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PostPosted: Sun Sep 06, 2015 9:07 am 
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*rousing applause*

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The format of YMtC and the Expanded Multiverse.
YMtC: My Deck of Many Things | NGA Masters | 2 | 3 | Roses of Paliano | Duel Decks: War of the Wheel | Jakkard: Wild Cards | From Maral's Vault | Taramir: The Dark Tide
Solphos: Solphos | Fool's Gold | Planeswalker's Guide | The Guiding Light | The Weight of a Soul
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PostPosted: Sun Sep 06, 2015 9:48 am 
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I love the output of this thread! I mean, when was the last time we created this much material over a single weekend?

Some specific comments:

@Perfect pear: Ah, the perfect foil for Raiker: the orange! I wonder if he has ever been tempted to travel the planes and destroy everything for which there are no rhymes...

@Fall of the Tower: It is a common trope that villains are foiled by underestimating the hero. This is a clever twist on that trope. I like it.

@False Move: There is a lot to this story that i want to know. Who is the young woman? What is her relationship to Ellia? How has Ellia lived so long and never played chess before?

@What Lies Beyond: Oooh, mystery. Now I really want to know more about the hall of mirrors.

@Overdue: Nice, simple little thing, but very intriguing. I don't really know anything about Amah, but I really want to now.

@The Mark: I really liked this story the first time you posted it, and I really like this story too. If Denner ever gets through his current struggles, I would love for this to become canon.

@Crossing Paths: I really like philosophical pieces like this (see The Pilgrim and the Pharaoh). I think you captured the similarities and differences between our two samurai very well, and I loved the setting you created for the meeting.

Good job, all!

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PostPosted: Sun Sep 06, 2015 10:35 am 
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@False Move: This seems like the beginning of a story I would like to see!


Aaarrrgh wrote:
@False Move: There is a lot to this story that i want to know. Who is the young woman? What is her relationship to Ellia? How has Ellia lived so long and never played chess before?


This WAS deliberately sort of a teaser, so...

Well, I can answer the chess question. I used a familiar chess setup because the text had to be intelligible. One might assume it's a specific planar/cultural variant on "kill the king" with which Ellia is unfamiliar. There are tons of potential implementations of the idea of taking the lynchpin, but one that english-speaking readers would probably be familiar with, and it's not Hnefatafl, Xiangqi, or Shogi.

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PostPosted: Sun Sep 06, 2015 2:59 pm 
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Aaarrrgh wrote:
I love the output of this thread! I mean, when was the last time we created this much material over a single weekend?

Agreed! This has been great so far!

@Lifeline Origins:


@Overdue:


@Crossing Paths:


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PostPosted: Mon Sep 07, 2015 12:11 am 
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Aaarrrgh wrote:
I love the output of this thread! I mean, when was the last time we created this much material over a single weekend?

Agreed! There's crazy good stuff going on here, and I'm loving it!

Quick thoughts on all the various stories, since I haven't commented yet. (Sorry!)

@ The Perfect Pear -- I was sort of hoping that someone would do something like this for the Raiker prompt, and Raven (unsurprisingly!) did not disappoint! The payoff is wonderful, but I also love the image at the beginning, of Raiker watching the villagers going about their daily business, and thinking of them as the building blocks of his poem. It reminds me very much of the line from Dylan Thomas's poetic manifesto, about how he liked to order words about and, knowing some of their behavior very well, he had even learned to beat them at times, which, he said, they appeared to enjoy. You can sort of apply the same sentiment to Raiker and his inspirations, but the implications are, needless to say, much, much darker...

@ The Fall of the Tower -- Another great piece in the same vein. I want to call special attention to the line about the color of the young woman's hair, and how crimson had been an artistic liberty, because I think it's absolute dynamite. :D Also, it's nice (or, you know, terrible) to see Raiker holding court again -- it seems like he hasn't done a reading in some time. (Which is probably good news for everyone else...)

@ False Move -- I think it's a testament to how wonderful Ellia is as a villain that, on the surface, the interactions in this story are almost totally innocuous. But, because it's Ellia who's doing the interacting, everything suddenly assumes this very ominous, very portentous tone. Great stuff, and, as others have observed, a very interesting teaser!

