HPMoR: Its Appeal is Surprisingly Reasonable

Early last week I finally gave in to the steadily building pile of recommendations and started reading Harry Potter and the Methods of Rationality.  By Friday I had barely managed to keep up with my other commitments and had forcibly redistributed my sleep cycle; but I finished all 87 chapters that are presently out, and was left wanting more.  I hadn’t understood why so many other people had thought that I would like the story: I’m not normally attracted to any sort of fanfic, and while I enjoyed the Harry Potter series I didn’t think it was the alpha and omega of wizardly fiction.  But now…

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Mistress of the Catacombs, by David Drake

Mistress of the Catacombs is the fourth book in David Drake‘s Lord of the Isles series.  Published in 2001, it continues to deliver on the promise of the first few books.  I’m not sure I have new words to describe the delightful admixture of classical influences that form this heady concoction of Roman and Greek culture and technology, Sumerian religion, and ancient Mediterranean magic.  Suffice to say that it comes across with an appropriately Atlantean feel, and *itty bitty spoilers* that the various wanderings through other worlds never break the feeling of the world(s) that Drake has created.  Magic is powerful and scary, and this is made clear not just by the ways in which people react to it but also through the consequences of people’s use of magic.  And more than ever before in this series, Drake makes clear his own thoughts about violence as a solution to your problems.

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Gamer Typology a la Robin Laws

We’ve been talking a lot about improvisation and working with your players, but we haven’t given you nearly enough background for the topic.  There’s a book that I found years ago called Robin’s Laws of Good Game Mastering, and I lend or recommend it to every one of my friends who asks me for tips on how to be a good storyteller.  I like it so much that when I started looking through my old copy again while I was starting this article, I had to stop myself from simply quoting the book word for word.  It’s more than just a good place to start; the book has an impressively down-to-earth approach that will give you a basis for campaign and adventure design, for preparing easy improvisation, and for reading and managing your gaming group’s social (and problem solving) dynamics.  It also offers a very simple gamer typology that should allow you to identify what drives you and your players and what rewards them most in the realm of RPGs.  If you’re interested in gaming or in group dynamics, I couldn’t recommend a better read.

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Take Five: Episodic vs Serial works

In modern continuous works (largely tv shows at this point in time, but also comic books and other media) there are few ‘one-shots’ anymore. Obviously, books are the largest exceptions, but even many movies nowadays feel like they’re all either remakes, reboots, prequels, or sequels. Everything is linked to something else because why spend all of the money to make one of something when (if people like it) they’ll pay to come see another with less advertisement? And I’m sure that’s how a lot of consumers have come to see it. But from the perspective of a writer, it’s fantastic. Why? Because serial works have something that episodic works tend not to have. What is the difference between the two? I’m going to use TV shows as my ‘medium’, but you can apply this to any form of media.

A serial work is one where each episode builds off of previous episodes, and sets up future episodes. Episodic works, on the other hand tend to just rehash the same setting, but with a new plot. Rather than try and strictly define a midpoint, I’ll just say that it’s a vague continuum; everything is a little bit episodic and a little bit serial, but some works are way more episodic (Whose Line is it Anyway?) and others are way more serial (Lost). If you tune into a random episode of Whose Line is it Anyway? odds are you’ll understand it just fine. You might miss a few of the jokes that are more recurring jokes, but they’ll probably still be funny. On the other hand, the first time I tuned into Lost, I was — pardon the pun — lost. They were on an island, and an unknown monster — I was hoping they’d crashed on a prehistoric island and it was a dinosaur –was attacking them, and I had no idea why they were hiding in trees from a boar, and why the boar couldn’t be seen and then the next episode I tuned into I think there was a ghost or something and they were living in a bunker and pressing this button and all I could think was WHAT HAPPENED TO THE MONSTER? WAS IT A DINOSAUR? IS THAT WHY THERE’S A BUNKER? AND WHY ARE THEY PUSHING THAT BUTTON?

So I understand why TV shows are at least somewhat episodic. Who has the same chunk of time open EVERY day? Who will NEVER miss an episode? What about that random guy who sits down and turns the show on, is he going to keep watching if he can’t figure it out? Books on the hand, are inherently serial. You don’t sit down, pick up a book, flip to a random page, and start reading. So if somebody criticized a book for not making sense when you started halfway through, we’d laugh at them. But we do sort of expect that to be possible with TV (less so in the age of TiVo, which I think explains the success of shows like Game of Thrones). And I think we understand that book series’ and comic book series’ are part of one ‘book’, so to speak. Nobody buys just book 2 of a series.

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Deathstalker

If you ask me what my favorite fantasy series is, I probably won’t have to hesitate too long before churning out a list of 5, debating with myself as to the respective merits and flaws of each series, and ultimately saying ‘if I have to pick…no, I can’t’.

But if you ask me what my favorite sci-fi series is, especially if you ask for an epic series, there won’t be much doubt. Sure, I might hem and haw over I, Robot, and whether it qualifies as a series, and I might linger briefly on the formative nature of the Foundation series, but while I’ll stop here or there on the way, I know exactly where I will end up: Deathstalker by Simon R. Green.

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Crown of Slaves and Torch of Freedom, by Eric Flint and David Weber

Take one of my favorite writers and give him license to contribute to the phenomenally successful Honor Harrington series, and what do you get?  You get Eric Flint working with David Weber on the short-stories-turned-novels, Crown of Slaves and Torch of Freedom.

Do you like space opera?  How about great characters engaged in spy games and intrigue?  Or maybe true badasses going up against incredible odds?  All of them?  Good.  I’ve got some books to recommend to you.

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The Mongoliad, Book One

The Mongoliad, Book One, is the first in a series of books written by a collection of authors (Bear, Bear, Brassey, deBirmingham, Moo, Stephenson, Teppo).  It is an alternate history starting in 1241 AD with brief moments of the fantastical / spiritual.  They make no jokes about the devastation wrought by the Mongols, and paint a convincing portrait of medieval Europe (everything is dirty and most people are poor).  It’s a quality story, with the promise of more good tales to come.

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Servant of the Dragon, by David Drake

Servant of the Dragon is the third book in the epic fantasy series Lord of the Isles, written by David Drake.  Published in 1999, it is a excellent sequel and addresses the few issues that I previously had with the series while continuing the better traditions of the first two books.  I recommended the series before, I recommend it even more strongly now.  If you want to dive into a fantasy setting built on the sunken ruins of an Atlantean past, constructed from the stones of Sumerian mythology and mortared with Greek and Roman poetry, this is the series for you.

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Queen of Demons, by David Drake

Queen of Demons is the second book in the Lord of the Isles series, printed in 1998.  David Drake continues to show that he knows his craft, with this sequel giving a suitably dramatic follow-up to the beginning of the epic.  This time I wasn’t skeptical at all, and I was right not to be.  That musty scent of genuine historic fantasy setting, cobbled together from the corpses of bits of real history, takes life once more.

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Lord of the Isles, by David Drake

I had always thought of David Drake as a military sci-fi author.  He has a long history of writing exactly that, with Hammer’s Slammers and Northworld being the examples I’m most familiar with.  So when I came across Lord of the Isles while browsing his wikipedia page, I was a little surprised.  A renowned sci-fi author tries his hand at epic fantasy?

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