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Plans for December

Plans for December

Over the past few weeks, I’ve been making slow progress on the first draft of The Sunlit Lands. I was a bit blocked for most of November, with a sequence of scenes just not coming clear, but I think I’ve pushed past that obstacle.

My original plan was to have 15-20 kilowords of the draft finished by the end of November, and release that for my patrons, but that doesn’t appear likely to happen.

Therefore, there will be no charged release on Patreon again this month. I may have a free short story to share on this blog and with my patrons by the end of November; we’ll see how the Thanksgiving holiday goes.

As I mentioned a few days ago, I’ve been considering the Cortex Prime game system as a potential vehicle for publishing game material related to my literary projects. That’s looking more likely by the day. In particular, I’ve learned that Fandom (the publisher) plans to set up a new version of the Cortex Creator Studio which supported earlier versions of the game. Once that’s in place, it should permit me to write and release game material under fairly congenial licensing terms.

Meanwhile, starting on 4 December Fandom will be holding a “Cortex Creator Confab,” a workshop of sorts, which will allow potential creators to get some exposure and feedback on early drafts of their work. That looks like a superb opportunity for me to get started.

Upon consideration, I’ve decided that the first setting I’m going to try to write up isn’t Krava’s world, it’s going to be the Human Destiny space-opera setting. The end result will hopefully be a complete, Cortex-driven RPG that allows players to take on the role of humans living as subjects of a benevolent (but demanding) alien interstellar empire. I’m envisioning rules that will permit the game to take place on Earth, among the colonized worlds of the Sol system, or out on the interstellar stage.

So, this is what the plan for the remainder of November and the whole month of December looks like:

  • Continue working on the first draft of The Sunlit Lands, with the goal of having a significant chunk of the draft ready for patrons sometime in December.
  • A crash project to write up a big chunk of the Human Destiny setting in the form of a draft RPG based on Cortex Prime, to be submitted for the December workshop. This material should make a good release for my patrons too, and I may post excerpts from it here in the blog as well.
  • I’ve started reading the next self-published book that’s likely to get a review here. Look for that sometime in December.
  • Finally, I have a couple of partial short stories that I may complete and publish as free releases over the next couple of months.

More than enough to keep me busy through the holidays, I should think.

Decisions, Decisions

Decisions, Decisions

A planned part of my creative strategy is not just to write stories and novels, but also to integrate the world-building elements of those projects into tabletop game material that I can also sell. Basically offering myself a license to my own IP, and self-publishing game material via DriveThruRPG or a similar outlet.

That suggests framing that creative material within a genre-agnostic game system. After all, my two primary creative projects involve heroic alternate-world fantasy (The Curse of Steel and its sequels) and relatively hard-SF space opera (the Human Destiny setting). Any game system that could cover both is not going to be strongly bound to any existing setting or genre.

So the question arises: do I build such a system of my own, or do I find an existing one that works for me and has friendly licensing terms?

I have been gathering design notes for a personally owned game system, under the working title of EIDOLON. There would certainly be no licensing issues there. On the other hand, time spent designing a completely new tabletop game is time I’m not writing. Also, a completely new game system would start with zero market presence. Why should anyone buy such a product, when they would almost certainly have to convert the material to their favorite system before using it?

GURPS is certainly a possibility. I’ve been a GURPS player (and writer, and editor) for many years. Unfortunately, it’s been a long time since I did any work for Steve Jackson Games, so I’m no longer in close contact. In any case, the GURPS licensing terms are pretty strict. Far from impossible to work with – I’m certainly aware of other creators who have published their own GURPS material for sale – but maybe more trouble than it’s worth for what I’m planning to do.

I’ve considered using FATE Core, which certainly fits the criteria (setting- and genre-agnostic, and very congenial licensing terms). Unfortunately, that system is a little too rules-light for my taste. I’ve never quite been able to wrap my brain around how it works in play, so writing material for it feels like a bit more of a challenge than I’m after. I may just need a little more crunch in my game rules.

I’ve glanced at a few other systems over the past couple of years – notably the Genesys system from Fantasy Flight Games – but nothing has quite hit the sweet spot I’m looking for.

Now I see that there’s a new edition of the Cortex system out – the Cortex Prime core rules. These were Kickstarted back in 2017 and have just been released to the public.

