The Bookshelf
  • If on a winter's night a traveler
    If on a winter's night a traveler
    by Italo Calvino
  • The Lies of Locke Lamora
    The Lies of Locke Lamora
    by Scott Lynch
Links
Behave
What Dumb Thing Am I Thinking Right Now?

The Bookshelf
  • The Art of Game Design: A book of lenses
    The Art of Game Design: A book of lenses
    by Jesse Schell
  • If on a winter's night a traveler
    If on a winter's night a traveler
    by Italo Calvino
  • Boneshaker (Sci Fi Essential Books)
    Boneshaker (Sci Fi Essential Books)
    by Cherie Priest

Entries in setting (11)

Wednesday
17Feb2010

Guest Lecture: The Ethics of Exploration

I've had the opportunity to attend a couple of interesting events over the past few weeks that have given me some good food for thought. While much of the craft of game design is introspective, outside influences are critical not only for verisimilitude in games, but to prevent the medium from becoming hopelessly exclusionary. Nobody wants a game that you have to already play games to enjoy. (Well, some people want that, but they're not usually the sorts of people who are fun to actually play games with -- they're the extreme lifestylers who want to hole up in their hobby and use it as an identity with which to insulate themselves from the rest of the world.) I even use this as interview criteria: I always ask in interviews what other interests the candidate has besides gaming and if they answer, "Really, gaming is it," they get a big ol' thumbs-down from me.

Digression notwithstanding, one of the presentations I attended was the Ethics of Exploration, given by the vatican's astronomer, Br. Guy Consolmagno.

The presentation itself covered a lot of ground and I took from it some expanded thinking horizons. In terms of history, everyone remembers Galileo... but can you name the pope who brought him to trial? Galileo's story resonates with people because it's essentially human to wonder what's out there. Asking the question satisfies a "hunger in the soul," which is why we remember Galileo instead of those who condemned him and their comparative small-sightedness.

Much of what I pulled from the Ethics of Exploration was content related, stuff to construct games about or questions to ask in games rather than systems with which to create new games. A few of the topics that excited me here were:

Gah. Who to root for in the clash of good vs. good?A "conflict among goods": The goods in this case are things that are good, as opposed to products or resources. We often speak of having to choose between the lesser of two evils, but how often must we choose from among multiple outcomes that are all positive? So many of today's games feature dark and dystopian game settings. So many others offer the "Jesus or Hitler?" paradigm, purporting to offer moral choice but really offering pick-extreme-good-or-extreme-bad gameplay paths. Wouldn't it be refreshing to be able to pick an outcome from among a variety of things that are awesome? My mind immediately springs to a golden age sci-fi tale or a mythic idyll, but those are only my immediate responses.

Ethically obtained specimens: Is it ethical for a scientist to conduct research for the greater good on a speciment knowingly obtained under illegal or morally (or ethically) wrong circumstances? This is the classic "misunderstood scientist" trope, but it has plenty of mileage left in it as the thrust of a game story. The player might be obtaining the specimen, or he might be part of the group that plans to perform the research.

1) Discover meteor. 2) ??? 3) Profit!The ethics of economy: About once a year, a meteor of approximately one-kilometer size passes near enough to the earth, well, to be a meteor. Extrapolating from samples, a one-kilometer meteor would be worth tens of trillions of dollars in salable value. So let's say some entity -- a government, a commercial concern, a scrappy bunch of players -- invests in a sound method of grabbing this meteor (itself probably tens of billions of dollars in cost) and manages to pluck it out of the sky. Let's say this happens in the middle of nowhere. How would the local economy of that nowhere respond to suddenly having tens of trillions of dollars worth of inflation dumped into it?

Subverting the purpose of playing a game: Ultimately, Brother Consolmagno stated, to refuse to make a choice will always be a mistake. I don't know how to wring a playable facet from this, since a game is a series of choices with consequences, but there's something about the refusal to take action in a given situation that has story potential. Perhaps an authority in the story refuses to take action until swayed toward a course by the players, who must accumulate enough information to choose intelligently (or perhaps control the information influx to suit the course of action they want).

Oh, it was Pope Urban VIII who tried Galileo, by the way. In a bit of cosmic justice, his villa is now the location of the Vatican Observatory.

