Ashadd Nash is a scoundrel, living between the cracks of the Empire and the now-disintegrating old order of the Republic. And like any scoundrel, she travels armed.
Ashadd Nash, like Boussh, Boba Fett, Maz Kanata, and many other scoundrels, rarely allows her face to be seen. Among those she trusts, though, they see the face of a 20-year-old who bears the responsibility of her entire, scattered clan.
I’ve been working on an illustrated essay called How to Make a Star Wars Guy. It’s about the scope of things that Star Wars can talk about, and why it often rings false.
My example in the essay is Ashadd Nash. You’ll learn what she’s about in the next few posts!
The Dzung live to the north of the center of the world, in the cruel mountains and vast, unknown high plains beyond.
In Shock:Social Science Fiction, your character has a number of characteristics: Two pair of Praxes, a list of Features that might grow over time, and Links, discussed back in Part 2 of Deconstructing the Future.
Praxis stands in, in many ways, for the “stats” of many roleplaying games and, at the same time, for “alignment” in D&D and its offspring — and you’ll notice that it shares some of the weaknesses of alignment, as a result.
However, because they’re proposed in play, they establish what the players — not the designer — want to be the core set of ethical questions as the fiction develops. Along with the Grid and Audience, they establish the authorship powers that the players have over their experience of play.
The Dzung people live far to the north of the center of the world on the mountains that form the border to the high plains. They are nomadic and broken into many tribes, but all answer to the wielded of Zujabji, the ancestral spearhead of their chiefs.
The heart of every moment in Shock: is its potential for irony. That irony comes from the toothy compromises you make as you create your world, as your *Tagonists resolve Conflicts, as Audience alter outcomes, as a Protagonist approaches their Terminus.
My upcoming story, City of the Worm King, features the sexy, sensitive, and perhaps misled character, Buejad. It was my pleasure to have him model for me a couple of weeks ago here in my studio.
A lot of you will probably recognize this painting. It’s my copy of one of Wayne Barlowe’s paintings from his seminal speculative zoölogy book, Expedition. The book is a prize possession of mine, as it is, I suspect, of anyone who has it in their library.
In Part 1 of Deconstructing the Future, I laid out several of the initial elements of Shock:Social Science Fiction, ending with Links and Escalation. I want to go back into those elements and discuss more of why they’re there, what they’re supposed to do, and how they wind up working as “Fortune in the Middle” mechanics alongside the Audience participation mechanism, Minutiæ.