Tamrielo

[Another installment of Short Fiction Friday, about a few NPCs from my current Shadowrun campaign. This and all future entries will be written on the spot, please forgive a lack of editing, this is all one pass. Enjoy! If you like the art, while I’ve used it for my NPCs, credit goes to http://tapastic.com/series/fisheye — the comic that’s the source of these characters.]

Alice missed crème brûlée. Once a month, if she’d gotten good grades, her parents would take her out to a fancy restaurant in Harvard Square Upper. She would read the menu, read about the restaurant in wonder as she always had. It was called Finale, and according to the story in the menu, it had been around for almost 75 years. It had vanished in the mid 2020s, but had been revitalized a decade later by an elf who’d remembered it from his college years. She loved the story, that a restaurant could have such history and endure through so much, and she’d always happily read it, pretending to her parents that she was deciding what she wanted to order, then order the crème brûlée, like she always did. While she waited for it to come, she’d look around the restaurant.

Finale sat on the edge of the massive plate atop which the higher-class citizens of Boston lived. Its awe-inspiring view drew Alice’s parents, but she was always more interested in the interior. It had beautiful glass chandeliers and glasses in interesting shapes, and she didn’t like the reminder that she lived atop a massive plate over the rest of the city, she just wanted to enjoy her dessert. Her parents would get something her dad called “ice wine”, but it wasn’t anything like the heavy, sour red wine they otherwise drank. It was a clear, peach color, and if she’d been really good and gotten really good grades, she’d get a little taste. It was sweet, but hinted at flavors she was still too young to really understand. She’d found it, once, on a job at some posh businessman’s apartment. It was the same as what her father always ordered, and seeing the price tag on the bottle reminded her of everything she’d given up. She’d never be able to afford even a glass of it, much less a bottle. She hadn’t been able to resist having a taste.

Ken was the one who’d figured out what she’d done, a few days later. She’d left DNA evidence on the bottle when she’d had a sip, and it’s how the police got information on them. She never figured out how he knew; that was his knack– knowing things. Alice’s knack was a lot less subtle. She was good with the elements. Her instructors at school called her a “pyromantic prodigy”, and she’d quickly spread from fire to other elements. She’d been told that people who were particularly gifted with one element generally had a hard time learning an opposing one, and she took it as a challenge. Just to prove a point, she passed her second level apprenticeship tests as an aquamancer, three years earlier than the school had ever seen before, using an element diametrically opposed to what she’d seemed most attuned to. Prodigy was an understatement. Her parents had been thrilled, particularly when she’d been invited to the Oxford Academy for Gifted Magi at an unprecedented age. She’d gotten to eat TWO crème brûlées that time.

Oxford was far away, a boarding school, and Alice was initially terrified of the place. It didn’t help that, at age twelve, she was younger than almost every other student there. There was only one student younger than she was, an electromancer named Nicholas, who wanted everyone to just call him Nick. He was eleven, and the two of them bonded quickly. Nick was cheerful and vibrant, and Alice enjoyed his company. Together they weathered some awkward years, as they both grew into teenagers. She was there for Nick’s first heartbreak at the hands of another boy, and he helped her work up the courage to approach a slightly older student and ask him to a school dance.

The older boy was named Ken, a mage like the two of them. Alice never had to ask the question; she just walked up to Ken and he looked straight at her and said “Yes, I’d love to go with you”. It was a shock, and her expression must have given something away, because Ken was almost immediately just as flustered, apologizing for being too forthright and looking abashed. He explained later that it was his knack, knowing things, but that sometimes– particularly when he was nervous– he had trouble remembering what he was already supposed to know and what he wasn’t. After the initial awkwardness, Alice and Ken became fast friends, and Nick helped Alice pick out her dress. A little later, he helped her pick out a second dress, a much fancier, much more elegant one. When she asked why, he winked and grinned. “For prom… eventually, you know? Ken’ll love it.”

Alice, Nick, and Ken became fast friends at Oxford, and Alice learned more about their histories. Nick was from a poor family, and Nick’s penchant for accidentally damaging their limited electronics meant that they put him in a foster program for mages very young. He’d proven he had incredible talent, and Oxford had picked him up, offering him a free ride. He’d taken it, knowing it was his only hope to get out of poverty. Ken didn’t talk much about his family, but Alice had pieced together that something horrible had happened to them, and that he was at Oxford because he’d somehow survived whatever had happened and was paying for it with inheritance money. Alice introduced the other two to her parents when they came to visit, and they became her companions during breaks, spending it at their parents’ home in Boston.

