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Author: Sharrukin

Introducing Kráva the Swift

Introducing Kráva the Swift

Here’s my first attempt to generate imagery for The Curse of Steel:

This young woman is my protagonist, Kráva the Swift, close to the beginning of her story.

I’m pleased with how her face, body, hairstyle, and coloring all came out; I was able to make her look almost exactly like the image I had in my head. Clothing and gear, not so much. It’s very difficult to find precisely the look I want for those, among the digital assets that are available for DAZ Studio. Her gear is supposed to suggest a pseudo-Celtic culture, but at the moment she looks kind of generic. This isn’t a bad first approximation, though. Later I’ll try to get her hauberk to look more authentic, improve the sword a bit, add a cloak, a scabbard, and the bow and arrows she also carries, and so on.

Here’s a link to the DeviantArt page where this image was also posted. You should be able to get higher resolution there, and some technical notes that I left out here.

Status Report (2 September 2019)

Status Report (2 September 2019)

Another very productive weekend for The Curse of Steel. I had to go into the office on Saturday and didn’t get much writing done, but I more than made up for it yesterday and today: two whole chapters down in rough draft, about another 5,700 words in all.

I’ve now finished what might be considered Act I of the story, in which Kráva learns that she’s a hero of divine descent, first shows some of the power of her heritage, and (most importantly) starts to get used to her new role. At this point, she’s kind of enjoying it, it’s starting to go to her head a little. Now for Act II, in which things are going to go rather spectacularly wrong for her.

In other news, I’ve been browsing around for assets I can use to assemble digital art of Kráva and her world. This is a lot harder than you might think, given the size of the market for fantasy-related art. The problem is that there are dozens, if not hundreds, of assets available for female figures . . . and 99% of them seem to be oriented toward producing soft-porn or pinup art, rather than practical and realistic female warriors. Such is the way of the world, but it’s rather frustrating given what I want to accomplish.

Still, I have a digital model that I’m fine-tuning to match the way Kráva looks in my head, and I think I can kit-bash decent armor and gear for her too. I might have a test render to show off later this week.

Of course, the next couple of weeks are going to be slightly frantic at the office – I’m going to be teaching offerings of two courses, and I’m facing a deadline to pilot a third course that I’ve been writing. Hopefully, this won’t bring progress on The Curse of Steel to a crashing halt, but I’m going to just take it one day at a time.

Status Report (29 August 2019)

Status Report (29 August 2019)

Since last Friday evening, I’ve been able to put down something like 5,600 words on The Curse of Steel.

This is a pretty good rate of work for me. My personal best was probably the time I produced the last seven chapters of a Mass Effect fan-fiction novel in a single three-day weekend – over 24,000 words in those three days. Usually, I’m lucky to get more than a thousand words down in a day, and that’s assuming it’s a weekend day when I don’t have to worry about the office.

But then, this is why I do a lot of world-building.

As a writer, I seem to be able to produce very short pieces off the top of my head, doing all the scene-setting and character development in the back of my mind and just pouring the vignette down on the page. Most of the vignettes I wrote as flavor text for various GURPS books were done this way.

As soon as I get into the longer forms, though – pretty much anything above the level of the short story – I always get bogged down in setting detail and have a hard time proceeding. Unless I spend the time and effort to build those details in advance: constructed language and culture to help me get into characters’ heads, maps to help me see how places and people are related to each other, astrophysics for SF stories, and so on.

One reason fan-fiction always seems easier for me is that most of the work of setting up the story has already been done. Any original details I want to add, I can just graft them onto the existing structure and keep moving. I can concentrate on just writing story, and the words just flow. As witness that amazing, enormously satisfying weekend of something like 8,000 words per day.

I spent months wrestling with backdrop for The Curse of Steel, never writing more than the one chapter that started the story (which, by no coincidence, worked pretty well as a short story on its own). I tried several times to move forward, but every attempt failed until I had the setting worked out to my satisfaction.

Now the investment pays off. There’s a good chance – knock on wood and hope I don’t jinx it – that I’ll be able to put down about half the novel, a total of 80,000 words or so, without a pause. If the current rate of progress keeps up, that sounds like it should be doable by the end of the calendar year.

