgery protected the most important works. Unless some enchantment lay upon the library. Amaric dared not test this possibility—the magus had told them of protective ensorcelments that alerted their creator when prodded with the slightest amount of thaumaturgical Power.

After several hours of searching the shelves and cabinets, the deep, rich scent of hawthorn and wine indicated the presence of someone behind Amaric just before a hand fell upon his shoulder, firm but not aggressive. He turned to see Throld smiling at him. “On one of Albrith’s goose chases, eh? You’re not the first set of apprentices he’s condemned to such.”

“Yep,” Amaric replied, staring bashfully at his toes, his hand slightly outstretched and holding his list. “We’re to find anything by any of these people.”

Throld looked over the list, adjusting the hinged spectacles that clung to his broad nose. “Hmm. Yes, this one.” He pointed to a name on the list, one “Cadessia eld Caithra”. “I seem to remember copying something out of this one a few months ago, but—” he dropped off.

Amaric cocked his head to the side by way of response, the way a curious puppy might.

“Not a book for apprentices, I’m afraid.”

“What does that mean, Throld?”

“Young master Amaric—”

“Please don’t call me ‘master’, Throld.”

“Yes, sorry, Amaric. What I mean to say is that this particular tome is full of what the Magus would call ‘dangerous knowledge.’”

“Can you elaborate?”

“Suffice to say that Lady eld Caithra met an unfortunate end.”

“How unfortunate?”

“Fates worse than death.” It was a favorite of Albrith’s phrases when warning his students about the dangers of well-practiced thaumaturgy, much less careless sorcery or magic. Albrith never offered specific examples of fates worse than death, but the nature of their discussions of metaphysics gave Amaric much to imagine, none of it remotely pleasant.

“So you won’t help me find it?”

“No, my friend. I cannot. I would suffer a fate worse than death at the Magus’ hands if I did,” Throld said, no exaggeration in his voice, only the statement of fact.

“I understand, Throld. Thanks for the warning.”

Throld made a face that was as much a frown as a smile before returning to his copyist’s table—the kind of expression that desperately wanted to be one thing but could not help but be something entirely different.

Amaric smirked slyly at Throld’s back; he had just what he needed. Within the hour, he held in his hands a copy of Cadessia eld Caithra’s A Practical Guide to Deep Conjury, including detailed descriptions of many spirits. Not merely a casual and oblique reference to her conjury, a textbook.

Flipping through the pages made his head throb and spin. Complex diagrams and charts surrounded by tightly scribbled text danced before his vision as the pages spun from front to back. As they turned, they revealed unpleasant pictures of many things, things to which Albrith had alluded in his lessons or things about which Amaric had heard songs, legends and rumors back in his village.

He closed the book decisively, the thump of the pages slamming together echoing loudly through the library; Amaric cringed. He looked over the railing of the balcony toward the scrivener’s station and found Throld dutifully scribbling away. He held the book in one hand and began to make small gestures with the other, whispering words as he drew Power and formed the working. In a short moment, the book disappeared—in its place, a bundle of loose papers. So disguised, he walked nonchalantly past the scribe and through the door.

*          *          *

Amaric set the book down on the grand table. Within seconds, Emryn’s fingers were on both his shoulders, her cheek pressed against his, the wisps of her loose hairs tickling the back of his neck, her body swelling against his back with each breath, almond perfume in his nostrils.

“What’d you find?”

“Cadessia eld Caithra’s Practical Guide to Deep Conjury.”

“Oooh, how’d you find that?”

“Throld told me he’d made a copy not long back, so I just looked for books without so much dust on them. Came across it eventually. But, Emryn, this isn’t a good idea.”

“Explain.”

“There are true names and seals in here to be sure, but for nothing good. There’s nothing remotely safe in this book. Only beings from the Abyss.”

“Hmmm,” she said, to herself more than him. “Could we find something else, maybe?”

“I’m not sure there is anything else.”

“You don’t think the magus has more books with the names and seals of spirits? Surely he does.”

“I don’t doubt that, but I don’t think they’re in the library.”

“You think he has a secret library?”

“Seems fitting, I suppose. But, even if he does, there’s no way we’re getting into it. It’s gotta have wards and abjurations beyond anything we’ve seen so far.”

