23 April 2016


Goetia is a point and click puzzle game where you play a glowing ball of light that rises up from the grave of a girl named Abigail, and spend your time trying to work out what happened to Abigail's family, and why Abigail's family home is abandoned.

Being a glowing ball of light has its advantages - you can pass through walls, for a start, though you soon encounter walls with demonic shields.  And a demon.

This is an eerie, interesting and enjoyable game that will give between five to infinity of gameplay, depending on how good you are at puzzles, or how quickly you give in and cheat.  It's a hard game, with no handy arrows pointing to where you should go next, but mostly logical puzzles that you can solve with a bit of work.  I was very proud of myself for solving the typewriter translation!  I cheated ruthlessly in other parts!

Recommended to fans to spooky point and click.

18 March 2016

Story status, and the Line between Appropriation and Erasure

I'm currently still working on The Towers of the Moon, the small collection of short stories in the Trifold world (showing what happens on the trip to France in between Pyramids and Tangleways).

I am so not a short story writer.

By which I mean I have so far written a novelette (Two Wings) and am halfway through a novella (Forfeit).  Then there should be an actual short story (possibly called The Queen of Hades if I don't outright call it Ned's First Kiss).

I started thinking about stories set in France while in Paris in 2014, walking along the Seine getting a feel for the landscape and wondering what would France look like in a world where local gods 'Answered' their people, effectively protecting and preserving many cultures that have been erased in our world?  Would it be steampunk Asterix and Obelix?

Okay, I never seriously considered steampunk Asterix and Obelix, but I would pay to see some concept art.

In the end, I chose for the gods of France to not Answer.  France instead was invaded - briefly by Rome, and then the people of the "Green Aesir" (which is what I've been calling the Germanic gods who are very very similar to the Nordic gods) - and later by the Cour d'lune, which are "sort of low gravity Fae dragon people", and don't call themselves gods at all.

Basically, I erased both France's true past, and her early cultural history, and replaced it with an invention of my own.

Writing the Trifold series - any alt-myth series - requires many decisions regarding appropriation and erasure.  I've been thinking this over lately after reading numerous thoughtful essays about JK Rowling's "History of Magic in Northern America", which appears to have involved conflation of multiple different traditions and beliefs.  The essays ask (or state an opinion on) whether it is ever okay to 'mine' other cultures for their beliefs in order to write fantasy.

Now I'm Swedish on my father's side, and Swedish/Danish/Scotch/French/English on my mother's side.  But mainly Australian.  I would not feel at all comfortable embarking on a series that used Australian Aboriginal cultures and beliefs as a basis - the closest I've come to that was a short story, Blue, that positioned the POV character as an outsider who is "welcomed to country" (a tradition that has grown up in Australia to acknowledge that we occupy a land stolen from its peoples).

But while I am not very French, my great-grandfather was.  Does that make France 'open season' for me?  I was born in Sweden: is Loki mine?  If a people runs around invading other countries and attempting to imprint its culture onto the locals (as Rome did), does that make their culture mine?  I'm using the Latin-based alphabet to write this blog, after all.  Half my language is based on Rome's.

And what of Hades?  Can I mine Greek myths, since Rome's gods apparently were rather strongly copied from Greek gods, just with judicious tweaks and renaming?  If I've had Rome's gods Answer, does that mean they're really the Hellenic gods?  And who gets to play in the traditions of Egypt, whose cultural disconnect was so complete that the language was lost - and yet Egypt is surely populated with the descendents of the people of Kemet.

At one point when thinking this through during the drafting of Pyramids I started wondering whether an alt-world/alt-myth series was really a good idea.  Or, at the least, whether I should confine the story very strictly to Sweden and England.  But that's a different form of erasure.  How could I start with our world, with its thousands of cultures, and only ever mention two?  That seemed rather the worse route to take.

The end result is a story that is primarily focused around cultures that I have some connection to, choosing to include cultures that have been part of the 'primary interchange' in Europe (eg. the Hellenes) while acknowledging that there is so much more world out there, and providing an outline of its shape.

This involves a heap of extra research.

The Trifold version of North America, for example, is called Stomruria (at least by the Norse, and the people who were first told about the place by the Norse).  For a book that does not mention that continent at all, I spent a lot of time researching First Nation tribal boundaries and beliefs, all because I wanted to acknowledge the place existed, and give a tiny glimpse of that vast continent by the inclusion of a Wabanaki fencing master (Wabanaki being a country in north-eastern Stomruria).

I don't intend for my characters to visit Stomruria at all in the series, but to write in this world at a point where all the continents are known and interacting with each other, I had to have some idea whether Stomrurian gods had Answered, which of them had Answered, what impact that had had on tribal boundaries, what those boundaries would be after a millenia or so, and what they would call themselves.