Feels good. I will admit to kicking myself sometimes, for being the writer of stories who never seems to actually write a story. If I’m starting to find ways to hack my creative mind and get actual stories written, that can’t hurt.

Status Report (22 August 2019)

Status Report (22 August 2019)

Meanwhile, I think I’ve done enough work on constructed language, development of names for tribes and places, and filling in details on my overview map. At least for the moment. Now I can get back to the story and write . . . probably about half of the planned length for The Curse of Steel.

Here’s the result: a clipped piece of the overview map, still missing some details around the edges but more than enough to help me keep all the pertinent features in mind.

Ravatheni tribal lands, and their neighbors

The first part of the plot has Kráva and her companions traveling from Taimar Velkari (“hill-fort of the wolves”) across Ravatheni territory, into and through the Silent Forest, and over a mountain pass into the western lands by the sea. With plenty of detours and adventures along the way, of course. As the raven flies, it’s a distance of about 220 miles, maybe eight or nine days’ journey if everything goes well. Everything is not going to go well.

An Interesting Result

An Interesting Result

Just a short note, to call your attention to an interesting result in recent astrophysics that’s quite relevant to the Architect of Worlds project.

It’s well known that we’ve discovered thousands of exoplanets in the last couple of decades. Now the state of the art is approaching the point where we can get clues about the environment on those planets. For example, one recent result (here’s an article in Scientific American) is the first indication we have of the kind of atmosphere that exists around an Earth-sized rocky exoplanet. In this case, the planet is in its primary star’s habitable zone, and it’s more than large enough to retain a significant atmosphere against thermal or Jeans escape. Yet there doesn’t seem to be much if any atmosphere there.

I’ve long since worked out a model for Jeans escape; that much was in the world-design system I wrote for GURPS Space back in the day. (If you’ve used that system, you may recall a “minimum molecular weight retained” or MMWR calculation. That’s specifically relevant to Jeans escape.)

The problem is that thermal loss isn’t the only way a planet’s atmosphere can get stripped off. If the primary star is prone to flares and has an energetic stellar wind, that will do the trick too. This is specifically relevant to red dwarfs, like the star LHS 3844 which has the planet mentioned above. Red dwarf stars punch well over their weight in the stellar-wind and flare department, especially early in their lives. Thus, any rocky planet close enough to be in the liquid-water zone will probably get a serious sandblasting early on.

This is kind of a new area in astrophysics, and there are a lot of competing models out there. Some scientists are predicting that Earth-sized planets should be able to retain their atmospheres in at least some cases, others are much less sanguine. The LHS 3844 result certainly seems to support the pessimistic case.

For Architect of Worlds, I’ve been thinking in terms of assigning each planet a “volatiles budget” from its formation and early years, modified by things like the planet’s MMWR, whether it formed inside the snow line, whether there’s a dominant gas giant to fling comets in-system, and so on. A big random factor as well, since it looks as if this feature is strongly subject to chance. Then we would reduce that volatiles budget to reflect non-thermal processes of atmospheric escape, photodissasociation of water molecules, and so on. (Hmm. Maybe have a separate budget just for water, since that goes through some significantly different processes and might not be correlated with atmospheric volatiles.)

The devil’s in the details, of course, and for all my tinkering I have yet to come up with a model that satisfies me (or even fits all the cases we know about). This might actually be the biggest obstacle to getting the third section of the design sequence hammered out.

Status Report (16 August 2019)

Status Report (16 August 2019)

Busy week at the office – I’ve been teaching a course most of the week – so not much time or energy left over for writing or world-building work. I’ve been plugging away at my regional map, at least.

As time permits, one thing I’ve been tinkering with is an application of the draft Architect of Worlds material to design an alternate Solar System for the world where The Curse of Steel takes place. I want the setting to be just a little exotic; just as this alternate Earth has different geography, different landforms and seas than ours, I also want it to have a different sky. To this end, I’ve designed a primary star almost identical to Sol, and a habitable world almost identical to Earth, so that the day-to-day environment isn’t clearly alien – but the system is otherwise different in a lot of details.

More detail on that design later. For today, I’ll note that in conjunction with this work, I’ve been using a virtual-planetarium application that I highly recommend: Space Engine.