“True,” she frowned, conceding the point. “Mind if I spend some time looking in the library? Just in case there is something else?” She pecked his cheek as punctuation, an indication she meant no offense.

“I don’t mind. What did you end up with?”

“Salt, chalk, sage, athad dust, summerbride, beggar’s buttons.”

“All useful things for conjury. So, what’s the plan now?”

“I’ll check the library for alternatives; you study Lady eld Caithra’s book here to determine whether there is anything in there that we could reasonably summon. I know you’re concerned, so I’ll leave that judgment to you.”

*          *          *

Archmagus Albrith sat tentatively against one of the stone planters in the garden as he spoke softly and gracefully, his voice lilting as he expounded upon the arcane, the only indication of his passion and excitement for the subject emanating from his wizened and tired frame. A long wild beard masked the many creases and folds of the lower half of his face, drawing Amaric and Emryn to look him in the eyes as he spoke. Those eyes. They flashed with acuity, twinkled with delight in instruction, but also maintained a somberness that belied the serious demeanor with which Albrith always lectured.

“And so, today, my apprentices, we discuss the Law of the Soul and its pertinence to the magus. I trust you have finished chapter fourteen of Decambion’s Essence and Ephemera: A Book of the Law. Amaric, tell me, what is the Law of the Soul?”

“Yes, archmagus,” he said, the formality meant more to purchase time to formulate his answer than to show respect. “Um, the Law of the Soul postulates that no working can ultimately change the soul of any creature; that is, it’s True Self.”

“And from whence does the Law derive?”

“It’s a consequence of the Law of Essence, archmagus, which states that, though the existential aspects of a thing might be altered through an arcane working, the essence of that thing may not be.”

“Why, then, has your fellow apprentice Emryn proved able to change her appearance permanently, as I find you so often noticing?”

“I, uh—the appearance of her body is an existential aspect and not an essential aspect of her being.”

“Is it? Are her body and soul the same? The practice of conjury would prove otherwise, would it not?” An unfair question—Albrith had rarely mentioned conjury before, much less taught them anything of it.

“It would, archmagus.”

“Would it? Why?”

Emryn stepped in to assist. “Because the existence of disembodied spirits indicates that a material body and a spiritual self are not the same.”

Albrith’s eyes flashed as he turned his gaze to her. Not with anger, but with a kind of joy at the game they played. “Are you the same thing as a spirit or a demon, that what is true of them might be true also of you?”

“Not necessarily,” Amaric interjected. The two apprentices had become accustomed to working together to navigate Albrith’s mysteries, one buying time for the other. “But a working like Emryn performed required a sacrifice of sorts to maintain it. This requirement seems to indicate a need for maintenance of the effect, so the essence of her body is resisting the existential change to its appearance. If her body has an essence separate from her soul, then the two must logically be separate entities.”

The archmagus smiled. “Why does this matter?”

Neither spoke. They fumbled for the answer he sought amongst so many possible responses. While waiting, the archmage drew a pipe from a pouch at his belt, tamped a pinch of pipegrass within it, and snapped his fingers near the bowl of the pipe to produce the first wisp of smoke. A faint glow emanated from the pipe as he drew his first breath from it, allowing the silence to expand and fill the entire void around them.

Dressed in modest robes, Albrith could have easily been mistaken for a village cunning man rather than a full archmagus of the Thaumaturgical Conclave. Even the lower-ranked magi of the Conclave tended to dress in a fashion that made clear the importance of their position and profession. Neither Amaric nor Emryn understood the point of Albrith’s sartorial humility, though they often speculated.

“First,” Ablrith said finally, “it means that all the Art in the Avar will not change a person’s soul from what it is, not for long at least. You may fool a person with illusions of perception, you may force their body to act against their will, you may even influence their emotions for a time, but you will not change who they are. Only a soul can change its own essence in any permanent manner, and this without the Art. The theological implications of this may be discussed with the learned men of the Temple some time; it is not my concern.
“Second—since we’re discussing conjury—the disembodied spirit, for purposes of this discussion, at least, is the same as a soul when it comes to the Laws of Soul and Essence. You may capture a spirit, you may bind it to your service, but you will not change what it is. You can no more change an elemental of water into an elemental of fire than you can yourself become either. A demon is always a demon, and it will seek to ruin you even as it serves you. Note well that I say ‘ruin’ and not ‘destroy’ as the common folk would suggest. The Law of the Soul prevents a demon from truly destroying you just as it prevents you from destroying it. But there are many things a demon may do with a soul in its thrall that do not infringe upon the Law of Essence. This. This is why I tell you that there are fates worse than death.