There isn't a way to get an alt world 'right'.  Not being completely, immensely, insultingly wrong involves much side-reading.  But I now know (or have at least read - my memory sucks) the names of many African kingdoms that I never knew existed.  I know which side of a continent 'Thunderbird' belongs to.  I now know about the Lady of Yue and her influence on the art of the sword.

Trying not to be insultingly wrong is a reward in itself.

06 February 2016

The Sleeping Life

Back in 2010, I was halfway through writing The Sleeping Life when I decided to embark on self-publishing my backlist, so I set it aside and distracted myself thoroughly in other worlds.  It's a pleasure to come back to this one - although, typically, by the time I had reached the end of this I had thought of at least three other stories I'd like to write in this world!  TOO MANY BOOKS TO WRITE!

The cover, as many of you probably already know, is by Julie Dillon (and is so gorgeous).

Anyway, for my blog readers, here are Smashwords 50% off coupon codes not only for TSL, but for SGM if you don't have it already.  Although TSL is technically a self-contained plot, it is so bound up in the aftermath of SGM that I really don't recommend trying to read it as a standalone.  The coupons are good until 14 February.

Stained Glass MonstersFE73P
The Sleeping LifeVY77R

Fallon DeVries has a sister who lives only in his mind.  Paying the price of magic gone wrong, Aurienne is trapped watching a world she cannot touch, only able to communicate with her brother while he sleeps. And it's slowly killing him. Fallon and Auri's best chance of untangling their lives is to win the help of a mage of unparalleled ability. But how can they ask for help when the warped spell prevents him from speaking? Besides, Rennyn Claire - once the most powerful mage in the world - is a shadow of her former self: ill, injured and unlikely to recover unless she can hunt down the monster who once tried to make her his slave. But that Wicked Uncle is nowhere to be found, and other dangers, once slumbering dormant, are stirring...

Buy Links (I'll update as I receive them):

Amazon US, UK, AU, DE, FR

Survey results and prize winners

Well, as the publication of The Sleeping Life rapidly approaches, it's time to draw the winners of the survey competition!  And the random number generator says: 3 and 55!

Congrats Nina and Kelsey!  Emails will be wending their way to you shortly.

I had plenty of fun reading all the survey results. I totally recommend to other authors that they ask their readers for their favourite moments/re-readable moments in your books, because so many of them are my favourite moments as well. :D

The answer to question 1 was totally unsurprising.

My fave is still Stained Glass Monsters. :D  But also, usually, whatever I'm writing at the moment, in between hating it.  There is always a "Wow, this is so much better than I thought" stage in re-reading a book you've recently written - while the current chapter is always The Worst Thing Ever.

Not long at all now before I can put up links to TSL!  Then onward, ever onward, to all the new books I decided I wanted to write while working on this one.

Edit: Expanding this post as requested to include a few more results.

Fave POV Character: Cass by a long way, but Medair, Ash and Rian also gained a fair number of votes.

Fave Non-POV Character: Kaoren, Aristide, Maze, Ys, Illukar and Illidian.

Story Element: Evenly scattered among categories I've already been writing, with some preference to not go in for too much smut.

Fanfic suggestions:
A lot of fun stuff here, including:
- Arden Ruuel falls in love.
- Daily life fluff.
- Setari School Stories.
- How Fish and Maddie managed to get together.

Fave moment:
My favourite question!
- Lots of people liking that elevator encounter. :)
- The scene where Rennyn calls the lifestealer.
- The crypt in Silence of Medair.
- Thornaster laughing himself into hiccups.
- Trolling the Secret War actors.
- Dragon conjuring!
- 80% mark on And All the Stars.

Looking forward to:

30 January 2016

January 2016 status

The Sleeping Life is off in edits, and unless some gigantic issue turns up I expect it to be out by the end of next week.  This was an interesting book for me - another of my morality of mages pieces, noodling around at the kinds of mages people can become.  Not something I can imagine being commercially published.

Up next should be a couple of short stories set in the Trifold Age universe, and then...well, so many novels to write, and I'm sure as hell not going to get all that I hoped to out this year.  I'll be working on Tangleways and Snug Ship, and probably a third unnamed project that I had to stop myself writing during TSL.

24 December 2015

Fallout 4 (some spoilers)

Fallout is one of the major game franchises that passed me by - primarily because I'm a hard sell on shooters, though the Fallout series did have more of a reputation for story than most others.  It's also what's known as a 'sandbox' game, which usually means there's a ton you can do, and a thousand different paths to get there.  It's a rare sandbox game that doesn't exhaust me long before the main quest ends (eg. Skyrim).

Fallout 4: There is no massive moon hanging in the sky in the actual game.
Still, I picked up Fallout 4 at least in part because of the slick graphics, and because of the positive reviews.  And also because of some of the cartoons going around showing the character creation process, where you get to design both yourself and your spouse (though cannot choose the gender of your spouse - and, minor nitpick, the child waiting in the next room does not appear to reflect any of the appearance changes you might make [though I've heard that the appearance is supposed to be generated according to the parental appearance]).

