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!
Continue reading “Introducing Ashadd Nash, my Star Wars Guy (How to Make a Star Wars Guy 1)”
The Dzung live to the north of the center of the world, in the cruel mountains and vast, unknown high plains beyond.
Continue reading “A Dzung Raiding Party Takes to the Air”
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.
Continue reading “Deconstructing the Future 4: I Care About What You Do, Not What You Care About”
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.
Continue reading “Zujabji, Ancestral Spearhead of the Chiefs of the Dzung Mountain People”
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.
Continue reading “Irony: An Outcome Contrary or Converse to the Expected”
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.
Continue reading “Buejad”
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.
Continue reading “Copying the Masters”
Shock:2 development is being funded by the xenoglyph Patreon. Share and subscribe to get it to the next level, when I’ll start producing playable sketches!
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.
Continue reading “Deconstructing the Future, Part II: Seeking Your Fortune”
This is my final commission for the Kaleidocast, Season 2. Kaleidocast is an amazing podcast put together by the Brooklyn Speculative Fiction Writers’ group, who have given me the incredible opportunity to not only do some really weird art like this, but also to make some really, really good friends.
Continue reading “This is Bowie to Bowie. Can You Hear Me Out There, Mahn?”
The Fibonacci geyland of Ashlesa 3.1 is a vast “grass”land of Monoforms that support the coboglobin-based ecosystem of Diforms, Triforms, Pentaforms, and Octoforms. This, the Titanic Pentaform, is the most massive Pentaform discovered to date.
Continue reading “The Titanic Pentaforms of Ashlesa”