“When you understand this, only then are you ready to become a magus.”

*          *          *

Another week passed before they broached the subject again; Emryn spending her evenings methodically sweeping the library and Amaric comparing Deep Conjury to the works Emryn had first collected for them. When together during that time, they focused either on the work Albrith had assigned them or on their more amorous passions.

Emryn began the long-awaited conference. “Well, Amaric, what’d you find?”

“You first, Em.”

“I found…nothing. A lot of nothing. I think you’re right; whatever else Albrith has that might be of use to us isn’t in the library. Which makes it important what you’ve decided.”

“Have you ever read the Conclave laws?”

“What does that have to do with anything?”

“They have some pretty specific things to say about the summoning of Abyssal spirits. As in ‘Don’t. Or else.’”

“No, I haven’t read them.”

“The penalties severe, to say the least. They’re severe to prevent exactly the kind of thing we’re thinking about doing.”

“Lot of good they’re doing, huh?” she smiled mischievously. “Besides, we’re not subject to Conclave law. As apprentices, we’re not full thaumaturges subject to the Conclave, but neither are we unlicensed practitioners—we’re under the tutelage of a magus. Albrith is the complete authority over us, and the Conclave stands behind him. Whatever he says goes for us. He’s spent two years training us already, you think he’d just give that up because we did some experimenting? Especially given some of the things we’ve heard about his youth?”

Amaric looked to his feet, but they had no guidance for him. She was right, of course, but after hearing what Throld had said he lacked Emryn’s confidence in Albrith’s leniency. He pressed a new argument: “The stuff in this book, it makes my head spin just to look at it. We know a bit of theory and some parlor tricks; this is way beyond us.”

“You remember when I…changed?”

Amaric’s face indicated the foolishness of asking the question at all. “Of course I do. Albrith made you clean and organize the alchemy laboratory for months after that, made you read the dullest books and write about them for pages, made you spend all of your free time tending the plants in the garden.”

“But he didn’t make me change back,” she said, triumphant. “He was proud, I think, to have so apt a pupil. Our lessons became more complex after that.”
“Yes, Em, but—”

“You’re welcome. Maybe we ought to think of this the same way. Maybe Archmagus Albrith is waiting for us to prove that we’re ready for more.”

She had a point. Albrith had proved a demanding master, one who expected his apprentices to prove themselves without his holding their hands. They saw him only a few hours each morning, when he lectured them or asked them questions until he found the point at which they could no longer make reasonable answer. Assignments for reading or for practice followed. This routine was punctuated by the days on which Albrith guided them through the performance of workings, demanding strict adherence to his teachings and perfection of form—on these days they worked from sun-up until exhaustion. There had been few of days of practical exercises in the last month, far fewer than they had become accustomed, and it did seem that Albrith was waiting for something. For what, exactly, Amaric had no idea.

“So?” Emryn asked, expectantly.

His nerves welled up within him. He had something to prove now, to Albrith, to Emryn. There was no turning back.

“Balsephon,” he said, shocked himself that the name had come from his lips.
“Who, now?” Emryn blurted.

“Balsephon. Eld Caithra puts him low in the Abyssal hierarchy, so we have as good a chance of binding him as we’re going to get.”

“A demon? Whatever happened to a lesser spirit, an Avaradh or something like that? Something that’s not dangerous.”

“There’s nothing in here about them, it’s all about Abyssal beings. It is the Deep Conjury after all.”

“And it’s why eld Caithra suffered a fate worse than death!”

“Emryn, you’re the one who wanted to do this in the first place!”

“But not a demon!”

“Did you find anything else we could try?”

“No. Apparently that’s the only grimoire in the whole library with information on specific spirits.”

“You said yourself you thought this was a test. That adds up, then.”

“You think Albrith wants us to conjure something from this book?”

Amaric paused. “I don’t know. It sounds crazy when you say it.”

“Well, what do you think?” Emryn said, resting her head on her hands as she leaned against the heavy table.