Space Engine has been in development for several years, almost entirely by the Russian astronomer Vladimir Romanyuk, although he recently released a beta of the application on Steam to raise money for further development. It’s unique in that the entire universe notionally resides in the engine – while the vast majority of it is procedurally generated, known stars, exoplanets, and so on are also in the engine’s catalogs. It’s a great toy for exploring the universe from the comfort of your desktop.

It’s also not all that difficult to insert your created star systems and worlds into the Space Engine catalogs, and have the engine render them in place in the virtual universe. Space Engine uses somewhat different world-building assumptions than I do, but the differences are pretty minimal. It’s not at all difficult to take the results of work with Architect of Worlds and drop them into the Space Engine universe. So I’ve done that, with the intention that I’ll be able to use the simulation to determine what the sky looks like at any given point of the story.

For example, here’s a rough-draft render of the alternate Earth where Kráva lives and will have her adventures. Really astute observers might be able to figure out about where I’ve placed her world in the real galaxy:

An alternate Earth, hanging in space.

I think it’s possible to create new planetary textures and bump-maps for created worlds in the engine, but that’s beyond me so far, so the landforms you see here are not definitive. Still, I can “land” the viewpoint on the planet at any given point in latitude, longitude, and time, and see what a character standing at that spot would see in the sky. For example, here’s an early-evening image from a latitude roughly equivalent to where the story begins:

The bright object low on the horizon is the system’s secondary star, a red dwarf orbiting at a comfortable distance of 100 AU or so. Brighter than our own Moon, it doesn’t wax and wane, and I think it may even be circumpolar so it’s always visible in the northern hemisphere. Handy for characters who need to move around at night!

Space Engine can do a lot of things for me – model an alien sky consistently and in great detail, tell me with a mouse click what apparent magnitude objects might have, and so on. For a few hours of investment, I can include the kind of exotic but consistent astronomical perspectives that (e.g.) Tolkien needed endless painstaking pencil-and-paper work to provide.

More about all this later, if and when it seems appropriate while I work on the story. I must say, though, it’s nice to find tools that can make the obsessive world-builder’s attention-to-detail easier.

Status Report (10 August 2019)

Status Report (10 August 2019)

I’ve got a weekend more or less to myself here – no need to go into the office, and my wife and our daughter are out-of-state visiting family, so it’s just me and my son doing the bachelor thing. Good time to get some work done on The Curse of Steel.

The major project right now is a map of the main area of action for this first novel. Decent progress thus far:

Work in progress . . .

Still need to finish marking in terrain features, although the main line of the Blue Mountains is in place. Then it will be time to put down forest icons to mark wilderness areas. I think I’m going to be sparing with that, since almost the entire map is wilderness to some degree! Then a few settlements and place names, and I’ll have enough to push forward with the novel. I imagine the map will get filled in further as I write this (and hopefully future) stories.

Meanwhile, I’ve posted the first chapter of the draft novel – a short story titled “Kráva and the Skátoi” – to the “Free Articles and Fiction” section in the sidebar. Here’s a link to the page as well.

I think tomorrow I’ll continue to work on the map, and I might start looking for art assets I can use to create images of Kráva and her world.

Status Report (7 August 2019)

Status Report (7 August 2019)

Work proceeds apace on The Curse of Steel – I’m making unusually good progress on it for the moment. I’m very happy with the divine pantheon I’ve developed for my protagonist’s home culture. I’m also continuing to build a more detailed map of the field of action for most of this first novel. Most importantly, I’ve knocked out two more chapters of the first draft, and as soon as I resolve a couple of questions about the future plot I should be able to keep going.

I think the critical step was to embrace the notion of having activist gods and divine-blooded heroes in the setting. You’d think this would be obvious; after all, those concepts were universal among the Indo-European peoples I’ve taken as a model for the world-building here. Yet I’ve tended to avoid the trope in my own work thus far. I’m not sure why. Possibly it’s because of my background in tabletop roleplaying games. I tend to think in terms of well-defined and limited mechanics for character power, and “he’s the son of a god” is a bit too free-form for my taste.