Thursday
09Jul2009

World of Darkness: Diadem

I’ve had this idea for a fictional World of Darkness city since shortly after we started redesign work on the WoD. One of my favorite aspects of the new World of Darkness is that it’s just weird. As such, it’s the perfect venue for a setting that doesn’t have to adhere as closely to a rigidly defined worldview as locations in the old World of Darkness did. In the old World of Darkness, everything was laid out — writers just had to decide which ubiquitous and reliable clan/tribe/etc. their characters-as-plot-hooks belonged to. The new World of Darkness, though, is wide open to possibilities of unique, undefined, unorthodox bizarrerie that gives even the supernatural denizens of the world with a shudder. Those proud creeps who prowl the night don’t have all the answers anymore. That’s a great square one from which to start a horror chronicle.

To that end, I’ve long wanted to put together a setting that turns up those strange occurrences to 11. Making the city of Diadem a fictional setting adds just a hint more alienness and menace to the environment, as people visiting (in the context of a game) don’t quite know what to expect.

I can't quite understand what's happening here, and that's good.A city in which no established supernatural “template type” holds sway (or even knows what’s really going on) is a great place to turn new groups of players’ characters loose — they can be movers and shakers among their kind or rank neophytes, and they’ll all be faced by challenges that exceed the default political struggles of the games as written. It’s also a strong candidate for crossover stories, as various factions used to being on top have to pool their resources to resolve the city’s oblique mysteries.

A diadem is a crown, of course, but it has its origins in the Greek word diadein, meaning "to bind." I like the double-entendre, suggesting that the city of Diadem is both a treasure and a trap

Influences

Literary influences include Neil Gaiman’s Neverwhere, William S. Burroughs’ Cities of the Red Night; Italo Calvino’s Invisible Cities; a little bit of China Miéville’s Bas-Lag and New Crobuzon from Perdido Street Station, etc; and of course some of H.P. Lovecraft’s Kadath, Sarnath, and mysterious R’yleh. Film influences include Dark City, Metropolis, City of Lost Children, the non-comedic aspects of Brazil and 12 Monkeys, a more kinetic Twin Peaks, and Tetsuo: Iron Man. I have a ton of musical influences, too, but I won’t bore you with them here.

Pieces of the Crown

Here are a few ideas I’ve been scribbling in a notebook that I think are particularly suitable for use in Diadem. Naturally, there’d be a lot more in an actual chronicle, but  thinking critically about the setting suggests a few core ideas.

  • A “prince” or other preeminent supernatural figure who isn’t a vampire, werewolf, mage, or anything like that. He’s a dream that’s taken on its own identity and he needs the troubled sleep of the people of Diadem for his nourishment.
  • A group of otherwise normal people who have abnormally long lives. They’re mystically connected to the wellbeing of the city and serve it in a somewhat similar way to how ghouls serve vampires. It’s a little more abstract than that, since they serve an inanimate object or idea in the form of the city.
  • The Clock of Souls, a family line that serves as a sort of fuse for a supernatural event. When the last member of the family line dies, that supernatural event occurs. Characters might kill the last descendent to hasten the event or they might put a spell on him or otherwise artificially extend his life to put off the supernatural event. (I haven’t yet defined the event.)
  • The Mechanos Cult, a religious faction of deists who view God as a clockmaker or other artisan. They’ll be up to something that seems nefarious but is ultimate altruistic or at least pragmatic. I’m wanting to invoke some of the Masonic aspects of From Hell with this one. As well, the Greek scientist Heron had designed a slew of "miracles" that would convince people they had witnessed divine intervention — some degree of that church-as-theater idea would be appropriate here.
  • A pack of intelligent dogs. Not werewolves, but actual dogs. This seems very sinister to me, with an unknown number of dogs potentially spying on people or actively planning to betray them somehow. They might not even be an organized faction, just a fluke that occurs here and there in the city. This may or may not be related to…
  • The Child Catcher, a kidnapper at large in the city who’s been plying his trade for longer than any one such fiend should be alive and vital. I may tie the Child Catcher to the dogs (“These dogs are the abducted children!”) or this may have some application to Ethan’s treatment of Changeling.
  • A variety of suggestions on the city’s history. I want to include possible origins for wherever people decide to place Diadem in their chronicles — it might be a haunted Roman fort like Aquincum or an American anomaly like Roanoke or a cultural relic like Savannah.
  • Some portion of the city will be accessed by canals, like Venice. Something inherently spooky colors the idea of canals, and Venice is built literally atop the older city that existed there first. I touched on this a little in the first edition of Clanbook: Giovanni, but it's real-world macabre that's just too good to let lie fallow. Haunting history in the context of John Berendt’s City of Falling Angels and Midnight In the Garden of Good and Evil.
Thursday
09Jul2009

High Season

High Season is the time of the year when, in observance of a pagan ritual that only a dwindling few remember, a coven of celebrants venture into the trees and recite an honorific call-and response liturgy. The words of the liturgy no longer have any meaning to men; the language in which the language is recited has faded from recollection.