“What do you think?” Amaric repeated.

“I asked you first. Besides, this was supposed to be your decision, remember?”

“Let’s do it, then.”

“Really?”

“You don’t want to?”

“I didn’t say that. I just didn’t expect you to.”

*          *          *

Preparation began with the drawing of the ritual space, a set of circles within and around which were arranged arcane symbols of power and protection. Amaric had the steadier hand, so Emryn held the grimoire and guided his movements while he carefully applied chalk and vermillion to the stone floor in imitation of the patterns described by eld Caithra. On several occasions, Emryn caused him to stop, to erase what he had drawn and to start again, demanding an exact replication of the designs drawn by their guide.

When at last they completed the circle, they followed by preparing a ritual triangle in which to summon their spirit, proceeding in the same manner, inscribing the triangle with Balsephon’s sigil. Before they moved on, Amaric remembered a warding he had come across in their research; he had drawn the runes on scraps from the library and hung them on each wall and the study’s door, a final protection in case their working failed utterly—a protection not for the two of them, but for the rest of the world. They wanted to be responsible, at least. Amaric summoned and bound Power into the runes, leaving them dormant until they became necessary, which he hoped would not be the case at all.

The two added athad dust to the lamps, revealing the contours of the Veil without the use of the Sight, burnt sage in a brazier to dampen the spirit’s power, chewed summerbride to clear their minds. They sat for a time in silence with their eyes closed, holding hands, centering themselves. Or, trying at least, Amaric found himself distracted by the smell of her, the soft sound of her breathing, every ridge and valley of her hands. He thought of other nights when they had diverted themselves from study, of the fun they’d had together, when they’d talking about their lives before coming to Albrith’s manor or tangled themselves in the lustful passions of the young.

“Ready?” Emryn asked.

“Huh, um, yeah,” Amaric returned, shaking his head clear of its musings, feeling his center a little off-center.

She leaned forward and kissed him, a long kiss, meant to calm rather than to incite passion. Then she led him by the hand and they stepped into the circle delicately, taking great pains not to disturb any of the drawings. Together, they drew Power into the circle, slowly so as not to fumble their working with an excess of Flux from its very inception. When they could feel the comforting buzz of the protective circle, they set to the real task.

They moved about within the circle, incanting together the words of conjuration, feeling the air become heavy with Power, the room around them seeming to shift and bend, reluctantly flexing to make room for some foreign intrusion, the lamps flickering irregularly, as if the very air of the study had changed. They continued until memory threatened to fade, leaving one to misspeak a protective word or to forget a binding command. Time fled from all perception, or at least became irrelevant. Amaric began to wonder whether they had botched the whole thing.

Suddenly a noise echoed at the limits of consciousness, a sound like a curtain tearing. Within the triangle slowly rose an irregular mist, condensing into a fog before becoming a pillar of thick smoke, illuminated from within by sudden red flashes, as a storm cloud by lightning, revealing an obscured face in the midst of the plumes, malevolent and haughty; a demon.

Amaric thought he could make out shifting forms throughout the smog, miniature bodies twisting and writhing in agony as they flew tornado-like about the face within the smoke. The souls of those who had bargained with the thing or merely an illusion?

The demon did not speak. It waited, watching with unblinking eyes and a mouth that seemed to curl impossibly on both sides into a knowing and self-satisfied sneer. Amaric looked nervously to Emryn, hoping he had obfuscated his anxiety from the summoned spirit. Before either of them could say anything, a voice intruded upon Amaric’s mind, seeming to well up from within rather than spoken aloud. The voice whispered loudly, a sibilant and raspy sound that pulled at the nerves like a dull headache: Astavaten ghastoleem pertar. Saaberis tusumel.

“What?” Amaric asked in a voice too loud for the heavy silence within the room.

“I didn’t say anything,” Emryn responded.

“You don’t hear that?”

“What do you hear? Is it talking to you?”

“I think so.”

“What is it saying?”

“I don’t know, I can’t understand it.”

“Is it speaking Vessewar?”

“Probably.”

Pity, the whispering replied in Amaric’s head. I thought I might have been summoned by someone with real power to exchange for my services. Seems I’ve been called by too-clever children, hmm? Fortunately for you, I speak Ealthebad well enough.