I will admit to taking some inspiration from the Scion roleplaying game that I recently picked up to read. That game is kind of a hot mess when it comes to rules organization and mechanics, but it does provide a nice framework to clearly define the powers of heroes and demigods. I still haven’t decided to use Scion as a tool for actual plotting, but I think I’m coming around to the idea.

Besides, if my protagonist is the child (or grandchild, actually) of a god, that fits in very nicely with the themes I’m working with for this first novel. Part of what I’m trying to do here is to examine some of the consequences of the power fantasy that’s common in genre fiction. Okay, so Kráva acquires a magical weapon that makes her an immensely powerful warrior, and almost in the same breath, she learns that she’s of immediate divine descent. Great! Except “with great power comes great responsibility,” the weapon comes with a rather nasty curse, and the lives of the gods’ children tend to be glorious and very short.

Lots of potential here. I’m almost eager to see what happens next.

Meanwhile, I think I may push a couple of chapters of the draft over to the “Free Articles and Fiction” section of the sidebar. Look for that as soon as I have a little time to spare.

Gods of the Tremára

Gods of the Tremára

While I continue to work on a map for the first sections of The Curse of Steel, I’ve come across another bit of world-building that seems very fruitful. To wit, now that I’ve developed something of a language for Kráva’s people to speak, I’m also in a position to develop mythology for them.

I had already come up with a few theonyms, but over this past weekend, I decided to work out a complete pantheon, with names, epithets, and backgrounds for a dozen or so deities. Not only am I very happy with the result, but it’s given me a number of new ideas for the story itself.

In particular, while I’ve been doing this, I’ve also been reading the new edition of the Scion roleplaying game, currently published by Onyx Path Publishing. Scion is basically an urban fantasy of the old World of Darkness stripe, but it’s chock-full of interesting ideas as to how to handle characters of divine descent in an otherwise mundane world. Clear inspirations from things like the Percy Jackson stories, American Gods, or The Wicked + The Divine. I’m honestly kind of tempted to shift my plot-development paradigm from FATE to Scion, which seems better suited for the kind of story I’m hoping to tell. Still thinking about that.

In the meantime, though, here’s a short set of first-draft notes on the gods of the Tremára people. You’ll probably detect that this is Standard Indo-European Pantheon, variant #3-b . . . you won’t have any trouble recognizing bits and pieces of inspiration here. Just as I’m applying Indo-European-like principles to my constructed languages, the same applies to my constructed mythologies.

The Tívai Atesdan

The primary deities of the Tremára are called the Tívai Atesdan, the “Twelve Gods.” The Tremára cosmology also includes a horde of minor gods, spirits of nature or of place, and divine heroes; all these lesser beings have their local cults, but the Twelve are revered by all.

Kádir Tívar, Sky-Father, Lord of the Bright Heavens

Patriarch of the Tívai Atesdan, Kádir Tívar is the divine chieftain and King. His is the oath that binds all under the law, and his is the iron rule of hospitality that keeps the peace among humans. In the time before humanity arose, he overthrew the creatures of Chaos who came before him. Now he maintains the cosmic order with stern ferocity, knowing that any respite might lead to his own overthrow.

For the most part, Kádir Tívar has been faithful to his marriage with his divine sister, the Queen of the Earth. On rare occasions, he has been known to descend to minor goddesses or mortal women in order to father great heroes. This is never a matter of lustful desire on his part, but rather a concession to the dictates of Fate – and his wife, as the arbiter of Fate, is often in full concurrence.

Athenná the All-Mother, Queen of the Earth

Athenná is the sister and wife of Kádir Tívar, the eternal foundation of all life and all existence. She is the mistress and arbiter of Fate, which stands above all law and justice. In ancient times, she was one of the children of primordial Chaos, and she retains more of that character than most of her siblings. She rarely appears to humans in their own form, but she will sometimes manifest as a force of nature, in majesty and dread.

Athenná has never been known to wander from her marriage to Kádir Tívar. That is not to say that she doesn’t create or choose heroes to carry out her will, only that their origins tend to be more indirect and mysterious.

Múrkavrio, the Great Bull

The embodiment of masculine power and procreative force, Múrkavrio gives men the power to strive and be victorious over all the challenges of life. He also manifests the power and prosperity that come from herds of domesticated beasts, especially the cattle whose form he often takes.