During High Season, those who perform the rite go beyond the world we know. Often, some of the celebrants fail to return, but those who accompanied them know nothing of what might have pulled the lost ones away from the group. Indeed, they remember very little of their journey into whatever Other receives them, recalling only a color, smell, sound, or place that has no earthly counterpart. The memories rarely coincide between ritualists, and none can say with certainty even that all of those who performed the rite even visited the same place.

A mist passing through the forest, the erratic flames of a fire, a cold wind, and the sound of something flapping like a cloak in a gale, a man's shape with the horns of a great stag -- all these have characterized a High Season performance. When the rite concludes, it participants, usually aristocrats drawn from the oldest families of the land, trickle back to their palaces like bewildered lovers stealing home at dawn's light after a night of heady passion. Yet none can speak to any congress that occurred or any unutterable promises sworn in the night.

Tuesday
16Jun2009

Talking Dog

One of the things that always ended up undoing Danny Culp was that he could smell manna where it had fallen from Heaven. His tolerance for alcohol didn't do him any favors, either. And he had rotten luck with women. The third characteristic probably developed directly from the first two, but it had as much impact on his life as they did, so it's fair to state it.

So it was that a hundred and ten degrees found Danny Culp in his cherry red but beat-to-hell Chevy pickup, broken-hearted, a duffel full of wrinkled clothes on the passenger seat and a toolbox in the bed of the truck. He had a shovel back there, too. For digging. Sometimes the stuff he smelled was buried. Danny's course was vaguely eastward across the Texas scrub.

Danny worried the trek might take him into Louisiana. That meant a stop in Shreveport. Precious few of the Shreveport casinos even let him in anymore. Why did God always leave the stuff He needed found in the places that compounded sin upon sin?

Aside from the way he lived his life, Danny wasn't a gambling man. But those vices of booze and women had a way of laying a man low. That was the problem with Shreveport, and Shreveport was the problem with Louisiana. That and New Orleans.

The problem with Danny right now was Maureen.

Danny had a thirst so great it practically changed the tuner on the radio.

Gilbey's Road House poked up from the twilight horizon.

That really made the decision. How far could a thirsty man drive? Roughly the distance of the horizon, Danny estimated. It turned out to be true. He pulled into the lot and parked.

A tired, old mutt sat by one of the porch tables, lonely as Danny felt. Nobody wanted to be outside on a hundred-and-ten-degree night. "They at least leave some water for you, Patch?" Danny asked with heartfelt sympathy.

"Tain't Patch," the dog said.

"What?" Danny asked. Talking dog. Maybe two hundredth on the list of weirdest business he'd encountered. Still, it caught him off guard.

"Tain't Patch. M'name's Kit," the dog offered. "An no, hain't got no water."

"Well, I'm going to water myself, Kit. You want me to bring you out a bowl?"

"Mighty kind, mister."

"Danny Culp, since we're introducing."

"Much obliged, Danny Culp. I'll be here. Say, you don't have a tire iron in that Chevy beater, do you?"

"No. Got a shovel," Danny replied, the squint of a cowboy at dusty noon in his eyes. "And, hey, it's not a beater. It's an Apache."

"Runs twenty years past its prime, and I'd rather push a Ford than drive a Chevy," Kit said.

"The thing’s barely a year old. An you'd have to push the Ford. Dogs don't drive, anyway."

"You some kind of expert?"

Danny didn't know how to respond to that. He went inside, excusing himself from Kit's company with, "I'll bring that water right out to you."

He was inside by the time Kit muttered, "You're going to want that shovel."

Gilbey's Road House was a fancied-up rat trap that, for all of its faults, kept its beer cold. It was maybe eight degrees cooler inside than outside, thanks to the noble efforts of a clattering pair of window-unit air conditioners. One hundred and two degrees. Cold beer.

Danny ordered a beer and a bowl of water.