[I spent as much time working on my spouse's appearance as my own, even though I knew that character would die before the game got really started.  Not such a waste of time, since I had multiple opportunities to visit the corpse, or watch him die in flashbacks.]

Dressing for success in the post apocalypse. Lucky there's plenty of laundry cleaner scattered about.
Starting at the fourth game in series isn't a big bar to new players, since each of the Fallout games starts with a new character (dubbed "the Lone Wanderer"), who emerges from a vault after a nuclear war that has devastated a fission-tech Earth around 2077 (an alt-reality that seems to be going for a Stepford Wives vibe).  In Fallout 3 I gather you start the game as a child born in a shelter, but Fallout 4 adds a twist of cryo-storage and you go through a brief starting sequence of your family being frozen in their shelter, your character waking briefly to see their child stolen and their partner murdered, then frozen again before being properly released.

The double-freezing leads to an obvious twist, though there is a nicely-done fakeout in relation to your search for your stolen child.  However, long before you get anywhere near your child's trail, you must deal with "the Commonwealth" (set around the ruins of Boston), where the law has almost completely fractured following the fall of the Minutemen.  They are the first of four factions you encounter and you can choose to help out, and start re-establishing protected settlements (and get lost in an entire side-game of clunkily building houses, decorating them, and setting up defences and supply lines).

The other factions are the Brotherhood of Steel (basically a variation of Nazis, always talking about purity and wanting to kill off everything not-quite-human), the Institute (a shadowy super-tech place which everyone in the Commonwealth is convinced is, for some reason, replacing people with replicants called synths), and the Railroad (a group dedicated to helping synths escape the Institute).

On the whole, I found Fallout 4 to be compulsively playable - tons of little quests, and a landscape seething with life.  I racked up between 4 and 5 full days played before I completed the main quest line and decided 'no more' (there is scope for continuing on with minor quests near-indefinitely).  At the same time, I didn't find the main quest particularly compelling - especially once you get to meet with the Institute.  Part of that is, I think, because I didn't find the Institute leader's actions at all believable (ludicrous, in fact).  There is also very little option to try to convince any of these factions to change their views, even when some of the leader's actions in particular suggest he's not nearly so firm on the major divisive issue as his words would suggest.

There are a ton of potential companions - so many I didn't even find them all - and the companion quest lines, unsurprisingly, are some of the more interesting segments of the game - and the voice acting overall there is just fabulous.  My faves were Dogmeat (the iconic german shepherd companion, who is just glad to be around you - I felt bad every time I swapped him out as a companion), Hancock and Nick Valentine.


The game is also swimming in bugs (some of them shoot streams of maggots at you, but the rest just mess with the gameplay).  Most don't cause major issues, but it's worth saving frequently.

Recommended for: anyone who has several weeks free, and doesn't have a book they're supposed to be writing.

17 December 2015

Star Wars: The Parallels Awaken. So many parallels (but no spoilers)

First, yes, very good movie.  Much fun, high pace, some tears, lots of awesome.  Star Wars as a series has a real thing about spaceship adoration, and spaceship adoration definitely gets lots of love.

As the post title suggests, there are a _ton_ of parallels, of similar events from the first movie happening to different people, but it's done very well.  Rey is all kinds of awesome, and I especially love her 'girl engineer' aspects, and where that leads her in terms of emotional resonance.  Finn is a great big sweetheart, and while I don't think Finn/Poe is where they're going, they totally should (though perhaps give Poe a little more plot-time so he gets to have a personality as well as a jacket).

I only have a couple of negatives.  First, could have done with more Leia and more Phasma.  Second, Kylo Ren's parallel is from the prequels, which is not a good thing: here's someone we're supposed to see in conflict, but instead we (or at least I) mainly saw a fairly stupid, temperamental jerk.

But still, definitely already looking forward to the next one, and especially finding out the things about Rey that we didn't find out in this movie. Will rewatch when it comes to TV.

08 December 2015

'Truly alien' aliens

One of the things I very commonly come across in SFF discussion is someone saying that the aliens/werewolves/angels/other things are 'truly alien' or 'look and behave just like humans', where one is a compliment and the other criticism.

Every time I come across this sort of thing, I stumble.  Not because I don't get what they're saying, but I wonder what boundaries they're intending to draw.

What makes an alien 'alien'?  While 'does not look human' is an obvious thing, here's my cat Cinnamon.  She doesn't look particularly human either.  Does that make her 'alien'?

