The purpose of the S16 analog synthesizer communication network protocol is to make direct, machine-to-machine collaboration between experimental musicians safe and easy, guided by curiosity. Naturally, as I’ve been refining and experimenting, I’ve been finding ways to make it more difficult. But at least I don’t think it’s less safe.
Continue reading “S16: Forward Voltage, Current Limitation, and Preventing Clipping”Hanta, the Sacrificial Pharaonic Oarsbearer
The World of Names writhes with living promises, the words of Namedealers plying the whims and vanities of the mighty forces of nature.
But Hanta has made a promise to enter the Waters of the Underworld. To most, that would be a simple condemnation to death. And Hanta is fairly certain that for her, it is, too.
As she rows downstream, dressed in the splendrous ceremonial regalia of an escort of the Pharaohs, she broods on her fate, bound she is by a complex knot of long-held promises — a knot pulled tight by generations of treaties spun by the priests, astrologers, and magicians of Misr with the river; with the Sky that covers it with its unblinking eyes; with the towns and ports that seed its shores with life; with vassal kings and heroes.
Losing hope, she accepts the offer of the young, pretty courtesan Tinkari for companionship.
…and to uncover what transpires between them, you will need to read Hugo-nominated author Mimi Mondal’s tale, detailed in the pages of the upcoming Bloody-Handed Name of Bronze! Of course, like all of my work, you will be able to see it first as a patron of my work at my Patreon!
Tinkari
Tinkari is an ingénue, a sacred prostitute from the brothel-temple in the heart of the city of Kalrim. When he said he wanted to see the world, Mother rolled her eyes and said he’d be back soon; the world was full of ugliness and discomfort, when he lived surrounded by soft bread and music, by pleasure and beauty.
But Tinkari found something else.
Continue reading “Tinkari”Good Morning
The Children of Shama have strict hospitality rules that require them to offer sustenance and shelter to anyone lost in the desert. On the whole, this works out well, since it gives some assurance that one will be rescued if one finds oneself alone. It also means that, should a Child of Shama set out across the desert, they will be able to intercept other tribes and know that they will be offered water and at least minimal provisions.
But the owner of this tent doesn’t know what they’re doing. They’ve made the mistake of traveling in the day and sleeping at night. The tent owner awoke to find these two travelers approaching with curiosity, preparing, as the sun rises, to make camp for the day and sleep through the high heat.
They are concerned that this foolish person will be a waste of their water, their coffee, their meager bread, and their lamb jerky provisions. They’d be happy to help someone across the desert, fulfilling their duty. They’re less sanguine about giving it to someone who is clearly just going to die of exposure in the next day.
The S16 Analog Music Network
Narrator: He didn’t know what he was doing
An analog communication protocol for safely, consensually receiving strangers’ modular synthesizer control voltage signals without a subsequent burning sensation when you oscillate.
Continue reading “The S16 Analog Music Network”The Children of Shama
To the south and west of the Center of the World lies the Desert. Few would cross its expanse alone, as no roads may survive the winds that wash them away in waves of sand, scouring every footprint to nothing. To those from the Center of the World, it is a vast sea of sand and rock, untouched by rain, populated with ferocious wild donkeys, herds of camel, and little else but the unpredictable Desertmen.
The Desertmen, though, know it as their home, Nagash-Ayat, She who Hides Treasure. They call themselves the People of Shama and their many tribes know its wadi, its oases, its seasons and tides, its monsters, its hidden delights.
Continue reading “The Children of Shama”From Character Generation to Exposition
For almost 15 years, I’ve been working hard to eliminate the device of “character generation” from my roleplaying games. The tradition, like an awful lot in RPGs, comes from wargames, where your choices about your character at the outset are strategic decisions that affect the outcome of your tactical decisions in play. But if our play is not about optimal tactical decisions, surely those initial choices can be something other than optimizing resource allocation.
By contrast, in fiction, the process of establishing the “normal” for the character, as well as what they want and why, is called “character exposition.” With fiction once again as our model, let me explain where I’ve gone and where I want to be for A Traveler, Alone and Shock:2.
Continue reading “From Character Generation to Exposition”Padeb Cuts a Deal
“I know I appear to you as a sweetmeat, mighty Bashet, Queen of the River Ia, but if you allow me to pass, I will bring you an army, led by one far fatter than I, upon which you might feast.”
Continue reading “Padeb Cuts a Deal”Demise of the Gulabadam
Heroes have deaths. In fact, sometimes it’s the crux of their whole story, per Le Morte D’Arthur. And, like so many myths, they’re inconsistent. Did Herakles die? Or did he ascend to Mt. Olympus? It depends on who you ask and what their interest is in the answer.
Continue reading “Demise of the Gulabadam”A Traveler, Alone
The image of the lone adventurer, exiled from their home society, means a lot to us in American culture, with our adoration of the Exceptional Individual. But roleplaying games aren’t, in general, designed for it, and thanks to Tolkien (and our general love of social behavior), we often play in ensemble casts, anyway.
In Shock: and The Bloody-Handed Name of Bronze, I’ve tried to give us a couple other options. In Shock: your Protagonists often don’t know each other at all; the effect you have on each other is through the medium of your shared world as it changes, where each of you is a perspective on the changes that are occurring around you — and the impetus of that change. In The Bloody-Handed Name of Bronze, you often play with one other person. One of you portrays a lone Companion while the other Knows the Will of the Names of the World. That gives us room for single character stories (though, oddly, it’s harder to do stories about two protagonists like Gentlemen of the Road.) But it still doesn’t change the social dynamic.
And, of course, we use our imaginations in solitary form with mechanical guidance all the time. That’s reading.
Continue reading “A Traveler, Alone”