@ Lifeline Origins -- Aaarrrgh, this is, like crazy good. As far as I'm concerned, this is the canon explanation for how The Woman wound up in The Place In-Between. I was sort of wondering if Mr. Venn might have figured into her situation (he seems busy in this thread), and I think you hit the nail on the head here. I think the most important part, too, is that the Woman isn't tricked -- she walks into her fate knowingly, which I think explains the sort of resolute sadness that I get from her. Assuming Raven approves of Raiker's part in this piece, I'm going to call this canon.

@ What Lies Beyond -- And here's another stonking great piece. :D Between Hush-Hush and the Mirror Universe, this story combines one of my favorite characters with one of my favorite places. I've always felt like Hush-Hush have a lot more story potential than I've ever really allowed them to showcase, but the issue that I keep running into is that they're so resolutely mysterious -- they keep secrets from me, and from everyone else, for that matter. I only ever know what they're up to when they're with Jackie. I love this notion for what they might be doing in their spare time -- what their "unknowable agenda" might be, as Jackie puts it. And I can't help but wonder just who the other members of the Order would be, and why they would be so interested in finding a portal to other planes. Hrmm... (Also, the fact that Hush-Hush allow themselves a smile, and that, for them, a smile is just the slightest upturn of one corner of their lips, is perfect. That's spot-on for Hush-Hush.)

@ Overdue -- I confess that Lorwyn is one of my Vorthos blind spots, since I was out of the game during that block. But I really like this little piece, and I love the insight into Amah's character that she would never want to be a poor returner of things. That's an aspect of her that I don't think I would have thought about before, but it makes sense.

@ Crossing Paths -- And yet more wonderful stuff! Even though this has absolutely no relevance to the story whatsoever, I somehow couldn't help but picture this crossing of paths happening on the footbridge across the line of control in the Korean DMZ. I think it's just something about how charged this moment is, that my mind immediately wanted to transfer it to that setting. I also found myself thinking about how Jinsen might try to relate this incident to Kimberley, and how he could explain it in terms of the katas. Great, great stuff -- very evocative.

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PostPosted: Mon Sep 07, 2015 2:19 am 
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@ The Perfect Pear -- I was sort of hoping that someone would do something like this for the Raiker prompt, and Raven (unsurprisingly!) did not disappoint! The payoff is wonderful, but I also love the image at the beginning, of Raiker watching the villagers going about their daily business, and thinking of them as the building blocks of his poem. It reminds me very much of the line from Dylan Thomas's poetic manifesto, about how he liked to order words about and, knowing some of their behavior very well, he had even learned to beat them at times, which, he said, they appeared to enjoy. You can sort of apply the same sentiment to Raiker and his inspirations, but the implications are, needless to say, much, much darker...

Yeah, sometimes I have to wonder which Raiker enjoys more, the poem, or the setting up for the poem. Personally, I genuinely think that he's in it for the poetry, and that he ruins lives out of a twisted sense of poetic perfection, rather than just to do it. Not that it makes it any better, mind you, but I think if there wasn't a poem in it, Raiker wouldn't wish particular ill on people. But, he absolutely has a sense of pride in his work, both on paper and off.

@ The Fall of the Tower -- Another great piece in the same vein. I want to call special attention to the line about the color of the young woman's hair, and how crimson had been an artistic liberty, because I think it's absolute dynamite. :D Also, it's nice (or, you know, terrible) to see Raiker holding court again -- it seems like he hasn't done a reading in some time. (Which is probably good news for everyone else...)

Yeah, Raiker's readings were a motif in his early pieces that have sort of fallen away lately as we started looking more at his process. I suspect part of the reason is that the readings are very much his outward persona, and so the early stories focused on the Raiker he shows his public (remember back before we knew for certain Raiker was up to something? Man, that seems like a long time ago.) But as we got to know Raiker, he sort of shed his outward façade and we saw more of the real him. (Incidentally, I just reread "Here, There Be Monsters" this weekend. Man, I love that story. Thanks again for writing it with me, Orcish!)