Cinnamon and I are not much alike. She likes racing madly up and down corridors, scratching things, and has a magnificent twitch reflex should a string move suspiciously anywhere in her field of view.  She eats stuff that would make me vomit.  She has no command of English, though she's a rather verbal cat, and won't hesitate to meow loudly until her humans try to guess what she wants.  She isn't into computer games or reading.

And yet Cinnamon and I and thousands of other creatures are very alike.  Earth itself is full of things not so very unlike Cinnamon, and yet all theoretically different from each other.  All of them share a drive to reproduce (or, well, we wouldn't know about their species at all).  All seek food of some sort, and an ideal environment.  The more complex ones generally exhibit fear, aggression, curiosity, play and something that at least appears to humans as affection.  I don't think anyone is arguing that 'aliens' could not exhibit these qualities.

But these are animals, and not at the intelligence level of the type of alien that SFF readers are talking about – a being that would be able to communicate effectively with humans if given access to language lessons and whatever mechanical aids might be necessary, while remaining 'truly alien'.

I think we can effectively divide aliens into 'physically similar to humans' and 'have a strong dissimilarity to humans'.  Cat-ancestry people, for instance, might claw stuff and have a tendency to pounce, but they're still mammals, with live births, milk feeding, and the food-in/poop-out process.  Then you have, say, the 'piggies' from Orson Scott Card's Speaker for the Dead (where reproduction is…different from the standard mammalian process) but otherwise these are creatures that exhibit a similar range of drives and emotions to humans.  Thirdly the 'completely different' – living rocks, or energy beings that have little to no concept of many human physical experiences – but could still presumably produce fear, aggression, curiosity, play, affection.  No-one is arguing that 'truly alien' aliens must not have emotion, or biological imperatives.  If you don't go in for large physical differences, a lot of what people point to as 'alien' seems to be "non-Western culture" – and if you got into the alien's POV, they would read very much as humans of a different culture.

Different cultures are very interesting!  Altered experiences caused by physical differences are also very interesting!  But surely we're not arguing that beings with cultural and physical differences are intrinsically non-human.

Cognative differences takes us into more complex territory.  Humans have cognative differences too, and I'm sure no-one who is talking about "alien aliens" means to say that non-neurotypical humans are 'alien'.  Where does the line get drawn?  We have humans with synesthesia.  We've seen robots depicted with depression, or aliens who in theory have no concept of lying, or don't understand death or love or friendship.  And, to be honest, most of this latter type of 'alien' reads as extrapolated concepts to me, constructed to create a plot.  I am vastly, vastly more inclined to believe that if we somehow overcome the echoing hollows of space and stumble across a few intelligent alien species…we'll get a bunch of creatures that look an awful lot like Earth creatures – and probably act like them as well.  Aliens because 'not from here', and with some physical differences, and big cultural differences, and not 'truly alien aliens' at all.

What do you all think?  If we started planet-hopping, would you be all that surprised to find mammals?  Cats?  Bipeds with roguish grins, a taste for scotch, and a nice line in leather jackets?  At what point do you throw up your hands and cry: "These aliens may as well be human!"?

03 December 2015

5 Years!

On 1 December 2010 I published Champion of the Rose and The Silence of Medair (on the same day, to make the question of 'my first book' a matter of some quibbling).  While it would have been a nice bit of symmetry to publish The Sleeping Life this month, it looks like it's going to be a late January-at-earliest publication.

However!  I can still celebrate five years of being published, and as always enjoying writing and having people read my books, and even saying nice things. :)  I doubt I'll hit full-time author status any time this decade, but I'll definitely continue to put out one to two books per year just because I really like doing it. [And commissioning art for them. ;) ]

A giveaway is definitely in order - my entire back catalogue, plus my upcoming The Sleeping Life in whichever format you prefer (TPB or ebook), when TSL finally releases.  [If you have all my books, you can name a character instead!]

This time I'll combine it with a fun survey (well, fun for me).


You can fill in the survey without entering to win (or enter without filling in the rest of the survey), and the competition will remain open until the day before release (whenever, sigh, that happens to be) is closed now.

Thanks so much everyone for reading me!  Whenever I'm feeling down about my writing or suffering from self-publisher's chip, all I have to do is read the wonderful reviews, comments and fan mail I've received these past five years and bask. :D

22 October 2015

Life is Strange (all the spoilers)

Life is Strange is a recently-concluded Square Enix game set in a US high school where our girl photographer protagonist Max discovers her powers of time-reversal and embarks on a journey of choose-your-own adventure and then erase that choice and choose again if you don't like the outcome.  I played the first episode of this some time ago and set the game aside because I'm not overly keen on playing through the teen experience of bullying and girls-as-victims of violence themes that the game seemed to focus on.