Cortex Prime doesn’t look like a playable game right out of the box, so much as it is a toolkit for constructing playable games. Well, that’s true for systems like GURPS or FATE as well, so that’s certainly not a drawback. Reading through the core book, I’m getting a good feeling for the system’s crunchiness and flexibility. Previous editions of Cortex have carried fairly generous licensing terms, and the current publisher seems interested in following suit.

Hmm. I may have to contact them and see if this would be a good fit for what I want to do. If it does work out, then EIDOLON may go on the back burner. Or off the stove entirely.

A Bit of Insight

A Bit of Insight

I think I may have finally gotten myself unblocked with respect to one of my long-term creative projects. The project in question is the Human Destiny setting.

The premise is that sometime in the middle of the 21st century, an interstellar civilization arrives in the Sol system and (without much effort) conquers humanity. It’s a strangely benign sort of conquest, though. The aliens don’t have any interest in us as slaves, nor are they motivated by a desire to take the solar system’s natural resources for their own benefit. Their goals seem mostly to involve . . . nannying us. Their laws are fairly strict, backed up by almost-universal surveillance, but enforcement seems to be non-violent, completely incorruptible, and even-handed. Meanwhile, all of us are provided a standard of living better than ever before, without anyone being required to work for any of it.

Naturally, a lot of humans resent all this mightily, but there seems to be nothing that can be done about it. The longer-term question is why all this has happened. What motivates the aliens?

I’ve written and published a couple of stories in this setting: “Pilgrimage” and “Guanahani.” I have two or three more stories in my development pile too. I’m fairly sure there’s a robust series, maybe even a few novels, in there. Yet, even after years of cogitation, I’ve never been able to get the idea to launch.

The main problem is that the setting does away with a lot of human agency just by its premise. Great, the aliens have come along and solved a lot of our problems, including many of the ones driven by human conflict and misbehavior. There are certainly stories left to be told, but a lot of the writer’s tools for plot and character development are set aside already.

It’s probably telling that almost all the stories I’ve written in this setting so far involve breakdowns of the alien surveillance apparatus. It’s kind of like Star Trek‘s transporters – they’re so useful for short-circuiting plots that a writer often has to justify taking them off-line before a story can happen.

There’s also the aliens’ motivation. They’re here because they want us to survive and evolve into the kind of species that actually can play a role on the galactic stage. That means human psychology needs to change. We need to learn to live with each other and tolerate the Other, we need to get better at understanding and preserving the big systems that keep us alive, we need to start thinking on much larger scales in both space and time.

So how do I write stories about that, in which the aliens demonstrate their motivations through conflict and plot rather than by simply telling the reader what’s up?

I was idly thinking about this the other day – a lot of my creative work happens in the back of my mind while I’m doing something else entirely. Then my mind made a connection with what I was doing with my hands and my forebrain at the time.

I was idly playing a game on my iPad, you see.

Terraforming Mars has been out for several years as a tabletop game, and now has a pretty good adaptation as a mobile app as well. It’s one of those wonderfully thematic board games that does such a superb job of making a complex subject playable and interesting to the layman.

Terraforming Mars assumes an era of exploration and colonization throughout the solar system, starting either late in this century or sometime in the next. The centerpiece of that era is a generations-long project to, as it says on the tin, terraform Mars – transform that planet into an at least marginally habitable world, where human beings can live freely with little or no life-support equipment.

Well. Suddenly I could see a lot of possible context for the Human Destiny setting, Suppose the aliens, aside from simply providing a decent quality of life for most humans, also opened the door for this kind of expansion into the solar system? If humans could settle on Mars, cooperate with each other in a project that might not pay off for many human lifetimes, wouldn’t that be an opportunity for some of us to demonstrate the citizen-of-the-galaxy mindset the aliens are looking for?

Right away, my brain started working on ways to get my character Aminata Ndoye – the protagonist of “Pilgrimage” and a few of the not-yet-published stories – involved in Martian terraforming and solar-system expansion. That in turn gave me a whole raft of new ideas about the Human Destiny setting as a whole.

All of which is to say that I might be turning back to that project, finally. My creative plate is rather full at the moment, between working on my Krava stories, and Architect of Worlds, and wanting to flesh out the EIDOLON game system a bit more. Still, as 2020 winds down I think I might be able to revisit the Human Destiny setting, rework the core documentation for that, and start making some of that information available. Readers of this blog, and my patrons over on Patreon, can expect to see some results from that over the next couple of months.

