fantasy

Let’s Catch Up With Stephen Gibson: Creator Of Grimslingers!

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We’re continuing our Inspirational Creator Series of interviews this week, checking in with Stephen Gibson – artist, writer, game designer, and creator of the Grimslingers line of tabletop games. He’s had some exciting personal developments since we last spoke in 2020, and remains one of the most popular interviews we’ve hosted here on Grailrunner. Click here to read that original interview.

He had been Art Director at Arcane Wonders at the time, designing a supporting app for Grimslingers and trying to find time to catch some sleep. His art has popped up recently on book covers, and he’s even been featured in the art magazine, ImagineFX. In 2022, he made a big switch to Sumo Digital in Newcastle in England and added another member to his growing family!

Fascinating dude, great guy, and incredibly talented. What else could a Grailrunner ask for in finding inspiration?!

Stephen, apart from the occasional “wassup”, we last chatted in October of 2020, before zombie movies came to life with a global pandemic. You were one of the first interviews in a series we did on inspirational creators, and yours in particular remains the most popular of all that we did. Apparently, Henrietta the magic hen is quite the ambassador for you!

It has been a lifetime! I’m flattered at the reception and find it hilarious (but not all that surprising) that Henrietta has stolen the hearts of your readers. She’s also one of the illustrations I spent the least amount of time on. I’m sure there’s a lesson in there somewhere…

At the time, you were deep in playtesting on Grimslingers 2, and had featured a detailed map and some app screenshots in various places on social media. Then I suspect life happened and you needed to focus on your work as Art Director at Arcane Wonders among other things. Were you or your family impacted seriously by COVID? I hope everyone is well.

Life indeed happened, as it does to us all. I had my third child, among other big life changes and yeah, COVID!!! I spent most of Covid gaining weight and wishing I had the energy to work on Grimslingers 2.

To prepare for this chat, I dug back through your (sparse) posts, and you seemed super passionate about an Arcane Wonders release called Freedom Five. It sounded like a tremendous amount of work – how was that experience?

Art wise, Freedom Five was a lot of fun because I was able to work with some extraordinarily talented artists. I’m particularly proud of the comic book panel style card art we had for ability cards. Each ability card really sold the story of the ability on it.
The campaign was a whirlwind that seemed doomed a little ways in but we were able to turn it around and I’m immensely proud of my hand in that (which meant a few sleepless nights re-working the entire campaign page).


It was a tremendous amount of work (and still is, it still hasn’t shipped to backers). We were very ambitious, but the project also got hit hard by the pandemic. We funded right before poop hit the fan and the world plummeted into chaos, and that meant all of our numbers, estimates and expectations for producing this game got thrown out the window.

I was incredibly jealous of the cover image you did for Cold As Hell, the book by Rhett Bruno and Jaime Castle. I saw your mysterious post about it around May of 2021, then stumbled randomly across it on the Barnes & Noble shelf this past summer. Looks amazing. (Offer stands for you to do a piece for Grailrunner’s Salt Mystic setting any time you like.)

“Shot dead in a gunfight many years ago, now he’s stuck in purgatory, serving the whims of the White Throne to avoid falling to Hell. Not quite undead, though not alive either, the best he can hope for is to work off his penance and fade away.”  – that’s from the Amazon description. I see why you were attracted to the project.

The author approached me to see if he could use some of my Grimslinger art for his cover (Pocket Watch Will to be exact). That was a first for me, haha. Instead we worked out producing a new piece of art and I think that was for the best! I’m quite fond of that cover, it certainly evokes a mood!

You’ve described your workflow as being heavy on photobashing and digital painting in Photoshop. Describe your desk setup – an old post showed a Wacom tablet among other things. How do you set up for work?

My “Grimslingers” style is photobashing, but I’m just as comfortable doing cartoons or comic-esque stuff. Right now I actually don’t have a desk or even a computer, I sold it on to move to the UK and start a new job! HOWEVER, I used to have a Wacom Cintiq 24HD Pro, an ultra-wide primary monitor and a beefy PC to boot. I also use a Logi Ergo M575 trackball mouse. It allows me to use the mouse without needing a ton of space to move it around, that way I can switch between pen, keyboard and mouse without too much movement (why do much movement when little movement good?).

Barceline: Vampire Eater
Luella And The Gaia Mind
Icarus: The Iron Witch

You mentioned on Artstation you’d used Unreal Engine 5 for the first time in kitbashing some Victorian environmental pieces for TacticStudios. What did you think?

I think every artist should had some 3D software in their repertoire. Unreal is fantastic for kitbashing and I wish I had more time to spend with it! It’s one of my main goals as an artist, to develop my 3D bashing and sculpting skills more. For me, that’s the next step in my evolution.

Daemonic Soul Hunter
Valencia
Al’Miago The Wizard

Congratulations on being featured in the December 2022 issue of ImagineFX. Best quote ever, regarding your approach to art: “…splicing in new images to fill out the character until I can’t stand to look at it anymore.”