@ Lifeline Origins -- Aaarrrgh, this is, like crazy good. As far as I'm concerned, this is the canon explanation for how The Woman wound up in The Place In-Between. I was sort of wondering if Mr. Venn might have figured into her situation (he seems busy in this thread), and I think you hit the nail on the head here. I think the most important part, too, is that the Woman isn't tricked -- she walks into her fate knowingly, which I think explains the sort of resolute sadness that I get from her. Assuming Raven approves of Raiker's part in this piece, I'm going to call this canon.

I'm perfectly fine with it!

@ What Lies Beyond -- And here's another stonking great piece. :D Between Hush-Hush and the Mirror Universe, this story combines one of my favorite characters with one of my favorite places. I've always felt like Hush-Hush have a lot more story potential than I've ever really allowed them to showcase, but the issue that I keep running into is that they're so resolutely mysterious -- they keep secrets from me, and from everyone else, for that matter. I only ever know what they're up to when they're with Jackie. I love this notion for what they might be doing in their spare time -- what their "unknowable agenda" might be, as Jackie puts it. And I can't help but wonder just who the other members of the Order would be, and why they would be so interested in finding a portal to other planes. Hrmm... (Also, the fact that Hush-Hush allow themselves a smile, and that, for them, a smile is just the slightest upturn of one corner of their lips, is perfect. That's spot-on for Hush-Hush.)

Glad you liked it! It seemed like a perfect fit to me, Hush-Hush and the Mirror World. It would be interesting if Hush-Hush met with Jackie sometime after finding the Mirror World. Between their knowledge of other planes, and Jackie's knowledge of planeswalkers, I would love to see how they each dance around issues they would assume the other doesn't know...


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PostPosted: Mon Sep 07, 2015 3:08 am 
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Well, I might have to put Lifeline Origins up for vote, then. And also come up with a proper title for it.

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PostPosted: Mon Sep 07, 2015 3:09 am 
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I think Crossing Paths is another great example of how Ruwin and I have different approaches to the way our characters are fundamentally built to view the worlds around them. His tend to feel more optimistic while I tend to have a more cynical approach. There's nothing critical about that, I want to specify, and this was written really well besides. I can only sort of remember the card Hammerfist Giant when the bridge's history comes up.

The one thing that I do need to nitpick is... Saigo isn't exactly hirsute. He doesn't really have any body hair to speak of actually, but at the same time, I know exactly how you came to the conclusion he was, so that one is perhaps somewhat on me too for being a bit broad in his description.

Anyways, I think I'll take a stab at that bit that I was talking about trying now:

Gale.wav


I've honestly been dying to throw these two together for a while.

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PostPosted: Mon Sep 07, 2015 7:45 pm 
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Man, the more I read about Raiker Venn the more awesome he seems. He's basically the Joker except replacing "funny" with "tragic". It's a really cool character concept that ranks him with the likes of Homura Akemi and Charlotte Grotte in the very highest tier of fictional characters.

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PostPosted: Mon Sep 07, 2015 8:00 pm 
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TPmanW wrote:
Man, the more I read about Raiker Venn the more awesome he seems. He's basically the Joker except replacing "funny" with "tragic". It's a really cool character concept that ranks him with the likes of Homura Akemi and Charlotte Grotte in the very highest tier of fictional characters.

Thanks!

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PostPosted: Mon Sep 07, 2015 8:30 pm 
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Quote:
The one thing that I do need to nitpick is... Saigo isn't exactly hirsute. He doesn't really have any body hair to speak of actually, but at the same time, I know exactly how you came to the conclusion he was, so that one is perhaps somewhat on me too for being a bit broad in his description.


Haha, I just sort of assumed because of the sideburns... When someone says sideburns and broad shoulders, I think of Ganondorf, and in my head, Ganondorf is always extraordinarily hairy. O_O

Ah, well, what do you do? Glad you liked it. :D

Thanks to the rest of you as well.

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PostPosted: Mon Sep 07, 2015 11:35 pm 
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(Incidentally, I just reread "Here, There Be Monsters" this weekend. Man, I love that story. Thanks again for writing it with me, Orcish!)

Well, thank you, sir! It was my genuine pleasure! And I'm also really, really happy with how that story came out.