Emryn’s face twitched, her eyes becoming large as she swung them back to the demon-smoke, pricking up her ears, her left hand tugging aimlessly at the braid in her dark hair. “It can’t hurt us while it’s in its space and we’re in ours,” she said in a whisper directed at no one.

The face in the smoke seemed to grin further, into absurdity, upon hearing her words.

“Normally,” it said, this time the voice coming from the manifestation before the apprentices and then echoing from within their minds, “I don’t like to be disturbed without getting something for my trouble. You’ve used the stick when you should have used the honey, hmm?”

After a pause to let the last syllable float in the air awhile, the demon continued. “I suppose I could make you decide between yourselves who I should take and who I should spare. That would be mildly entertaining, at least.” At this, the purgatorial spirits circulating the edges of the swirling cloud seemed to open their mouths at once, a cacophony of distant screams erupting from the multitude of orifices.

“You have no power over us,” Amaric said.

“No, young one? Would you care to wager on that?”

“You’re a liar.”

“Yes, I am. But not always. Do you think your drawings in the mud will protect you from the likes of me? You are my playthings; it cannot be the other way around, hmm?”

Emryn stepped forward within the circle, her face set in determination. “Balsephon, I bind you by the Name of the One, by Their servants the Eradhai, and by the Power of Creation. I call you by name and bind you to my service, that you may do no harm but only that which I command.”

The demon’s expression changed at the sound of the name. The cloud of red lightning condensed into the shape of a man, pale with dark hair, naked and handsome. The man’s face wore a mask of fear; he knelt within the triangle and clasped his hands together. “Please, no, mistress. Let me go back to my dwelling-place and I shall leave you in perfect peace. But do not bind me to service, do not make me your slave!”

A grin curled at the edge of Emryn’s mouth, her confidence complete. Amaric let out a sigh of relief and Emryn repeated the words of binding.

“Mistress, no! I can show you such wondrous secrets, give you such power, if you will but let me go!”

She spoke the binding a third time and there sounded a crack like thunder. The demon-man began to float in the air, arms and legs pulled back as if bound by invisible chains. He tried to cry out, but his voice was stopped by unseen force.

“Balsephon, I permit you to speak,” Emryn said.

“What shall I do for you, mistress?” the demon’s voice rasped. “Shall I show you the pleasures of the Beyond that are unknown in this world? Teach you thaumaturgies that have not been practiced in the Avar in centuries? Spy on your enemies?”

“No, Balsephon, you shall dance for me.”

Once she spoke the words, the spirit returned his feet to the floor, moving them with infernal speed in a jig of sorts, his face contorted with displeasure that made it clear he could do naught but obey. Emryn laughed. “You may stop,” she giggled. The spirit floated again, moored to the ground as a tethered airship.

“What shall we do next?” she asked Amaric.

“Let him go. We’ve done what set to do. Let’s not push our luck.”

“It’s perfectly fine, don’t you see.” She turned back to the demon. “If I let you go, do you promise that you will seek no revenge upon us, no matter the opportunity?”

“Yes,” the spirit let out in a long, soft groan.

“Do you swear it?”

“Yes.”

With that, Emryn stepped through the protective circle, its power collapsing in on itself and leaving only the thrum of the demon’s presence as a disturbance in the still air.

As she moved toward the demon, it returned again to her feet. She hesitated for a moment, and the pale man grinned at her. “But I have bound you by name!” she said, terror rising in her voice.

Amaric opened his mouth to yell a warning, but it was too late. The demon moved to Emryn with devastating speed, wrapping her in his arms and pressing his mouth to hers in a lascivious and obscene kiss. As their lips met, the demon’s form began to blur, and then to shift, to become smoky again; her mouth drew the foul smoke into her until she was left standing alone. But it was not her.
“Yes,” said the demon’s voice from within Emryn’s body, her eyes now ablaze and no longer her own. “Let’s do play the game I mentioned.”

“But you swore,” Amaric pleaded.

“I told you I am a liar,” the demon sighed, Emryn’s face twisting with delight.
“What game?”

“The one where the two of you decide who lives and who dies, hmm?” At this, arcs of red lightning began to crackle at Emryn’s fingertips and she rose from the ground, her legs hanging limply beneath her.