It was on one of those visits that things took a turn for the worse. Nick was having trouble in classes, and Alice and Ken were trying to teach him. Frustrated and defeated by the advanced electromancy skills he was supposed to have mastered (and that Alice had been able to effortlessly pick up while studying with him), he revealed that he only had a middling talent with electricity. He confessed that it had been a front the entire time– his real talent wasn’t elemental at all. He could dive into the wireless Matrix and manipulate it, changing things like a masterful hacker, entirely without any sort of equipment. He was a technomancer. His parents had kicked him out of the house when they’d found out that he was “some kind of freak mage”, and no one he’d spoken to had any idea what kind of magic he had. People were suspicious, and whenever anything inexplicably went wrong while he was around, anyone who knew his power would cast blame his direction. He used the computers at Alice’s home to show off a bit of what he was capable of, showing them some internal corporate memos that he was able to seemingly conjure from nothing.

Ken’s response was immediate. His gaze from behind his glasses became glassy, the look Alice had come to associate with Ken’s unique form of magic. Almost dreamily, he spurred the other two to action, getting them to grab their bags, still only partially unpacked, and move. They’d learned to listen when Ken got this way, and followed his instructions. He got the two of them out of the house mere moments before a corporate black ops team descended on Alice’s home. Chased by the sounds of gunfire and rising flames over her once home, Alice’s life was shattered, and she and her only two friends vanished into Boston. After a life of living in the sunshine, above the Boston Plate, Alice disappeared into the Boston underworld, the shadowy world beneath the Plate.

–to be continued–

I’ve hit the point in my Japanese studies where what I really need to do is build a ton of vocabulary. I have a reasonable grounding of basic grammar and sentence structure, and I need more vocabulary so I can start learning quirks and learning how to put pieces together.

It’s made more difficult by the lack of good resources. Straight translation isn’t necessarily the best, because there are shades of meaning in word use that I don’t yet know. In English, “friend”, “companion”, “partner”, and “teammate” can be used in very similar ways, sometimes interchangeably, but they’re different enough that you can’t just pick one and use it universally. Introducing your lover as a “friend” is a quick route to hurt feelings, and referring to a friend as your “partner” makes a few suggestions that you might not intend.

It’s a severe pitfall when learning a new language, and it’s one of those things that draws a stark line between the fluent and the learner. I’m probably getting a bit ahead of myself by thinking about this sort of thing this early on, but I can’t help but want to know the proper, appropriate way of saying what I want to say, and understanding both how and why it differs from a literal translation. Growing up, I always chuckled a bit at classmates who would scoff at learning multiple words with similar meanings– they would wonder why there needed to be two or three or four words that “meant the same thing”, and I’d wonder what the differences were, and why there were multiple words that meant the same thing.

As a result, I’m very sensitive to the idea that, in Japanese, a single kanji can have multiple meanings, and that clever wordplay and eloquence revolves around using the right word in the right place, seemingly moreso than English. It makes me want to have the same breadth of vocabulary I have in English so that I can be more precise in my speech. I know I want to eventually be an eloquent speaker, and I know I need to have a broader understanding of the language to know what eloquence even means in a language that isn’t English.

To get there, though, I need vocabulary, and I have to learn it somehow. Rote memorization isn’t getting me very far– I’m good at it when it comes to abstractions like the hiragana and katakana, but when it comes to attaching concepts to words I’m a lot weaker. I’ve considered starting to memorize kanji, using the same techniques that I used for hiragana and katakana, but it hasn’t been very successful thus far because I’m not always sure what words to start with and how to use them. I have, for example, picked up 私 (watashi, “I/me”) because it’s extremely useful and relatively straightforward, but I’m continually forgetting 音 (sound, noise, note) because I’m not really sure how to use it properly.

I find myself wishing I could take the opportunity to immerse myself completely in the language and just be lost for a while until I make the connections I need. This would be a uniquely awful experience for me, because communication is so important to me, but it would accelerate my learning a lot, and I’d learn how to use the language properly. I’m not sure there are good opportunities for me to do this, though.

In the meantime, I’m memorizing how to count various things. It’s a process.

I’m pretty excited about Divinity: Original Sin 2, and booted up the first one with Kodra this past evening to mess around a bit. It reminded me a lot of playing the game before, with Ashgar, and some of the difficulties we ran into.

The biggest issue is that there is a LOT of story in Divinity: Original Sin. It’s delivered in classic RPG style, through NPC dialogue, which means things tend to either go over the head of the player not actively engaged or forward motion is slowed to a crawl as everyone makes sure everyone else is finished reading.