At the time, I honestly had a lot of trepidation about whether or not I'd be able to write good stories with Gale. "The Wind and the Waves" was sort of a very odd duck -- it's the only story I'd done in the first person, and it didn't really have a lot of traditional Magic elements in it. So I had a little nervousness that Gale might be a sort of one-off, and that she might not work well with other M:EM characters. But I think you did just a fantastic job of sort of knitting her into the larger M:EM universe with "Here, There Be Monsters," and, to the extent that I was able to build on that, it was because you started me off with a great foundation. And, hopefully, "The Sailor and the Siren" continued with that trend.

So, thanks again!


* * *

Glad you liked it! It seemed like a perfect fit to me, Hush-Hush and the Mirror World.

I feel like this raises a very interesting question: What would happen if Hush-Hush touched a mirror?

I assume that they would both touch it at the exact same moment, because they match each other's movements so perfectly. But I think that the form that their reflection took would actually reveal something pretty profound about Hush-Hush's nature. Would we see both twins reflected in the mirror, because their beings really are joined at such a fundamental level? Or would something else happen? And, if so, what would it be?

I sort of think that we would see both of them. Whatever separate identities the sisters might have had at some point in the past, they have chosen to meld their individual selves so thoroughly into each other, that I think they really do conceive of themselves as a single, unified entity at this point. I think that, if they aren't together, they almost stop being Hush-Hush. I think they are two people who have chosen to live as one person, and their nature has changed as a result. I think the mirror would reflect that.


* * *

Aaarrrgh wrote:
Well, I might have to put Lifeline Origins up for vote, then. And also come up with a proper title for it.

I would be 100-percent behind this.

And it would probably spur me to get "The Place In-Between" up for a vote, too. Like I meant to do ages ago, but totally never did... :blush:


* * *

@ Gale.wav -- Oh, that's just wonderful! The visualization of Gale makes sense to me. I think her skin would have to be pretty tan, from all the time spent outdoors, and she would definitely be dressed practically, with clothes which are probably made from sail fabric. And the blue eyes fit. I used to sort of worry that giving her blue eyes would be a little too on-the-nose, but, basically every time I worry that something is too on-the-nose, it turns out to actually be a good idea, so I should probably just learn to do the exact opposite of what that instinct tells me.

And I'm glad that you wrote the Aamir/Gale piece, too! It is neat to see them have this sort of musical encounter. And I also think it's interesting that, whereas Gale and Penelophine never ask for or offer their names to each other, Aamir introduces himself at the very beginning. It's a subtle difference between the characters, but it makes total sense. And Aamir's visualization of the music is also an interesting contrast to Gale's experience, which is more physical and kinetic.

Thanks a ton for sharing this one! :D

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PostPosted: Mon Sep 07, 2015 11:51 pm 
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This is turning out some good content, but I must admit a couple of pieces, Lifeline Origins and What Lies Beyond I must admit, I'm missing the context. Need to find it...

Though it does interest me what lies in the far parts of Jakkard. Some archaelogical finds to be explored...

And I've been meaning to post this since I read The Perfect Pear:
Poem Lines Replaced


I still need to comment on the rest, but for now I'll say, tempted to take a stab at this, maybe with post-fire Arbagoth.

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PostPosted: Tue Sep 08, 2015 12:15 am 
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This is turning out some good content, but I must admit a couple of pieces, Lifeline Origins and What Lies Beyond I must admit, I'm missing the context. Need to find it...

Ah, that's my bad -- sorry!

My question about The Woman refers to "The Place In-Between," a story that I wrote about the art for the card Lifeline.

And my question about the husher twins basically alludes to their disappearance following "Stare Down the Basilisk," which Jackie sort of recaps at the start of "Blood on the Tracks":

Quote:
As Jackie DeCoeur’s train rolled up to the platform in downtown Aureg, steam billowed in great gouts from between the slowly-turning iron wheels, and the engine’s whistle let loose a high, reedy wail. It blew four times – once short, once long, twice short.

Staring out at the bustling platform through the window of her dining car, the red-eyed woman reflected that the code wasn’t strictly necessary. Hush-Hush always had an uncanny ability to sense her presence; there was no question of the husher twins boarding the wrong train by mistake.