Though he would regret it for the rest of his life, Amaric did what all sense within him told him to do; he ran. Quick as he could, he turned for the door to the study, opened it just wide enough to squeeze his thin body through, and pulled it shut behind him, uttering the words to activate the dormant warding. The sound of sizzling lightning and thunder crashed against the ward just as it formed; a thumping at the door followed.

“Amaric? Amaric help me!” came Emryn’s voice from within. The young apprentice put his hand back to the door but resolved himself not to open it and break the ward he had created.

*          *          *

He ran, sprinted, through the cold hallways of the manor to Albrith’s apartments. He shouldered into the door without knocking, finding it unlocked and barely latched; the wooden door slammed into the wall with a crash.
Albrith sat in a chair facing the door, smoking his pipe. His expression lacked all surprise; his eyes brimmed with expectation.

“It has not gone well, I take it,” Albrith inquired as if asking about the weather. The old archmagus stroked his short grey beard as he spoke.
“Y-you knew?” Amaric mumbled.

“Of course I knew, boy. What kind of negligent master do you think me to be?” There was no anger in his voice; he spoke calmly and flatly. Amaric would have preferred yelling. The soft voice threw him off his guard and made him fumble for understanding. “Your ward is holding; that is good. A fortunate thing you are clever. But now, how do we go about resolving this tragedy?”

“A lesson?” Amaric began, his face scrunched up in bewilderment. He flashed with anger. A LESSON!”

“Calm yourself, boy, you have much work to do and not much time to do it in. That ward will not hold forever.”

Amaric felt a wave pass over him and his rage subsided. The magus had used a subtle sorcery to calm him. He wanted to be angry about it but could not muster the emotion.

“Tell me what happened. Every detail. Leave nothing out,” Albrith commanded.
The apprentice did as bidden.

“So what went wrong, Amaric?”

“I don’t know.”

“You do. Think.”

“We made a mistake in drawing the circle,” the apprentice chanced.

“But the demon did not make his move until Emryn stepped out of the circle.”

“Then the binding failed?”

“Good. Why? Speak the words Emryn used, exactly as she used them.”

Amaric tried to match the intonation and rhythm of Emryn’s words as he uttered them: “Balsephon, I bind you by the Name of the One, by Their servants the Eradhai, and by the Power of Creation. I call you by name and bind you to my service, that you may do no harm but only that which I command.”

“The words are good. What went wrong?”

“Something about the name.”

“Yes, Amaric. Good. What about the name?”

“She said it wrong. It’s not enough to simply say the spirit’s name, it must be pronounced true.”

“That is true. But the name was said well.”

Amaric thought for a moment, his nerves calmed but the evening’s events still racing distractingly through his mind. He searched for some clue. Finally, he spoke.

“It’s not Balsephon.”

Albrith smiled and puffed from his pipe. “Very good. There is some hope for you yet. How can we know this for sure?”

“I don’t know.”

“The spirit is trapped within the warding of your study, yes?”

“Yes.”

“And a manifested spirit cannot be two places at once, yes?”

“Yes.”

“So?”

Amaric said the words slowly, buying time as he tried to think on them before saying them. “We try to summon Balsephon somewhere else. If the demon in the ward is Balsephon, he will not appear when summoned. If it is not Balsephon, then he will appear when properly conjured.”

“Precisely, boy. And now it is time you witness a proper conjuration. Come.” Albrith rose from his chair.

“But what about Emryn?”

“We will discuss Emryn when we know who we’re dealing with. Be patient.”

*          *          *

Albrith’s ritual room connected to his apartments, a large space with high-vaulted ceilings and a large two-story window at the far end of the room, pointed East. There were no chalk drawings here; Albrith’s protective circle had been inlaid into the stone, made of gold, copper, silver and other metals Amaric could not readily identify. A private library of grimoires occupied the room’s southwest corner, while the northern wall held shelves of reagents, magical tools, and shallow stone slabs inlaid similarly to those on the floor. Amaric looked again to the protective circle and saw that the tiles were interchangeable—a sort of arcane moveable type. Albrith had already laid out the tiles to match the designs that Amaric had drawn by hand.

Near the ritual circle stood a small lectern on which on open book displayed the pages of eld Caithra’s notes on Balsephon in young ink, the pages and binding still fresh and new. Everything lay ready.