But plot curiosity is one of my traits – and since I'd already purchased the full series, I picked the game up again after episode 3's release.
The game is a type becoming more common: small to no combat (LiS has none), similar to visual novel games where you follow a primary plot while impacting secondary outcomes (how other characters feel about you, usually), with all those choices ultimately deciding which "endings" are available to you (often ranged from 'best ending', 'good ending' and 'bad ending').  These games are also increasingly broken up into a number of chapters, where at the end of each chapter you get a summary of the major choices, and a breakdown of what percentage of players made what choice.


LiS has many positives.  It's visually lovely, and the photography works nicely to make the player look at the world in even more detail.  It's well-scripted (the teens mostly talk like teens), well-acted, and has few dull or dragging sections.  If you're looking for a game that grips you by the feels and hauls, then you'll find this is a game that pulls you all the way under.
My initial qualm about the game – that of not really enjoying situations of female victimhood – is fulfilled in the final episode with a truly unpleasant visit to the "Dark Room".  But it's the final decision of the game that has me continuing to think about the game.  [Don't read on unless you're happy to be completely spoiled on this game.  Also note that this is a game that definitely warrants several trigger warnings in relation to bullying, abuse and suicide.]

LiS starts out with Max returning to her home town of Arcadia Bay to attend Blackwell Academy – particularly the class of a prestigious photographer, the hipster-cool Mr Jefferson.  Like many schools it has problems with bullying, of privileged and non-privileged students – and it's plastered with posters of a missing girl, Rachel Amber.
During class one day Max has a strange vision of climbing to a lighthouse during a tornado.  After class, a trip to the bathroom (and the inevitable butterfly-effect allusion) leads her to witness the school rich kid, Nathan, meet with a blackmailing, blue-haired girl – who he promptly accidentally shoots and kills.
Wanting to stop this event leads Max to discover she can rewind time, and she ends up back in her classroom, right after she'd had her vision of a tornado.  Naturally, she sets out to "fix things" by saving the mysterious blue-haired girl from being shot – doing so by setting off the fire alarm.
Max now has a dilemma – she knows that Nathan has a gun and is seemingly spiralling out of control – but she also has brand new rewind powers.  Unfortunately, Nathan's now suspicious of her, and confronts her in the car park, only to be foiled by a quick getaway in the truck of the blue-haired girl, who turns out to be Max's nearly-unrecognisable childhood friend, Chloe Price.
Where Max is shy and a little nerdy, Chloe is brash, rule-breaking and defiant – considerably changed from the girl Max knew.  Much of this change is put down to the death of Chloe's father shortly before Max's parents moved from Arcadia Bay: Chloe has been acting out from a sense of abandonment, her anger exacerbated by her mother's remarriage to an all-rules-and-lectures security officer, and then the disappearance of the friend who was helping her get through it all, Rachel Amber.
The relationship between Max and Chloe is the core of LiS.  Max's guilt and Chloe's anger play off each other as they renegotiate their friendship, and try to investigate Rachel's disappearance while dealing with the various crises that arise from a dysfunctional school – the bullying frenemy Victoria, the fragile Kate, the wants-to-be-more-than-friends Warren.  Max, with the advantages of time reversal, can help or hinder her fellow students, can accept or fail to notice Warren's romantic overtures, can uncover the spying tendency of Chloe's "step-douche", David, and anger – or kiss - Chloe.  There's a lot of joy in this section, this connection between two friends, but a couple of flies in the soup as well: Chloe is in debt, she's angry, she's messed up, and she's occasionally willing to throw Max under the bus for her own benefit.  But then, Chloe's had a dark few years, and Max's return is helping.