"The water better not be for that flea-bitten dog," the bartender told him. She was fifty, or maybe fifty-five. At least ten years older than Danny. Had a face like one of her parents was a snake and the other was a hatchet.

"Your name's not Maureen, is it?" Danny asked her.

"No."

"Because you remind me of my Maureen."

"You know, I'll bet she's not your Maureen anymore. Just like any water in here ain't for that dog."

"Come on, lady, it's hotter out there than it is in here. Water don't cost anything."

She gave him a Point, still in the bottle, sweating condensation.

"Look, bud. That dog could be President Eisenhower and I wouldn't give her a drop."

No wonder the dog was so prickly. A woman.

"Fine. How much for the beer?"

"A dime."

Danny paid and walked out the front door.

Kit still sat there, the veritable picture of the word hangdog. Danny sat down in a rickety chair next to her. A checkerboard sat on the table next to the chair, with too few pieces to play a game.

"That hag in there wouldn't give me any water for you. You wanna lick the bottle?"

"That's kind of you, Culp. Don't mind if I do." Kit licked the bottle. "That wreck behind the bar isn't the problem. She'll die soon enough. Poisoned by her own blood, most like. You didn't get your shovel, like I warned you."

"Didn't need it. Just bought a beer."

Kit shrugged. Heretofore, Danny didn't know dogs could shrug. It looked just like a human shrug.

The screen door flew from its hinges and landed in the dusty parking lot. Danny jumped and dropped his Point, roaring "Holy smokes!"

It must have been the cook. The guy was heavy-set, dressed in an apron and a sweaty a-shirt. He had his hair slicked back and a few dangerous strands dangling from a severe widow’s peak. He wore an earring. Some kind of aging greaser. Maybe a gang hoodlum.

The cook had blood in his eye and a chef's knife. Danny's mouth hung open.

"Nuthin' here for you!" the cook shouted and waved his knife at Danny.

Danny ran for his truck. "Get your shovel, Culp!" Kit called to him.

At times in Danny Culp’s life, he did things on strange impulses. He proposed to Maureen when he knew she was sleeping with Jim Hall. He drank some homemade "tequila" that Alfredo made once, which turned out to be mostly peyote and spit. He crashed a Dodge Meadowbrook through a police roadblock because he thought the cops were agents of the Devil, and the roadblock was set up to keep people from taking the highway into Heaven. This time, he grabbed the shovel from the back of his truck so he could fight the satanic cook at the road house because a talking dog told him to.

The alternative was to hold his ground and let this crazed demon cut him into a chopped Culp sandwich with Brunswick stew on the side. Not much of a contest there, really.

A crowd had gathered outside Gilbey's, whether out of malice or sheer excitement, Danny didn't know. If they were demons, too, they'd probably already be intervening on the cook's side. But the hag behind the bar hadn't been any too friendly, and she knew something was up with the dog.

"Quit horsing around, Culp," Kit yipped while skipping in and out of the maniac's vision. The chef plodded relentlessly toward the truck.

Danny tasted Point as he belched up some nervous gas. He grabbed his shovel and did his best to look intimidating. Dust stuck to his sweaty brow.

The problem was, you can’t reason with people possessed by demons. They didn't have any care whether or not you annihilated their bodies. They weren't really their bodies. They were just meat, some rube or unwilling vessel who just happened to be in the wrong place when the hoary host of Hell figured, "We need a guy there," and sooner than you could say "Dante," there was the Devil's proxy, ready to spit fire or hail brimstone or what have you.

Shovel in hand, Danny put himself in a batter's stance, hoping for slowball right down the center.

Possessed people weren't very sophisticated. Danny got his wish. Whump, right into the cook's chest. But possessed people didn't feel anything, either.

Not that Danny knew this. He just followed his nose, and sometimes it led him into the path of bad people. He expected the cook to double over in pain. Maybe at least curse a little. No such luck. The cook slapped the shovel away with his burly arm and outstretched palm.

"Run, Culp!" Kit shouted. Danny ran, kicking up a rooster tail of parking lot rocks. Back into Gilbey's.

The cook followed him plod plod plod, to much cheering of the hayseed crowd. Beer spilled. Gaps in teeth whistled.

"What the heck am I going to do?" Danny wondered to himself. Then he came to the realization that he didn't have to do anything. It wasn't his problem. He could just leave, and the greaser with the knife would either calm down and forget about whatever it was that had worked him up into a lather, or run himself ragged trying to follow.

