Storytelling

The Purpose of Themes and Subgenre Tropes in Chained Echoes

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This post will contain spoilers for the game Chained Echoes beginning in paragraph five (the very first sentence of the paragraph is a themaic spoiler and they only get more specific from there).

The older I get, the more I’m aware that everything is about something. Intentionally, unintentionally, and sometimes widely varying based on who is interpreting it. Sure, I learned this truth a long time ago, but it only ever seems to get more and more true as time goes on. I mean, I studied English Literature, always enjoyed reading comprehension tests or assignments in grade school, and though it took me a while to really grasp this idea in high school, I have been leaning into it ever since. This is not a new idea to me or even most people (I hope, though the state of the world makes me question how many people are capable of grasping nuance). I compleely set aside the idea that we aren’t constantly, and frequently unintentionally, showing whatever is on our minds through what we created the time I realized that the story I was writing in high school was about me and the horrible family life I had. Once I saw that, I couldn’t unsee it. Even when I redid the story in my last year of college and tried to be more intentional about what the story was about, I still found myself uncovered interpretations and metaphors I hadn’t intentionally written into it. This is why I tend to rewrite rather than revise these days, since it helps me figure out if the underlying issue is actually a part of the story or just something that was weighing heavily on my mind while I was writing. I don’t mind this stuff showing up in my writing, though, since I’m a firm believer in needing to write things out so I can learn what I’m thinking, but I generally try to be aware of it.

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Going Off The Rails After Adding Trains

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I genuinely did not think that I’d ever look at a game of The Ground Itself that I’m using as a means of doing collaborative worldbuilding for a different game and think “this has clearly gone off the rails,” but that’s what I’ve found myself doing as I review the notes from my Sunday group’s latest session. This isn’t necessarily a bad thing, mind you, just something that has gone far beyond all of my expectations about what we’d accomplish in a session or two (which will soon be three since we once again ran out of time without finishing our game). We’ve wound up more focused on individuals and their places in the area than the game is designed to be, but we’ve also gone from slowly developing an area over time to wildly inventing things. It’s honestly a great energy, even if I worry that we’ve lost the plot a bit. I’ll be able to weave it all into the world we’ve going to play in when we finally get to Heart: The City Beneath, but there’s just so much stuff happening and so many vague characters introduced that I’m not sure how I’m going to be able to include it all in any kind of interesting and meaningful way.

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Burying Heart: The City Beneath Within The Ground Itself

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I wound up going another session of my every-other-week Heart: The City Beneath campaign without playing Heart. We’re still in the throes of The Ground Itself and I regret nothing. I’m having a great time. Almost all of my players just so deeply understand what we’re doing that they’ve done half the moves I’d planned for myself, in terms of setting up the horrors of the world we’re going to play in. This means I’ve been able to focus on specifics and painting good images during my turns rather than introducing aspects of the world at large or adding to the tension of this downright awful bit of geography. I get to do things like talk, in detail, about a mysterious creature that emerged from a horrible sinkhole, described in stories as but a shadow on the horizon, that now wanders this world on some sort of mission that only it knows. Or describe how the dominant species (a froglike non-sentient creature that is incredibly long, flat, and known for hunting down everything in the area, including the people who used to live there) has been impacted by the force of decay called The Rot (which decays anything it touches/infests in every dimension and way, rather than being bound strictly to biological materials like we’re familiar with in meatspace) and how some of them have mushed together to form some kind of horrible beast that has been disappearing people for an unknown number of years. Or how a train, riding rails of limestone, bone, and metal over slowly dessicating dirt, emerged from the same pit that every horror has left behind in order to discorge its unknowable passengers upon the surface. It has been an absolute delight to play this game, even if it is, somewhat predictably, taking an incredibly long time to play.

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Today Marks Two Years of Updates

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Today, when this blog post goes up, is the two-year anniversary of my return to updating this blog on a regular basis. The day I wrote this is the two-year anniversary of my return to writing regular blog posts. I started this period of blogging with a one-week buffer and, with a couple small exceptions, have maintained this lead-time ever since. I am incredibly proud of the work I’ve done over these past two years, the growth I’ve made as a writer (since this project and the one-week buffer was intended to give me a means to practice editing my own work and to improve my drafting abilities), and the discipline I’ve shown by sticking to it as much as possible without damaging my health or well-being. Turns out it is more difficult for me to do something on a limited scale than it is for me to do something more extreme. Updating this blog every day for over a year, like I did when I first started out, was mentally easy. I just had to do a thing every day. It became a daily habit, just like brushing your teeth or showering. Doing this five days a week with a single weekend update if I can manage it is much more difficult, since I actually need to plan my time out. After all, it’s easy to take a day off if you’ve got a buffer before you run out of blog posts. It takes way more work to keep the buffer in place.

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There’s a Lot of Creative Heart in My Heart: The City Beneath Group

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Session 0 of the Heart: The City Beneath game went pretty well, I’d say. We got through the initial stages of character building, which has gotten us all pretty much on the same page as to what we’re expecting to see in-game. We talked through a bunch more stuff that might have made it into the Line and Veils list, since everyone now knows the sort of stuff that this game might introduce, but wound up not adding anything. I think I did a pretty good job, through my (just for the vibes, since they were originally produced for a very different game system) setting documents and explanation of the game, of setting the expectations for the group when we picked the game, since no one was surprised by what they found in the book. After that, we talked through our characters a bit more specifically, did a little bit of work to figure out what they’re all about, and then talked through the kind of game we want to play, the stories we want to tell, and what world we want to explore. It was a pretty thorough Session 0, if I do say so myself.