And there they were, standing together on the platform, their faces placid as they watched Jackie’s train pull to a stop. Their four blue eyes caught Jackie’s two red ones through the window glass, and the twins’ heads moved up and down, almost imperceptibly, in a small, perfectly-synchronized nod of acknowledgement.

Looking at Hush-Hush, Jackie had to smile.

It was the height of the day, and Aureg’s Grand Station was teeming with activity. Crowds of foxes, humans, centaurs, minotaurs, and noggles jostled for position along the thronged platforms, craning their heads to get a glimpse up at the arrival boards, or using their elbows to clear a path as they struggled against the current of moving bodies to make their way to this train or that. The packed station seemed ready to burst at its seams.

There was just one exception to this crowded state of affairs: Where the husher twins stood together on the platform, a small circle of open space had formed all around the white-haired, white-robed, pale-skinned human twins. Both women stood silently with their arms crossed in front of their chests and their hands tucked into the sleeves of their robes, each’s posture a perfect mirror of the other’s. Had they wanted to, the sisters could have extended their arms out in any direction and touched only empty air. The otherwise chaotic throng of people throughout the station appeared united by one single, shared thought: that it would be prudent to leave some space between themselves and the otherworldly pair of mages waiting together on the platform, silent and still.

So, when Hush-Hush walked across the platform and climbed aboard the waiting train, people in the crowd around them started, as though they had just seen statues spring to life.

Jackie waited until both sisters were aboard the train, then she held her arms out wide and hugged the twins collectively. She had once tried to shake their hands individually – the experience seemed to make both twins profoundly uncomfortable.

“Where’s Lucy?” the red-eyed woman asked. “I figured she’d be here with you.”

The demoness had appeared briefly several days earlier, just long enough to announce that she’d found Hush-Hush, that Jackie ought to go to Aureg to collect the twins, and that she would keep an eye on them in the meantime. Then the black-eyed woman had disappeared as quickly as she had appeared.

It had been a strange encounter, Jackie thought – totally devoid of Lucy’s usual variety of predatory playfulness. It had been much more like the curt, abbreviated interactions she usually had with Mal. That had set her wondering whether the demons had taken a collective decision to change the way they dealt with her.

After all, she reckoned, her last playful exchange with Lucy had ended with her threatening to kill the black-eyed woman. The demoness had laughed the threat off. But she would also have told Mal about it. And Mal, Jackie suspected, had a less indulgent sense of humor than Lucy.

In the meantime, Hush-Hush shook their heads.

“The demon in question merely told us that you were coming, and to await your arrival,” the twins said. “We have not seen her for several days.”

Jackie frowned. “Did she say where she was going?”

Again, the twins shook their heads.

“Merely that she had matters to attend to.” The twins seemed to reflect for a moment. “Our encounter with the demon you have called Lucy was somewhat unpleasant. We were initially unaware that she was in your employ, so we took certain steps to subdue her, which she did not appreciate. It is possible that she did not wish to remain in our presence.” The twins each inclined their heads slightly, and Jackie saw something flash across their four eyes. “We were not sorry to see her go. The demon made a hurtful comment about us.”

Jackie had to suppress the urge to laugh. “What did Lucy say?”

“She stated that we were strange,” Hush-Hush said. Their voices remained flat and without intonation, but Jackie could sense that their feelings had been hurt.

“Well, that wasn’t very nice,” Jackie said. “But demons tend not to be very nice.” She sighed. “Anyway, I’m sorry that I sent Lucy to find you, but I needed to see you, make sure you were okay. When you up and disappeared, it didn’t worry me at the time, but I’ve been given reason to worry of late. Would it be rude of me to ask where you got yourselves off to?”

The twins shook their heads.

“There were certain questions which occurred to us,” they said. They spoke in perfect unison, giving an eerie stereo quality to their words. “Since you appeared to have no need of us at the time, we took our leave and attempted to seek answers.”

“And did you find them? Answers, I mean?”

Hush-Hush’s brows furrowed ever-so-slightly.

“We did not,” they said. Their cool, blue eyes held Jackie’s gaze in a way that few other living souls were brave enough to. “In fact, we acquired yet more questions.”

Jackie gave the twins an apologetic look.