Status Report (24 April 2019)

Status Report (24 April 2019)

I’ve been radio-silent for several weeks here. Mostly this is due to the day job, which has soaked up a lot of my time, attention, and energy over the past month or so. What with teaching courses, writing new courses, going on business travel, mentoring my colleagues . . . I’m not having a lot of extra resources to spend on creative work lately. Which isn’t to say that projects aren’t perking along in the back of my mind in odd moments, which seems to be how I often make progress on things anyway. So I’ll certainly be back to this space and pushing things forward once the weather changes.

In other news, I learned something today that severely disappointed me regarding several individuals and a publisher with whom I’ve worked in the past. Not going to name names, but if you know something about my creative history and are aware of recent events in the tabletop gaming industry, you can probably put two and two together. Still not sure what decision I’m going to make about that. How do you respond when you discover you’re associated with, working with, actively supporting someone whose other activities you find reprehensible? How do you respond when, as here, the relationship is at one or two removes? That is, your associates aren’t carrying out the reprehensible actions directly, but they’re continuing to partner with and support, and generally seem to be okay with, someone who is.

I’ve been in this situation before. A few years ago I contributed to a product written and published by an individual whom I discovered later was actively involved in the alt-right movement. I generally avoid issuing political or social opinions in this blog, but you can take it as read that I am not fond of the alt-right. Still, it was too late to back out. My name was already attached to the product in print. Not that this was ever likely to be a huge deal – I was one of dozens involved, and my contribution was minimal – but it still left a bad taste in my mouth. I resolved at the time that I wasn’t going to be put in that kind of situation again, through my own lack of due diligence.

So I’m going to have to think about this. In the meantime, I’m going to temporarily set that publisher’s products aside and make no use of them in this space, until further developments have resolved the conflict or I’ve reached a more permanent decision.

Game Design Prospectus: The Wars of the Jewels

Game Design Prospectus: The Wars of the Jewels

Still plugging away at Twice-Crowned, with about 20 kilowords down in rough draft and a little more emerging every day or two. That’s still my primary project, and I plan to keep it that way until I really get stuck on something.

Still, my brain has to stay busy the rest of the day, and one chunk of time that I can’t apply to the novel is my daily commute to and from the office. That’s about 45-60 minutes per day total . . . and there’s a single audio-book that I’ve been listening to during that time, over the past many months. At this point, I’ve been through that audiobook so many times that I think I have a lot of passages nearly memorized.

That would be the Silmarillion, by J. R. R. Tolkien.

I’m going to assume that most of my readers are at least somewhat familiar with the book. Even if you haven’t read it, you probably know more or less what place it has in Tolkien’s overall body of work.

The biggest chunk of the Silmarillion itself is the story titled the Quenta Silmarillion, the “Tale of the Silmarils,” the epic history of Middle-earth’s “First Age” that provides deep background to The Hobbit and The Lord of the Rings. The bulk of the Quenta tells the story of Morgoth, the first Dark Lord of Middle-earth, who stole three great jewels from the Elves of Valinor. This theft provoked many of the Elves to follow Morgoth to Middle-earth and fight a centuries-long series of wars against him, which eventually ended in their utter defeat. Only the intervention of the Valar and the Elves who had remained behind in Valinor saved anything from the rack and ruin.

It’s a beautiful story, and I’m quite content with having spent many hundreds of hours of my life reading and listening to it over and over. But my brain sometimes does odd things with the material it encounters . . . and one thing my brain currently seems to be doing is designing a boardgame simulating the epic action of the Quenta.

So that’s what follows: a high-level prospectus for a tabletop game with the working title of The Wars of the Jewels.

The basic design always assumes two players. One player takes the role of Morgoth, while the other takes the role of the High King of the Noldor Elves, whoever that might be at any given time.

The proposed game comes in two levels of play, essentially a basic and advanced game.

The Battle Game can be played stand-alone, with as many as a dozen or so distinct scenarios portraying the various major military campaigns of the First Age. Each scenario provides a fixed order of battle for both sides, possibly with some special rules to reflect specific situations from the original story. The Battle Game involves very traditional wargame mechanics: small chits representing military units and heroes, moving across a hex-grid map that represents most of the region of Middle-earth called Beleriand. The scale of the Battle Game would be about 20-30 miles per hex and no more than 2-3 days per Battle game-turn; most Battle Game scenarios would be no more than 8-10 game-turns long, and some would be much shorter. I would envision even a long Battle Game scenario as something players could complete in a single afternoon or evening session.