Múrkavrio’s insatiable desire has made him the undisputed champion among the gods for fathering children upon other divine creatures and upon mortal women. Almost every tribe and clan among the Tremára can claim descent from the Great Bull, renewed in every generation. His wife, Tálanna the Golden, seems reconciled to this, although there have been exceptions.

Tálanna the Golden, Lady of the Ripened Grain

Tálanna is the great nurturing power of the earth, the goddess who brings seed to grow and yield sustenance for all the earth’s children. Hers is the power that gives life to the grain, brings offspring to every animal kind, and sustains humanity. She is the patron and protector of women, especially in childbirth and motherhood.

As with her sister Athenná, Tálanna has never been known to consort with minor deities or with mortals so that she can bear heroes. Her champions are chosen or created, and are almost always women, sent forth to protect their mortal sisters against the violence or injustices of the world.

Tario, Lord of Thunder, Champion of the Gods

Tario is the son of Kádir Tívar and Athenná, the warrior and champion of the gods. He strides forth against darkness and chaos, leading the divine beings in battle at the command of his kingly father. His greatest weapon is the lightning, which he calls down from the storm-clouds of war. From warriors he demands unfailing courage, but also wisdom and clear thinking amid battle.

Despite his masculine nature, Tario is not known for ventures away from his wife, the Lady of Horses. Instead, he tends to incarnate among humans from time to time. On each occasion he lives an apparently mortal life, adds to his legend, and then returns to his place among the gods after death. Unfortunately, Tario’s incarnations rarely live an easy life; he seems to be fated to suffer greatly and fight the most difficult battles, no matter which turn of the Wheel he may be on.

Tekuná, Lady of Horses

Daughter of Múrkavrio and Tálanna, the Lady of Horses came to the Chariot People in the earliest times, as a great white mare who bore a thousand offspring and gave humans the power to thrive and journey across the land. Later she taught the people about chariots, and she and her husband Tario taught them to be warriors of strength and courage.

Like her father, Tekuná is well-known for her affairs with mortals, and many heroes can claim descent from her. Her children and their descendants are often seen to have a special way with horses, and they make superb charioteers and riders.

Kaima Gerio, Lord of the Underworld

Originally the first human being, the “divine twin” was elevated to godhood after his death, and assigned to rule over the Underworld. He is grim and silent, but not malicious, and he treats all with the same firm justice. He is also the source of all the wealth that comes from within the earth, the patron of miners, coiners, and jewel-smiths.

Kaima Gerio has never fathered heroes upon mortals, so far as is known. Most often, he will instead select the shade of some great warrior or sage of the past, and grant it reincarnation in the living world to serve as one of his champions. Heroes connected with the Lord of the Dead are often uncanny creatures, knowing things no mortal should know, seeking objectives that no mortal can understand.

Skádna, Mistress of Shadows

Daughter of Kádir Tívar and Athenná, Skádna was (very unwillingly) married to Kaima Gerio when he became the god of the Underworld. She is the goddess of shadows and liminal spaces, who stands between light and darkness, life and death. She is the Comforter who conveys human spirits to the Underworld, and the Advocate who argues for mercy or for vengeance depending on their deeds.

Skádna despises her husband, always remembering that he was not originally of divine birth. She has been known to sneak out and enjoy affairs with other gods or with mortals. Her heroic offspring are more likely to be wise-men or sorcerers than great warriors. Kaima Gerio punishes Skádna when her activities reflect poorly upon his honor, but he never persecutes her mortal lovers, always knowing that they will one day be required to face him for an accounting.

Kórsata, the Lofty One, Lord of the Sacred Flame

Kórsata is a son of Kídar Távar by Kórsia, a minor goddess of the mountains. He is the twin brother to Advenáta. He is the god of fire, whether it be the fire of the hearth, the fire of the forge, or the fire of holy inspiration. He is the healer and protector of humans, the patron deity of smiths, and the god most revered by bards and vaitai. Kórsata’s ways are unfathomable, as he often seems to pursue wisdom beyond mortal ken.

Kórsata is unmarried, having never found a goddess capable of understanding and embracing the depths of his spirit. He has been known to father heroes upon mortal kind, but some of his most well-known champions have been creations: carvings or statues or even poems brought to life by his blessing.