“Just send me a postcard next time, okay? I know you two can take care of yourselves, but you know how I am,” she said. “You’re my people, and I care about my people.”

The ghost of a frown crossed the twins’ faces. “Communication by postcard would have been impractical from the places we traveled to,” they said.

Jackie shook her head. The twins sometimes struggled to grasp figurative speech.

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PostPosted: Tue Sep 08, 2015 12:20 am 
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And the mirror world is a setting Orcish created in "Between Two Worlds," a Beryl story he wrote in collaboration with...I don't remember, somebody or another...


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PostPosted: Tue Sep 08, 2015 1:44 am 
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Haha, I just sort of assumed because of the sideburns... When someone says sideburns and broad shoulders, I think of Ganondorf, and in my head, Ganondorf is always extraordinarily hairy. O_O
That's gotta be really really unfortunate for him, being a natural red head and everything and... y'know, GREEN. Yet at the same time I imagine him on the beach in a speedo being completely at home with himself while everyone else cringes at the sight.
... I blame you for this.
Quote:
Ah, well, what do you do? Glad you liked it. :D
Hey, if we can get Saigo a quick wax, I say put it up for vote.
As time has wore on though, it has made me consider his response, because I'm fairly certain that, with some thought, Saigo would consider this to be a tiny red mark in his ledger, and he really really hates owing people things. It sort of led me to imagine a scenario where he clears his debt by helping Kimberly out in some small way.
That's as far as any of that got though.
Bright side, it did make me write another haiku for the larger compendium that I'll get around to posting at... some point.

At the time, I honestly had a lot of trepidation about whether or not I'd be able to write good stories with Gale. "The Wind and the Waves" was sort of a very odd duck -- it's the only story I'd done in the first person, and it didn't really have a lot of traditional Magic elements in it.
I can attest to how odd it is to write in the first person what with the entirety of Legacies being done that way. On the one hand, it's something that seems substantially harder to do* but on the other, once done, it legitimately creates a flow that you couldn't achieve any other way. It's an interesting phenomenon in that regard because those stories are so fundamentally tied to the viewpoint.

*To be honest, it's a bit hard to think that it was so rough getting into Raef's headspace purely because... that's how I pretty much have to write. I have to subsume my identity into the character, so it isn't like I'm even watching them from a second viewpoint. It isn't a "what should they do?" it becomes a "what do I do?" Which all told, I worry how healthy that is for my ego...

Quote:
@ Gale.wav -- Oh, that's just wonderful! The visualization of Gale makes sense to me. I think her skin would have to be pretty tan, from all the time spent outdoors, and she would definitely be dressed practically, with clothes which are probably made from sail fabric. And the blue eyes fit. I used to sort of worry that giving her blue eyes would be a little too on-the-nose, but, basically every time I worry that something is too on-the-nose, it turns out to actually be a good idea, so I should probably just learn to do the exact opposite of what that instinct tells me.
In these situations, I think it really sort of speaks to go with first impressions, whatever strikes you in the immediate because that's generally going to be a more potent image than if you worry at it and try to think it over. There might be times when it could be cliche, like the aforementioned Raef having heterochromatic eyes, but that first image has to stick.

Anyways, I'm glad you liked it! There can be a lot of things I fret over, but I know that without any doubt, I just KILL imagery in my pieces. I got that sucka lock stock and barrel. Foo'.

And I am completely aware of how totally AWFUL that name for the piece is.

Quote:
And I'm glad that you wrote the Aamir/Gale piece, too! It is neat to see them have this sort of musical encounter. And I also think it's interesting that, whereas Gale and Penelophine never ask for or offer their names to each other, Aamir introduces himself at the very beginning. It's a subtle difference between the characters, but it makes total sense. And Aamir's visualization of the music is also an interesting contrast to Gale's experience, which is more physical and kinetic.

Thanks a ton for sharing this one! :D
You know, it's sort of funny but I was originally just going with Aamir's relationship with mana to take the form of light as a way to differentiate from everyone else, because I'm big on it being a personal experience and being unique amongst all my characters, but when placed next to the musical component, I... kinda think I was subconsciously adding my chromesthesia to a character.