The first D:OS feels like a big, expansive place with a lot of stuff to do, and there really is. After a short tutorial area, you’re dropped into a fairly big town with 50+ NPCs, many of which will have quests for you, and all of which have something to say. You can stumble across what’s probably the main plotline of the game in what seems like an accident, and you can do everything from robbing the town blind to picking a fight with the city guard and losing horribly. It’s an incredible amount of freedom, but it slows down the pace of the start of the game immensely. It’s entirely possible to spend 2-3 hours or more in the town faffing about before actually going to DO much of anything, and you can go from levels 1 to 3 fairly easily.

It’s possible, of course, to leave the town after a relative minimum of NPC conversation, but it’s still a pretty big time investment where you’re still kind of figuring out the game before you get back into out-and-out adventuring. There’s some really cool potential stuff here, where I can go off and do some shopping while my partner picks up quests, and then he can brief me on what we’re doing. It means there’s stuff for a “face” character to do and be effective without forcing everyone else in the party to simply watch.

That having been said, though, you do all of this in the city before you actually get to go out and test the waters as far as combat, adventuring, etc go. I like the heavy roleplay-y nature of the game, but it loses something in the pacing, and there’s not a lot of good messaging to get you to go out of the town and do more than just talk to NPCs.

On the other hand, the game has a lot of rich storytelling going on and an absolutely mindblowing amount of content, even in just the first town. There are a ton of interweaving questlines and some genuinely interesting NPCs (including a whole bunch of animals that have stuff to say and quests to give to you if you’ve taken a particular perk, but just moo or meow at you otherwise). Were I playing the game singleplayer, I’d spend a bunch of time talking to every NPC and getting all of the story and just absorbing it all at my own pace.

In multiplayer, however, there’s a sense of urgency that seems to crop up. There’s a sense that we want to be together, fighting enemies and moving forward in some dungeon or other area, and that anything getting in the way of that is boring. Talking to NPCs is necessary, but there’s a pressure to rush and get to the more interactive parts, and you lose out on a lot of story in so doing. It’s very similar to the MMO problem, where players just click through text as fast as possible, and have to make a conscious effort to stop and take in the story. As soon as there are other players involved, it becomes all go go go fight fight fight all the time and the story gets pushed to the wayside.

As someone who really loves story in games, but also loves co-op, this bugs me. There are very few story-driven multiplayer games out there, and even the really outstanding ones (Borderlands) tend to be extremely light on story interactivity. Divinity: Original Sin has a lot of story and a whole lot of interactivity within that story, but presented as a multiplayer experience there’s a feeling that you need to rush through it, or a real risk of getting bored waiting around for the rest of the party.

I’m very interested in the sequel, especially because I feel like the expanded party size from 2 to 4 will allow much more focused builds and some really interesting character options, but I’m also worried that that’ll dilute the storytelling even more. I suspect the solution is on the player side– talk a lot, over voicechat, about everything that’s going on. Retell parts of the story to your friends while you play and keep people from getting bored. It also means people are constantly checking up on each other, rather than going off and doing their own thing while playing “together”.

It’s still not the most elegant solution to the problem, and it’s a non-trivial game design problem to solve. It’s something I’ve been mulling over for a while and haven’t found a nice way to fix.

I talked quite a bit yesterday about PAX as an experience, but I didn’t really talk much about what I saw and did at the show.

I should probably preface all of this by talking about how I go through PAX. I tend to play very few games at the show– I’ll watch screens on a lot of them and sometimes talk to the folks at the booth, but mostly what I do is bookmark games I’m interested in and move on. Part of this is that I don’t really want to know too much about a game before I play it, so I can get the full experience without preconceived notions. I do this elsewhere, too. As soon as I see a trailer or an announcement of a game I know I want, I bookmark it and stop reading anything about it. It’s been great for keeping hype under control, and I enjoy those games a lot more than I did when I devoured every bit of info I could find and created a grand vision of the perfect game in my head.

As a result, at PAX I tend to skim games I already know I want to play. Mirror’s Edge: Catalyst, Dreadnought, Battleborn, Gigantic, FFXV, Fallout 3, Dishonored 2, and quite a few others had a pretty significant presence, but I already knew I wanted to play them so I checked out the booths and moved on. I’m going to play them, I don’t need to see more. What I wanted to do was spend more time with games I’d either never heard of or wasn’t convinced I’d be interested in.