The Epic Game is a grand-strategic simulation, portraying the ebb and flow of the whole series of conflicts. Here, the scale is about 40-50 years per Epic game-turn, so that the whole period of conflict between the Noldor and Morgoth can be played out in 12-15 game-turns.

The Epic Game would be the most challenging to design, I think. Right now I’m leaning toward a card-driven scheme, in which both players draw cards from deck of random events, and can either trigger those events or use point values on the cards to carry out actions. The basic mechanic would probably look a lot like some of the card-driven games published by GMT Games.

The two players wouldn’t be entirely symmetrical in the actions they could take. Both sides could probably do things like build up manpower, settle in empty or uncontrolled provinces, build fortresses, deploy heroes, or play a game of influence among the disparate Elven and allied factions. All of those would play into the possibility of a military campaign to be fought at the end of the Epic game-turn, using the Battle Game to determine the course of a war.

The Elves would also have a set of actions involving sending heroes out on Quests. A Quest would require the Elven player to gather a few heroes (how many would depend on the commitment of action points) and then send them through a series of challenges resolved with die-rolls on a set of tables. Quests could be used to rescue heroes currently captive in Morgoth’s dungeons, to kill dragons or Balrogs, or to attempt to sail to Valinor and persuade the Valar to help. One critical Quest would be to try to steal one of the Silmarils back from Morgoth – very difficult and risky, but probably a necessity if the Elves are not very lucky with their military campaigns.

One mechanic would involve manpower. Almost every faction, on either side, would maintain a Manpower score, indicating its current population. Factions of Men or Elves would have to be able to support their current Manpower with controlled provinces – they need land to supply their armies. Elven factions would replace Manpower lost to combat casualties very slowly, but Men would replace lost Manpower fairly quickly (hence giving the Elven player an incentive to set aside lands for Men). Dwarven factions wouldn’t need provinces under their control since they’re based in big underground cities, but their Manpower would be rather severely capped. Orcs have no limits on their Manpower, but they wouldn’t grow naturally, so Morgoth would have to commit actions to build up his Orc armies.

Available Manpower at the start of a Battle Game war would determine the force pool available for each side. Units lost in the course of the war would result in lost Manpower. The overall effect should be that the Elven player will have to worry about every unit lost in the Battle Game, especially the hard-to-replace Noldor Elves. The Elves and their allies will be crippled if they lose all the rich provinces of Beleriand. Meanwhile, Morgoth’s armies should seem nearly inexhaustible.

Another mechanic in the Epic Game would involve politics among the various factions opposing Morgoth. Half of the tragedy of the Quenta has to do with distrust and outright treachery among various factions of the Elves and Men. So in the game, Morgoth will never have to worry about the loyalty of his own armies, and the High King of the Noldor will always be able to rely on his own faction . . . but every other faction of Elves, Men, or Dwarves will be more or less unreliable.

Each Elven or allied faction would probably have a Loyalty score, indicating its current willingness to actively oppose Morgoth in warfare. Factions with high scores will commit all available forces to a war, and will forward-deploy them so as to come at Morgoth more quickly. Factions with lower scores might hang back, or might refuse to send some or all of their soldiers to fight. In a few cases, a faction might even treacherously go over to Morgoth’s side! Meanwhile, if a Silmaril ever comes into play, Morgoth might be able to this system to trigger outright warfare among his opponents, as they fight for possession of the great jewel.

I envision some “chrome” systems, of course. There should be a system keeping track of who the High King of the Noldor is from one Epic turn to the next – what if FĂ«anor had survived the first years of the conflict? More generally, if an Elven faction loses its current leader, there has to be some line of succession. There should also be a system to generate heroes from the Elven-allied houses of Men each Epic game-turn, and possibly marry one or more of those heroes into the Elven royal houses if certain conditions are met. That’s likely to be on the critical path to Elven victory if they can’t keep Morgoth’s armies contained.

I think that sums up most of my thinking on the subject so far. I can see the whole game in my head, and I begin to think I could design and test it to completion if I had the time. Of course, it would have to be a complex bit of freeware, since there is no way the Tolkien estate will ever license this particular piece of the legendarium for such an application. Yet another creative project that’s never likely to come to fruition – although man, it would be neat to see.