Out through the back door, Danny ran, pausing only briefly to grab a fire extinguisher off the wall near the griddle. If nothing else worked, maybe he could buy himself some time by throwing it at the cook.

Kit met him out back. "Good thinking. Let's go."

Apparently, the talking dog was coming with him. Did no one else hear this dog talking?

"Where we goin', Kit?"

"I don't know. You tell me. You're the one who can smell Heaven."

It was pointless to argue. The dog was right. And maybe a talking dog would come in handy wherever he was headed, Danny figured.

They both bolted, circumnavigating the roadhouse, hoping to make it back to the truck before the demonic brute caught up to them. "You have to ride in the bed, Kit. Sorry," Danny warned as they sprinted under the hot, purple Texas sky.

"In a pig’s eye. I probably drive better than you do." Kit sprung up into the cab, surprising Danny Culp as he opened the door for himself. She went all the way over to the passenger's side of the ratty bench seat, though, and he was relieved she didn't want to put that theory to the test.

The engine groaned to reluctant life, miserable in the heat after its short reprieve, but it faithfully pulled the truck out of Gilbey's stony parking lot. Tex Ritter crooned on the radio, that song about the playing cards, as Danny and Kit left a traildust smokescreen behind them.

Two miles down US 20, Danny shouted "Aw, for the love of—" and made a U-turn in the middle of the empty desert two-lane.

Kit sat bolt upright and practically squealed: "What? What happened? What's going on?"

Back at the roadhouse, the cook still sat at the order table in the kitchen, wondering what the name of Scratch had gotten into him. Not a second later, his eyes lit up red and he exhaled with a grunt like a bull. And picked up his knife again.

Danny said, "I forgot my stinkin’ beer."

Kit couldn't believe it. "That cook crack your skull, Culp? Just stop at bar or liquor store and get a another beer whenever we stop for the night."

"Nope. I already paid for this one." The engine roared as the red truck reclaimed the pavement it had left behind. Gilbey's appeared on the horizon again, this time lit up like a livid boil on Lucifer's own hind end.

Having given up on actual conversation, Kit barked excitedly while Danny told her to shut up and wheeled the Chevy into a drift that only barely fishtailed across the parking lot, just like Danny wanted. He hit the throttle hard just as the possessed cook made it out onto the slat-wood porch again, knife in hand.

The truck slammed into the porch, sending up a cloud of dry splinters, loose nails, and snapped lumber. It didn't stop, though, plowing forward through the carpentry as the cook took two steps toward it before meeting the grill with his face. The knife spun away, somewhere, over the truck.

Danny mashed the brake, replacing the scream of the porch's destruction with various shouts of fear and surprise from inside. He threw the Chevy into reverse, backed up a dozen feet to the table where he had sat with Kit reclining next to him, and got out to pick up his beer.

There it was, standing on the upright table, flanked by a single overturned chair, still sweating in the hundred-and-ten degree night.

Danny Culp got out and picked up the bottle. “Forgot my beer,” he said again to the gape-mouthed crowd staring at him in awe from the ruined road house dining room. The body of the cook fell from its clumsy mooring in the truck’s grill with a wet thud muffled by the dust.

Kit barked.

Tuesday
28Apr2009

Ashur and Alta Sikhum

Ashur, the archer of the skies. The center of a warlike but pious people, Alta Sikhum vanished after the Ashurians lost a protracted conflict with the rival Hezzir culture. Ashurian emperors were believed to be the chosen of the archer of the skies, Ashur, strong in his image and divine by his blessing. Ashurian people pledged themselves to various warrior cults, following aspects of their patron god, claiming their arrows were as far-reaching and terrible as the rays of the sun could be.

The Ashurian emperors were progressive for their time, allowing conquered peoples to become part of the empire. They were implacable if defied, however, and many of the great Ashurian epics are rife with bloody vengeance taken against those who betrayed them or refused to submit to them. Temples to the deity Ashur could be found far and wide in the lands of the empire, and any who wished to devote himself to the priesthood could do so, regardless of his people of origin.

Sikhubanipal, one of the last of the Ashurian emperors, was a great proponent of civilization, and unlike most of his line educated himself in arts outside those of warfare and conquest. The lost vaults of Alta Sikhum were once believed to hold troves of the treasures of antiquity, until the Hezzirs and later nomadic tribes trampled them to dust. The secrets lost to time and barbarism in Alta Sikhum and other Ashurian cities might never again be known to the civilized world.