It's not until Kate attempts to commit suicide that Max really hits the limits of her power.  She can reverse time enough to try to talk Kate down, but she can't reverse it so far as to undo all the little choices and decisions that will make the difference between succeeding and failing.
Many players are unable to save Kate – an event so upsetting that quite a few players replayed previous chapters in order to be able to succeed – something that Max is unable to do – until she can.  Or, at least, Max discovers her time-travel abilities have expanded to travelling to any point of time in the past that's been captured in a photograph.
Naturally Max immediately travels back to "fix" the major event that seemed to cause so many problems: the death of Chloe's father.  And it works!  She visits the past, prevents a car accident, and returns to a future where Chloe's dad is still alive – and Chloe had a car accident instead, is paralysed, and dying, as her parents drown in medical-bill debt.  This is where the player might feel that the game universe is being a little unfair, as Max has to choose between undoing her "fix", and killing her best friend.  She chooses the friend, of course (not something players can alter), and the timeline reverts to the angry Chloe fixated on finding her missing friend.
Here the investigation steps up, but with a suggestion of a major cost.  Weird stuff is happening around town – snow in summer, whale beachings, doubled-moons – not to mention those persistent visions of a mega-tornado, and a clear physical toll on Max.  The story presses on, uncovering the truth about Rachel Amber – and the reasons for Kate's distress, and who is the bad person behind all this, which culminates in Chloe's sudden, shocking murder, and a not-at-all pleasant scene at the beginning of the final part of the game, where all players everywhere really want Mr Jefferson to just shut the fuck up, and Max is frantic to escape and go back and stop Chloe from being killed.
Which she does.  But here we hit the real consequence.  Messing with time, as heavily foreshadowed, carries a storm of a price.  Max's mental situation starts to fragment, as we spin through possible alternate realities – or perhaps simply nightmares – until finally she – and the players – are faced with one final choice: go back and undo the first change, the one that set this all off, or watch the entire town be wiped out by a no-warnings tornado.  Let Chloe die, or destroy the town.
In other words, this game doesn't have a "good" ending.  This is a game where you kill the person you have spent the entire game trying, in one way or another, to save, or you become a mass murderer.  Where you kill fragile Kate, sitting in her hospital room.  Where you kill Chloe's mother.  Where you kill Warren, the science-boy who was so eager to play White Knight for you.  Where you kill Victoria, the frenemy you ended up kinda on-side with.
Where you kill babies.
And here's where those end-of-chapter choice statistics become fascinating.  Because (last time I looked) in this lose-lose situation, 50% of players save the town.  50% save the girl.
I'm hard-wired in the former camp: the Mr Spock camp, so to speak.  You don't kill hundreds of innocent people to save one, no matter who they are, no matter how much you care.  You don't kill babies.
So I, the player, watched Chloe's funeral, and cried quite a bit.  Then I turned to ever-useful YouTube to watch the alternate ending, where two friends – horrified, exhausted, stunned - drive out of town through the wreckage, leaving behind nothing but rubble and corpses.  Together at any price.
[I have to wonder if Chloe's surname isn't a coincidence.]
Anyway – an unusual, powerful and complex game.  I don't think it's an entirely fair dilemma – there was no option to let the storm hit but do your best to evacuate the town, for instance.  I also think that there's a mild logic issue with why Max's power woke at all – she didn't even know it was Chloe being shot, at first, and wasn't nearly so powerfully bound up in saving her until after they reconnected.  So why did the time-bending power waken?  But I still like how this ended, I like this choice between loss and being (basically) a villain.  And it says something for the sheer charisma of Chloe, the power of the friendship (or potential romantic relationship, if you followed that course), that so many players will choose the one over the many.
[Note: the game skirts into ableism in the alternate timeline (this skates by because Chloe is not only disabled, but a few months short of death, so the message that being paralysed is worse than anything is leavened).  Nor is the story's handling of David (does very iffy things, but ultimately forgiven because well-meaning troubled vet) entirely unproblematic.  Because Chloe is also fairly clearly signalled as a lesbian, the game also falls into the "tragic queer" territory.]

05 October 2015

Until Dawn (mild spoilers)

The point where I lost interest in Until Dawn was well over halfway through the game - after the First Reveal, and the Explanation Point.  At this point, the four characters I had not yet failed to keep alive (because you can, theoretically, keep all your characters alive in this survival horror game) have been told Just How Bad It Is and (mild spoiler) leave relative safety for, so far as I can tell, very little reason.

No, actually, it was when three of them (travelling in a group) not only bring no weapons, but they split up without hesitation.  And I just stopped caring.

The mechanics of the game are, in themselves, quite playable.  None of the teens in this teen slasher flick game are necessarily going to die.  They do, however, have multiple opportunities to die, depending on your branching choices, and your ability to hit triangle-circle-square in quick time action sequences.  NOT acting at certain times is also critical for survival - something that the game exploits, since you become very punchy about hitting buttons as soon as they're signalled on screen when that's usually the one thing keeping you alive.

The story is pretty par for the course for a teen slasher story - not very interesting in itself - and the characters are quite clearly deliberate stereotypes: jock, slut, sweet guy, geek guy, geek girl, bitch, dork-bro and ingenue.  It was fairly hard to like any of them (caught as you are between bland and deliberately off-putting).  Though I ended up very sympathetic toward Emily (the bitch) just because she went through _so much_.  After all the extended awfulness she survived (and apparently she has at least twice as many opportunities to die as the ingenue) I'm kinda glad I stopped before accidentally killing her.

If you can put up with the idiocy that killed the game for me during the end game build-up, then gamers might enjoy Until Dawn for the sheer challenge of not getting anyone killed (I don't even know what I did to get the first one killed), and seeing how the dynamics of certain scenes play out if more characters have survived to be present.

I was also quite interested in how close to crossing the uncanny valley we're getting, at least in the pause-scene close-ups of character faces, where many of the tiny movements of a living face have been mapped, making them look eerily alive.  Not so strong in the full-body playable scenes, but I was impressed otherwise.