Anyways, I'm really glad to have these two meet, if for nothing else, I think Aamir just has an affinity for lonely souls. I don't think he can stand being alone, so when he sees someone like that, his first impulse is to try to help and make friends. I'm also glad that the contrast was so effective in this situation from Gale's common experience between the two encounters. It was one of the primary reasons I chose to set it like that too. I also hope that Aamir's ear movement came across expressively, mostly because I really want being an elf to mean more than strictly just an aesthetic difference.

All told, I'd... really kind of like to put it up to vote, but I don't want to make any decisions about how Gale is supposed to look in actual canon.

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To deafened ears we ask, unseen / "Which is life and which the dream?"


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PostPosted: Tue Sep 08, 2015 1:45 am 
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Now sorry for the double post, but I wanted to issue another challenge to see what could be made of it, but didn't want it to get lost in all that post up there:

Something from the Black Vault has slipped its bonds...

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Yet on the morn we wake to find / that mem'ry left so far behind.
To deafened ears we ask, unseen / "Which is life and which the dream?"


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PostPosted: Tue Sep 08, 2015 1:56 am 
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Barinellos wrote:
At the time, I honestly had a lot of trepidation about whether or not I'd be able to write good stories with Gale. "The Wind and the Waves" was sort of a very odd duck -- it's the only story I'd done in the first person, and it didn't really have a lot of traditional Magic elements in it.
I can attest to how odd it is to write in the first person what with the entirety of Legacies being done that way. On the one hand, it's something that seems substantially harder to do* but on the other, once done, it legitimately creates a flow that you couldn't achieve any other way. It's an interesting phenomenon in that regard because those stories are so fundamentally tied to the viewpoint.

*To be honest, it's a bit hard to think that it was so rough getting into Raef's headspace purely because... that's how I pretty much have to write. I have to subsume my identity into the character, so it isn't like I'm even watching them from a second viewpoint. It isn't a "what should they do?" it becomes a "what do I do?" Which all told, I worry how healthy that is for my ego...

Yeah, I think first person is a real challenge to write it, because it requires an even deeper understanding of the character and the character's perspective. I mean, it's one thing to get a character "right" in dialog and in action, but to get a character right in absolutely everything including basic world view is a hard thing to do well.

I think I've only written three first person stories for the M:EM, if M:EMory serves... :paranoid:

Anyway, both of the characters I used in those three characters have really "our-there" personalities that I think helped cheat the first person into being easier. In "Dead Man 'Walking," the narrator Eristi is a crazy and smartass psychopath, and that was a lot of fun. The other two were the Donagut stories, which benefitted from the Noir theme that permeated them anyway.

Still, I do love me some Donagut narration...


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PostPosted: Tue Sep 08, 2015 2:10 am 
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Yeah, I think first person is a real challenge to write it, because it requires an even deeper understanding of the character and the character's perspective. I mean, it's one thing to get a character "right" in dialog and in action, but to get a character right in absolutely everything including basic world view is a hard thing to do well.

I think I've only written three first person stories for the M:EM, if M:EMory serves... :paranoid:

Anyway, both of the characters I used in those three characters have really "our-there" personalities that I think helped cheat the first person into being easier. In "Dead Man 'Walking," the narrator Eristi is a crazy and smartass psychopath, and that was a lot of fun. The other two were the Donagut stories, which benefitted from the Noir theme that permeated them anyway.

Still, I do love me some Donagut narration...
Oh hell, that reminds me, I wrote "I" in first person didn't I?
Ye gods that one was a headache to get right. The headspace required for that was super weird since... it didn't have a head in the first place.

I think the Donagut stuff really works, inasmuch because it helps ease the themes and style in fittingly.

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At twilight's end, the shadow's crossed / a new world birthed, the elder lost.
Yet on the morn we wake to find / that mem'ry left so far behind.
To deafened ears we ask, unseen / "Which is life and which the dream?"


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PostPosted: Tue Sep 08, 2015 3:56 am 
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I almost always slip into first-person, even when I'm really writing in third-person. I guess that's what happens when you get most of your writing experience from GMing role-playing games and participating in game threads.

Back on topic, somebody write a story where Beryl loses her memory.

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