Here’s a quick rundown of the games I spent a bit of time with, what I thought of them, and which of the two categories they fell into:

Sword Coast Legends: I didn’t get to play this one, because the line was insane, but it’s one of the games I’ve been the most interested in messing around with. I love the idea of a game with a bunch of players and a DM, where it actually works well for the DM to create and manipulate content as you play; it’s a really neat idea that I’d like to see succeed. The concept looks great, but I don’t know how the game itself is. Still, almost certainly picking this up unless some serious red flags crop up.

FFXIV: Not a new game, but the first time I’ve been at a convention that had a Battle Challenge. Kodra, Ashgar, Paragon (GIntrospection) and I managed to get in line for it on Friday and take on Ravana. It’s the only game I waited more than five minutes to play and it was a ton of fun. The four of us were grouped with four very new players– one who’d gotten a character up to level 30, months back, and three who’d never played the game before. We managed to win, and it was great coordinating with new folks and making sure they got a win (and a cool shirt, too!)

The Magic Circle: I’ve been following this game for a while now, and hadn’t realized it’d launched. At some point soon I’m going to boot it up and give it a shot, because I think the premise is interesting and I haven’t played a super meta game lately. The idea is that you play a character in a video game that’s been in development hell for twenty years, and you fight your way through old junk code and scrapped ideas and bugs as well as pulling from other games that the company has developed to find your way to freedom.

Shadowrun: Catalyst: This is the Shadowrun board game that I’ve heard about, and Kodra, Ashgar and I got to play a demo of it. It’s a cooperative deckbuilding game where you fight Shadowrun-style enemies and get new gear, levels, etc. It’s very reminiscent of the Pathfinder Adventure Card Game, just set in the Shadowrun universe with a greater emphasis on teamwork rather than exploration. I liked the demo we played a lot, and I’m interested in seeing what else the game has to offer.

The Black Watchmen: The ARG leading up to the Secret World’s launch was incredibly fun, and one of the big groups that featured heavily was called The Black Watchmen. The idea’s since spun off into its own game with similar themes, as an episodic game with fiendish puzzles to solve as a group and a compelling overarching plot. There’s a very real chance I’m going to make it the Aggrochat Game of the Month next time I have the chance, and if that doesn’t work out, I’ll at least see if I can’t talk Kodra into giving it a shot with me.

That Dragon, Cancer: Fourteen sads out of ten, and I just played what they had at the booth. This is an incredibly compelling game that I’m honestly not in a good enough place emotionally to be able to handle, but I’m really glad exists. This kind of thing is Kodra’s bread and butter, and I’m certain we’ll hear him cheerfully describe how brutally it inflicted its misery on him. Also would be a good candidate for Aggrochat GOTM except I wouldn’t be able to play it and I suspect the rest of the crew would be depressed by it. Still, for as much as I’ve commented on games needing more emotions than just “angry” and “sad”, I think this one is a good thing to have tugging at the heartstrings and making you think.

Hob: The next big thing by the Torchlight team, Hob is a metroidvania-style platformer where you play as a robot thing with a grappling hook wandering around gorgeous weird magi-tech ruins and probably other places. It still needs work, but it’s one I’m going to keep an eye on.

Ultimate Chicken Horse: This weird little game is probably my best in show, just for being pure, simple fun. It’s a co-op-etitive platformer in the now-standard Nintendo style, the one where you want to stab your friends to death at the end. It’s an incredibly simple premise: you and up to three other players are put into a mostly blank platforming level with a start and a finish. You can’t get from the start to the finish, but at the start of each round you open a party box where people get to pick objects to place in the level. At first, these are platforms, boxes, things to jump on and otherwise help you get to the finish. Whoever gets to the finish gets a point. If everyone (or no one) gets to the finish, no one gets any points. You’ll play the same level multiple times, until someone’s gotten three points, and as the rounds go on the objects become less helpful and more harmful, spike traps, projectiles, slippery ice, glue, all things to make it harder to get to the finish. As you place traps, you’re betting that you’re a better platformer than everyone else and that they’ll fall into your clever traps, so you’ll be the only one to get points. It’s a delightful party game and the most surprising and fun game I saw at the show.

I am, at this point, utterly exhausted. My sleep schedule is heavily late-night shifted, and I’ve been getting up a solid four hours before I usually do all weekend, but not managing to get to sleep any sooner. I’m good at putting a functional face on it for a while, but I could feel it slipping today. I’m going to sleep for a while.

If I didn’t catch you at PAX, I hope you had a great time, and I’m sorry I missed you!