30 September 2015

First Lines

A big deal gets made about first lines.  They're the hook, the main chance to catch a reader's interest.  With novels, this is more a first paragraph rule than a first line rule, but I thought it would be an interesting exercise to list off the first lines of all my books (including any unpublished partials longer than a single chapter).

This is roughly in the order the stories were initially written, rather than publication, though of course the first lines may have changed considerably since the first draft.


Jame, scraping unruly brown locks out of his eyes, called Piotr every foul name that he could think of, including the ones the herdsmen called their sheep when they wandered off, but he said them softly, muttering under his breath, because Piotr would do more than call him names if he heard him.

Stairs that circled down and down and down, away from the dim light which was the night sky into a shadowy pit which resounded with echoes born a thousand years past.

A barefoot, smoke-scented girl sat above the River Milk.

"You two are disgusting."

"Nervous, beloved?"

They'd been poking through her gear again.

The Danai.

A lavish display of women.

Arlen EidAren refused to believe that someone could be following her.

"And then what?"

The inn fell sideways.

There was a point where you just had to stop waiting for the prince to ride over the hill, and take matters into your own hands.

Taine held one long-fingered hand against the plasglass and smiled.

The first few weeks in Jorbarra, Teale Rameidin was blithely unaware of the Mage Trap.

"Bloody Snakes."

Sunlight on metal.

Hands gripping her wrists.

After a morning spent sorting through the previous Champion's library, both Soren Armitage and the aide lent her by the Chancellor were so dust-laden that they were beginning to blend into their surroundings.

Looking north, Gentian Calder could make out the shadow of land.

Where the FUCK am I????

April Fool's Day. 

It's one thing to decide to save the universe, another altogether to find a way to go about it.

Wow – feels like forever since I've written.


Even ignoring his nightmare predicament, Fallon DeVries would be glad to get back to the Arkathan and away from the ritual of saying goodnight to an idealised statue of his mother and sister. 

"The following students will report to the Vice-Chancellor's office at second bell."

Fifty-seven pence until Sunnesday.

Madeleine Cost's world was a tight, close space, a triangular tube tilted so her head lay lower than her feet. 

Sunlight picked out motes of dust, and burnished mellow wood to match Arianne Seaforth's hair as she strolled through the Southern Nomarch's library. 

There are no real surprises in an MMO.

The longer sentences, of course, tend to give a better idea of the story, but I think my favourite will ever remain "The inn fell sideways."  A most dramatic start indeed.  [The story involves an entire inn (with about 50 occupants) being transported instantly right smack to the centre of the deadly and abandoned land of magic will magic your ass.]

25 September 2015

"Zero Difference" Worldbuilding

Sylvia Kelso, a writer friend who has had a large influence on my own writing, once riffed on Barthes' "writing degree zero" (in regards to writing without regard to the conventions of language) to describe the kind of worldbuilding I do as "zero difference".

This was in reference to Champion of the Rose, where I'd built a 'bi-normative' world.  The story did not touch on the terrible discrimination and pain that non-heterosexual people regularly face in our own world - the protagonist never discusses or even thinks about her sexuality.  Characters are shown in a range of situations - committed m/f or f/f relationships, disappointed in or longing for past relationships, or happily flitting from lover to lover, guided only by opportunity and personal taste.  I also built into that world the concept of 'thirds' and 'tribonds' to handle different ways society would expect same-sex people to approach conceiving children.  But this was just in the background: never underlined or directly examined.  Zero difference worldbuilding involves making massive changes to a status quo imbalance, and presenting it without remark.

In almost all of my books I do exactly the same thing with the role of women.  The Darest, Eferum, Touchstone and Medair books have no societal sexism (though individuals are free to be asses).  Women have the same inheritance rights, rights to own property, right to rule, and to pursue careers, as anyone else.  I don't discuss how this came about, or how awesome it is: it just is a fact of the world, like gravity.

There are a few reasons I build 'zero difference' worlds, but a primary one is to move away from the limitations of stories I have already read.

I Can So Do It

I have long sought stories of "girls doing stuff".  Often, the books I cheerfully gulped down were "girls can too" stories.  A girl in a sexist society is forbidden from doing something, and wins through adversity to stand triumphant (often assuming and discarding a boyish disguise) having saved the colony/won the battle/defeated the Dark Lord AS A GIRL! (*gasp*)

These stories are a lot of fun.  Hunting, one of my earlier novels (in order of writing), is set in a structurally sexist kingdom (somewhat isolated from a wider world without such inequality), but I put her in boy's clothing specifically to avoid time spent telling the protagonist Girls Can't Do That.  I've loved many a story of girls proving that they Can So Do It, but at the same time Hunting is my only book where I've even touched on that dynamic because the world itself limits how you tell your story.

Even if you allow your main female character to Do Stuff in a structurally sexist world (by putting her in boy's clothes, or giving her a Get Out of Gender-Jail Free card, or showing her valiantly Doing "Women's Stuff" because Women's Stuff is Also Important, by setting the story in a structurally sexist world, the story often revolves around and repeatedly has to deal with gender limitations.