“Step into the circle, boy.” Albrith ordered. “You will do nothing; you will say nothing. You will watch. And learn.”

He did exactly that. Albrith never even looked at the grimoire; he had committed the entirety of the ritual to memory. His movements were precise and subtle, his words exquisitely formed, intoxicating in their rhythm and timbre. Again Amaric lost track of time, but this time Albrith’s mastery of technique and not his own exertion caused the effect.

A form appeared in the summoning triangle, as if raised to the stage from a lift below. Amaric shuddered to look upon the thing before him, a blasphemous contortion of bodies both human and animal in an amorphous conglomerate. Briefly, Amaric pitied the creature, but his fury at Emryn’s condition quickly pushed aside any sympathy. As if sensing the emotions, Albrith held his hand behind him as if to silence Amaric before he even began.

Albrith said the words of binding in quick succession—still beautiful in their performance but marked by a cold efficiency that flows from dispassionate determination. There was no melodrama this time, the demon simply cocked its head in response to the words.

With a wave of his hand, Albrith released the power of the summoning triangle, but Amaric could still feel the protective circle like a warm blanket on a cold night. The spirit did not move; it stood blinking at Albrith in motionless expectation.

“Speak your name true, demon,” Albrith admonished.

“I am called Balsephon, magus. But you already know that, for you have bound me by that name.”

“Indeed. Now begone from me.” The old magus waived his hand dismissively as a king or a rich man might do. The demon shrank into nothingness and the circle of protection dissipated as well. “As we suspected…”

“Now what, master?”

“Since we do not know the spirit’s name, we cannot bind it. We must instead banish it.”

“How do we do that?”

“A demon who has the power possesses a mortal to gain protection from banishment—while the spirit occupies Emryn’s body, we cannot remove him from the Avar.”

“And how do we get him out of Emryn’s body?”

“We destroy it.”

“What? No!”

Albrith grabbed his apprentice by the shoulder and stared into his eyes. “There is no other way, boy. Emryn is already gone; a demon such as this will not share flesh with another spirit. Look at me, Amaric! What is done is done. You have made a mistake and it has cost Emryn dearly. You must do what you can to make it right. Who else might suffer if the demon is allowed to roam free?”
“You do it, master. I cannot.”

“You can and you will. This shall be done by the two of us together or not at all.” With that, Albrith walked to the northern wall and pulled a long, thin blade from one of the shelves. He pushed it into his apprentice’s hand, delicately seizing the blade with three fingers and pulling Amaric’s arm forward into a thrust. “Through the heart, boy. You will make it quick.”

*          *          *

Amaric rushed into the study behind Albrith, who entered with staff readied, a shimmering sorcerous shield raised before them. Emryn floated several feet above the ground, slinging ruby lightning and laughing as master and apprentice barged in.

The apprentice cringed behind the shield with each burst of energy that cracked against it; he had never witnessed such raw sorcery before. He quickly decided that he would not mind if he never did again.

Albrith went to the offensive, sending a long gout of blue fire at the Emryn’s body. The lights flickered and died, leaving the flames to illuminate the darkened room. The demon seemed to push the flames away from itself as if by raw will, but the magus slammed his staff to the floor and the apprentice’s body fell to the ground with a thud. “Go,” Albrith whispered to his apprentice.
Feeling again the dulling of his emotions by Albrith’s sorceries, Amaric pressed forward, the fear welling within his stomach but confined to a bodily discomfort rather than a mind-crushing force. As he neared Emryn her body lifted into the air again, not high, her toes dragging the ground.

A dull halo surrounded her now, pink or red. Amaric pulled back the blade, but when he met her eyes he found not the raging flames he had seen before but the deep blue pools in which he had so often lost himself. “Please…no…Amaric,” came Emryn’s voice, her eyes beginning to water, a tear running down her beautiful cheek.

He hesitated. “Destroy it!” came Albrith’s command from behind him. He loosened and tightened his fingers on the blade, wondering why the demon had not attacked him.

Emryn continued to stare at him through the flickering light of Albrith’s sorceries. She was in there, somewhere. Albrith was wrong; Amaric knew it. He turned to look at Albrith. “I—”

“Now!”

When he turned back to his companion of these two past years, he saw her true. Not as the young woman who had crafted herself with the Power, but the lovely plainness she had arrived with. Tears streamed down her cheeks now, and he found that they ran down his face as well.