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Demon Slayer is a Cut Above the Rest

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In my on-going quest to actually watch TV shows and movies on my own, rather than wait for the opportunity to watch them with someone, I did a full re-watch of the first two seasons of Demon Slayer and then watched season 3 (called the Swordsmith Village arc). The whole show is visually stunning, and not just in the quality of the animation (which is consistently high, a fact made possible by the lengthy time between each season or arc’s release). Every visual is gorgeous, from the various moves performed by the titular Demon Slayers to the flashy, powerful maneauvers of the more powerful demons. The whole series does a great job of balancing interesting, unique characters, absolutely killer fight scenes, and plot progression, even if the pacing of individual episodes frequently feels off to me. Specifically, some of the episodes hit their mid-episode break with a scene that I feel should have been the end of an episode and sometimes an episode ends at a point where I’d expect to find a quick commercial break. The beat-to-beat pacing is absolutely stellar, though, so I’m not sure there’s much they could do to fix the episode thing and I’m pretty sure it’s just me and my mind’s desire to find patterns in everything.

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Star Wars Jedi: Survivor Was a Great Sequel

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After almost two months of intermittent playing, I’ve finally finished Star Wars Jedi: Survivor. It was a lot of fun, even if I struggled with just how many collectibles there are (though the game gets points for giving you the ability to eventually unlock map icons for all of them) that I just did not care about. Honestly, the thing I was most-consumed with hunting down was enemies, so I could unlock the extensive collection of skills that were made available to me over the course of the game (and I’ve still got about a third of them to unlock despite having run through as much of the game as I care to at this point). The variations in combat options was incredibly refreshing, as was the variation in enemy combatants. Sure, it could be frustrating at times if my loadout was absolutely not the right set of powers and moves to be using in a given combat situation, but the number of options available within those loadouts meant only that I’d need to be a little creative to overcome these limitations. Throw in an interesting plot, some fun references to the greater Star Wars universe, a cast of great characters, and I’m willing to overlook the buggy and visually lackluster experience I had playing the game.

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Worldbuiling Without Building Anything

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One of my favorite parts of preparing for the start of a new tabletop game is the moment when everything crystallizes. Whatever errrant thought, subtle influence, or bright flash of inspiration you needed arrives and suddenly it all makes sense. You can see the strings the world dances upon and understand the way everything moves within it. It is the moment when you go from wondering what might be and pondering unknowns to knowing what is and looking for what might change. In the world I ran in a few Dungeons and Dragons campaigns starting back in 2019, this moment came as I was taking a break from my then-panicked preparations to do something fun and relaxing. I was watching Spider-Man: Into the Spider-Verse on Blu-ray not long after it was finally available for purchase and the whole campaign setting crystalized around the idea of missing heroes. It was a fairly simple idea, but that last piece of information fitting into the puzzle meant everything else clicked into place as well. Suddenly, I knew what was going on and what everyone was motivated by. It was a relevatory moment and something I’ve enjoyed every time something like it has come up any time I’m considering a story, be it something I’m writing, a tabletop game I’m putting together, or even just a video game I’m playing.

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Nimona Is A Wonderful And Powerful Movie

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Last week (when I wrote this), I opted to purchase myself a month of Netflix. I will probably wind up using this month to watch The Witcher and whatever other Netflix stuff I’ve missed over the last few years of not wanting to watch shows by myself (like Stranger Things season 4), but the reason I paid for a month of Netflix was because I wanted to watch Nimona. It hit Netflix on the 30th of June and I knew it was something I wanted to watch, even if I had to do it by myself. I’ve been following ND Stevenson for years and found his posts, comics, and online journaling about his gender identity incredibly informative and helpful. I was excited to see the movie made about the comic that wound up being so unintentionally about his identity and journey, even though I’d never read the comic. It was one of those things that I always meant to read but never got around to reading. Then, when I heard there was going to be a movie I decided to wait until after it came out. I almost broke down and read the comic when the movie got canned by Disney, but wound up being glad I waited when Netflix announced they’d picked it. Now, I’ve watched the movie and am preparing to read the comic (as soon as I have the time required to that, since I’m writing this less than 24 hours after watching the movie).

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Adding Streaming To My Multi-Media Creative Life Goals

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Since returning from my friend’s wedding, I’ve been streaming mostly Wildermyth (and a little bit of Valheim) when I’ve had the time to actually do a stream on my twitch account. It has been a lot of fun, even if I did spend most of my first two streams using OBS at a horrendous 360p, because I’ve been treating it like I’m reading a story to my audience rather than like I’m playing a game. Sure, there’s some combat stuff that occasionally interrupts the story I’m reading, but that’s usually over fairly quickly. The same is true of the overland movement and map unveiling portion of the game (even if I’ve coincidentally spent way more time managing things than I usually do on account of character hook quests pulling my characters to incredibly inconvenient locations). I spent probably forty-five minutes of every hour trying to keep the character’s voices consistent as I read through storytime and the other fifteen minutes managing mechanics. I’m really enjoying myself, even if it’s pretty difficult to manage audience comments and interactions at the same time.

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