An (unmarried) girl in such a world is unlikely to be sexually experienced, which considerably changes her dynamic in romances.  Tasks such as investigation are endlessly complicated when a woman would cause comment or scandal simply by her presence at, say, a race course or a public tavern.  A woman's expertise and suggestions are likely to be dismissed in worlds where they are held incapable of non-domestic skills.

And the 'cost' to the story is time.  Time devoted to overcoming the problem of being female in order to tackle the problem that is the plot.

It's not easy being

Of course, sometimes the plot is primarily about being female.  Books that directly examine and hold up to the light challenges faced by women (or people of colour, non-cis people, non-het or differently-abled people) are incredibly important.  Many readers find it a gift and a direct aid to witness a character in a book struggle with the same issues that are a central concern of the reader's daily life.

The character(s) might overcome those challenges, test different methods of tackling them, or be injured and retreat from them.  The importance is in the acknowledgement, on shining a light on both the dystopian-level oppressions and the small, silent shames that are delivered to people who are not sitting on the very top of the privilege pyramid.

My particular interest as an author, however, is not holding up a mirror, but creating a window to somewhere else.

Second 'Verse, Same as the First

I've walked through thousands of fantasy worlds.  There have been some very unlike our own, but the vast majority are more than familiar.  Even if there are gods who can enforce their edicts, even if physics is debatable and magic a wild card altering all manner of expectation, these massive variances seem to make little difference to culture.  Humans are divided into women who are domestic and men who are in charge.  Heterosexuality is not only common, but mandated, with transgression punishable by law.  Civilisation seems inextricably linked to a low melanin count.

At times when reading I feel as if stories are trying to lace us into a corset of "this is how it is" and refusing to let us breathe.  We are being told over and over that some things are inevitable.  Not only are they inevitable, but they are the primary aspect of our Selves, and to be x or y or z  means that we must absolutely, inescapably devote large amounts of time to dealing with mandatory hate.

Loosening the stays

So one of the reasons I both seek out and write "zero difference" worlds is simply to breathe.  To not shower my characters with major threats and micro-aggressions, to not make prejudice against that character their one abiding truth, their constant preoccupation, and the required focus of the plot.  To show that a person can simply be x or y or z, and also a and b and c, while focusing the majority of character time and energy on j.

With me 'j' is usually the morality of mages, or dissonance caused by time dislocation, or bonds of rule or friendship, with a side order of frustrated artist.  And I want to put my characters through those questions, not set them on the old, familiar treadmill of "girls can't do that".

Modelling possibility

Another reason I enjoy "zero difference" worlds is to take a next step.  In the Darest books, I began to explore what social constructs would develop in a bi-normative world.  In the Singularity Game series I'm questioning gender by introducing virtual body-hopping.  In the Trifold Age books I hamstrung colonialism - the period of European invasion on the back of gunpowder and disease - by introducing gods who "Answered" and protected their various peoples.

That is not to say that zero difference worlds are Pollyanna wishful thinking.  Hamstringing a few invasions, of course, won't necessarily stop people from hating, fearing or demonising other races, any more than interventionist gods necessarily erase institutional sexism - Gods, after all, can be racist and sexist too.  But limiting colonialism can be used to fiercely undercut the terrible lie that is the White Superiority narrative.  Changes such as this allow me to look into a world where the myriad African kingdoms whose names we're never even taught in school were not dismantled to the point where people deny they ever existed. Where English is not a dominant language, and the influence of the Egyptian social imperative of Ma'at directly opposes the concept of 'serf'.

Because one of the real joys and pleasures of a zero difference world is not treating what we have now as inevitable, true, and correct.  There is room for more worlds than that.

26 August 2015

'Hugo Worthy'

There are naturally a lot of posts about the Hugos going around at the moment, and the phrase 'Hugo worthy' has come up a lot, starting me thinking about perhaps nominating next year.  And what to nominate.

Other than favourite authors on auto-buy lists, it's unusual for me to read books in their year of publication, let alone the books that people seem to think are 'best' or 'worthy'.  And when I do get around to reading one of the hot nominees or winners, it rarely seems to be the sort of story I like, let alone thought excellent.

Which is, oh well, people like different things. 'Best' is a construct built of buzz, and word of mouth, an active fan base or, apparently, sealing wax, string and puppy dog tails.

So I circle back to that term 'worthy', and what exactly 'best' means, and realise that, substantively, they're terms that push me to not nominate the kind of books that work best for me.

So when the nomination deadline approaches I shall compile a little list of books I've read that were published in the relative year, throw away any criteria other than a yes/no decision on whether the book 'worked' for me,  and nominate them.

'Worthy' really is that simple.