Advenáta the Beautiful, Lady of Love and Passion

Advenáta was also born to Kídar Tívar and Kórsia, twin sister to Kórsata. She is the goddess of beauty in all its forms, and the passion that such beauty inspires in humans. She is the patron of lovers, and is likely to take vengeance when love is denied.

Advenáta has so far refused to accept a husband, preferring her freedom. Indeed, not even her father Kádir Tívar has seen fit to insist on her attachment to any god or mortal, knowing that she must be left free to move as her spirit wills. As might be expected, Advenáta is renowned for the number and variety of her romantic affairs with gods, spirits, and mortals. She has borne several mortal heroes, a surprising number of whom have become great chieftains and kings.

Marapótio, Divine Master of the Seas

The brother of Kádir Tívar and Kaima Gerio, Marapótio was little known to the ancient Chariot People, but he has become more prominent as the Tremára interact with coast-dwelling folk. He is the solitary master of the great waters, the bringer of sea-storms and the king of sea-monsters. Few humans love him, but all fear and revere him, and call upon him when traveling upon the sea.

Marapótio has fathered few heroes among the Tremára, who have dwelt far from the sea for many centuries. The bards suspect that he has been more active among dwellers in the coastlands to the west and south, although those people likely know him by other names.

Kekóna, the Trickster, Mistress of Twists and Turns

Another daughter of Múrkavrio and Tálanna, Kekóna is a trickster-deity, goddess of lies and deception. She is a patron of merchants, thieves, and all those who must travel and cross boundaries. She is also a patron of warriors, but she favors those who use cunning stratagems to win, rather than those who rely upon brute force and courage. Strangely, she is usually portrayed as not resembling the Tremára, instead being light of hair and pale of skin like some people of the cold Northlands.

Despite her freedom of spirit, Kekóna is not known for casual dalliance with other gods or with mortals. Her love affairs are infrequent but very intense. Her gender is somewhat fluid; she has been known to engage with goddesses or women, and even to manifest herself as male if that is more likely to suit a prospective partner. Her rare children tend to be tricksters, wanderers and outcasts, much like their divine parent.

. . . and a Bonus Diagram

So, almost by accident, I tried putting together a little chart to help me visualize the relationships among all these gods. Turned out pretty well, given that it only took an hour or two to assemble. Enjoy:

First Sketch Map: Talmoi Móran

First Sketch Map: Talmoi Móran

Now that I’ve got a solid foundation for my constructed languages for The Curse of Steel, I’ve rewritten about the first 10 kilowords of the novel, and I’m pretty happy with how that much has turned out. Now, though, Kráva and her friends are about to leave their starting point and set out cross-country, and I need to have a good picture of their surroundings. So now it’s time to do some map work.

Over the past couple of evenings I’ve laid out a very rough sketch map of parts of the continent Kráva’s people call Talmoi Móran, or “the Great Lands.” This is roughly equivalent to Europe (or western Middle-Earth), stretching from about 30 to 65 degrees North latitude, and across about sixty degrees of east-west longitude.

Kráva begins her adventure in the region labeled the Tremára Lands, an area roughly the size of France, bounded by the major Black River on the east, the Blue Mountains on the west, and a series of large inland seas (the “Great Lakes”) on the south. The Tremára (“Mighty Folk”) are one branch of the so-called “Chariot People,” this universe’s equivalent of the Indo-Europeans. The Chariot People have been spreading out from their eastern homeland for a few millennia at this point, and most countries around the edges of the Great Plains at the center of the map are inhabited by their offshoots.

I don’t think I’m going to go to great lengths to fill in this map in fine detail, not yet and possibly not ever. All that’s important for now is that I get a general idea of where everything is. I also got a reality check: I used an application called G.Projector to overlay this map on a map of Earth, just to be sure the layout and scale were at all plausible. So far, so good.

I might use this sketch map to work through some of the climate zones, just to be sure I know how that will fall out. But the most likely next step is to focus on the Tremára Lands area, and possibly the coastal regions adjacent to it, which is where about three-quarters of The Curse of Steel will be set. That map, I’ll probably take some time with.