“Please!” she sobbed.

But Amaric opened his eyes with the Sight, and he could see only the demon within Emryn’s body. He screamed in pain and rage and fear, thrusting the blade into her chest. It slid in with a sickening ease, as if he were only sheathing it. Red blossomed across her dress as he pushed the blade to the hilt. Still yelling, he pushed the body off of the sword with his left hand, watching Emryn’s eyes go wide and flash with red flames before her body crumpled, the demon rising out of it.

“Get out of the way!” shouted Albrith behind him.

Amaric leapt to the side as the spirit slashed at him with long talons. He hit the stone floor hard, knocking the breath out of him. Rolling over, he looked back to the demon and his master, now locked in deadly combat.

Albrith kept the pale man at bay with his staff, all the while speaking the harsh words of Vessewar. The demon tried to keep pace, incanting black words of his own, but Albrith was too precise, too focused, too practiced. The pale man changed back into the flashing, malevolent face within the dark cloud, surrounded by the miniature spirit-bodies caught within the storm. Just before it disappeared altogether, Amaric thought he saw Emryn among those pour souls, screaming and writhing alongside them. He screamed again, feeling the pain of the sight throughout his whole being.

And then it was over. Albrith, sweating and fatigued, came to his apprentice and offered his hand, helping him up from the stones. “What have you learned?”
Amaric wiped the tears from his face, but they did not stop. He stared blankly at his master, incredulous. “But, Emryn—”

“We will speak of Emryn no more. You will not have time to mourn her. Tomorrow our work begins in earnest. What have you learned?”

“I’ve learned that I don’t want to be a thaumaturge anymore,” the apprentice gasped between sobs.

“Then you are ready to be one. Now you respect the Power and what it means to meddle in things you do not understand, I can safely teach you what wielding the Power truly means. I am sorry the cost has proved so dear.”

“Bastard!” Amaric spat.

“I am, but the Power is a harsher master than I; I will not have you wielding it unprepared. I will have Throld bring you something to help you sleep. Give him Lady eld Caithra’s book when he comes. We begin at sunrise, which is not far off.” With that, Albrith left unceremoniously.

As long as he lived, this night would weigh heavy upon him, the guilt of it a thorn over which the skin had already healed and that could not be pulled free. But Emryn, he feared, would suffer far worse. For both of them, a fate worse than death.

Review: The Wendigo

By Algernon Blackwood

On a whim last night, I decided to read this short story. I’d heard much about it, intended to read it for some time (it had been languishing in my Kindle app on my iPad for months) and finally got around to it.

Glad I did.

The story takes place on a hunting trip in the Canadian wilderness at the beginning of the 20th century and was the first to introduce the mythology of the wendigo into “mainstream” (read: white) culture.

It’s a horror story, a classic. Now, I can’t say that it was the type of story that had me hesitate to turn off the lights or drove me to chills and goosebumps. For me, its horror is of a more satisfying (and disturbing) type; existential horror about the nature of man and the universe. The wendigo is unsubtly a metaphor for the uncertainty of human life beyond civilization, for what happens when, as Nietzsche says, “the abyss looks back into you.” There’s a cold reminder in this story that, for some of us, our personalities and identities are stable only because of our circumstances—that in another place and time, or just a different situation, we might be surprised or terrified by who we might become. I’m not sure that there’s any horror so horrifying as the loss of selfhood.

There’s an illusion about writers of bygone eras. The archaic feel of the language they employ, however slight in reality, gives this feeling that they write with an aplomb illusive to the modern author. This is a trick, of course, and there are in fact scores of awful writers throughout history (just as there are today; check your bookstore).

Blackwood, however, writes in a style that provided noticeable pleasure to read. His words evoke both the beauty of the virgin wilderness and its intimidating expanse and uncaringness. We are made to feel small in the vast apathy of the universe. Judging by Lovecraft’s writings from about the same time, that feeling is par for the course in the genre.

To say much more is to intrude upon the story itself, to ask you to think more about the story than to experience it. That would be a shame.

Instead, I’ll simply state that I think it’s worth reading, especially since you can likely get it on Kindle for free. It takes an hour to an-hour-and-a-half to make the journey; I don’t think you’ll find it time wasted.