You also said something near and dear to the mission of Grailrunner Publishing: “The world needs more passion projects and less corporate-controlled products.” Tell me what you mean by that and why it’s important. 

Getting featured along other incredibly talented artists in ImagineFX was a big moment for me as an artist! Certainly a highlight of my journey thus far! My quote partly had to do with my frustration with truly unique and visionary ideas being disregarded because their considered more of a gamble – which they are! I totally get why business entities take the approach that they do in train to “paint by numbers” games and play things safe. But playing it safe doesn’t move our industry forward. It’s the risk takers that got us where we are now, and it’s the risk takers that will push us forward.


In my opinion, a game like Grimslingers wouldn’t have ever happened if I had to pitch it to publishers, it’s just far too wild and to weird a mix of genres and styles. There are some visionary and forward thinking publishers out there (more in the board game world compared to the video game world) and I truly do appreciate them. Cheers to the risk-takers! It’s a difficult and dangerous task, but the soul of our industry lives with them

Kipper
The Witch King
Nyunyo And Alma

One more question before we get to Grimslingers – you’ve settled in now at Sumo Digital in Newcastle. Tell us why this move, what’s exciting about it, and what sorts of things you’ll be working on.

Covid shook my confidence in the board game industry, and life rocked my personal finances (to the extent that I wasn’t able to keep up with my bills). As a father of three, I’m not at a point in my life anymore where I’m willing to ride out risky situations for too long. After college I had signed up for a job alert service to which I never unsubscribed. One day, I got a job alert for a position at Digital Extremes (a studio in my town that happens to make the ultra-successful looter shooter, Warframe!) The job description fit me perfectly and was the push I needed to help me feel like I could exist in the video game industry. I updated my resume, my portfolio, I started learning new software (like UE5). I interviewed with several studios (and yes, I did get the interview with Digital Extremes!).


I lacked experience in the video games industry so I knew (or I thought I knew) that I’d never find a job as an Art Director, so I was applying to concept artist positions. I interviewed with Ubisoft for the Splinter Cell remake, TacticStudios for an unannounced project, Digital Extremes for Warframe and Atomhawk for Character Concept Artist. They were all very promising and I had a few interviews with each, but Atomhawk seemed the most exciting to me, and they seemed the most excited about me. Unfortunately the job fell through because of some changes to their projects. What I didn’t know at the time was that Atomhawk is part of a larger group, Sumo Digital, and one of their recruiters reached out to me, apologized the opportunity fell through but if I was interested in relocating to the UK, there might be something for me. I thought it was a joke but turns out it wasn’t! Not only that, it was for an Art Director role – a job listing I had seen but didn’t apply to because it was asking for far more experience than I had (let that be a lesson to you all!).


There’s more to the story but the heart of it is this: Changing your life is difficult and scary, but it can be done. Work hard, play nice with others, put yourself out there, it’ll work out. Good things are waiting for those who put in the effort to achieve them.

Speaking of Grimslingers, what can you tell us about what’s coming up (and generally when we can expect to see it)?

Unfortunately, I don’t have any Grimslingers news at this time…but one day, echoing through the winds, you’ll begin to hear the faint whispers of news from far away lands, tickling your ear tubes with the promise of more Grimslingers!

What is it about the stories of the Forgotten West, magic-toting grimslingers, Icarus and his mysterious missions, that inspires you? Why so much passion into this setting?

The answer is simple I think: it’s me. It’s all just an expression and wild re-interpretation of my personality and life experiences. A collection of things I love and adore and a world in which I make no compromises and have no limits.

And if you could launch some grimslingers out into the world on your own missions, what would you have them do exactly?

Definitely go get me some pizza, this covid weight isn’t going to maintain itself!!!

Stephen, anything else you’d care to let us know or places you’d like folks to keep an eye on for your doings?

In a few years’ time, games I’ll have art directed at Sumo Digital hitting the market. I hope you all love what you see and will be able to spot my unique flare to approaching art!

Special request – if there’s an illustration of Red, the salty panda pirate out there, I think we need to see that.

Thanks very much, Stephen. And best of luck in the new company and new continent!

Thank YOU for the opportunity 🙂 and kind words!

Till next time, guys.

Firebeetle In The Stygian Library: Experiments In Solo RPG Storytelling

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Adventures are a hunger, fundamental to who we are. But what makes them work?

Literally everything we try at Grailrunner is about pushing boundaries in imagination. Often, that takes the form of contorting tabletop game mechanics for experiments in immersive storytelling. Then we give that stuff away for free in case it’s entertaining, though we’ve learned bits and pieces along the way about what makes adventures work…and what is missing when they don’t.

Which is the point.

For example, we built wargame terrain and a narrative scenario to play out a story using the game mechanics of Privateer Press’s popular Warmachine. It was a thrilling ride we called…

The Black Ruins Massacre

Turned out amazing – go follow these links to see what I mean:

Part 1

Part 2

Part 3

Part 4

One of the more popular things we’ve ever done here on the site was to write up an illustrated recap of a solo Dungeons & Dragons adventure in Wizards Of The Coast’s Tales Of The Yawning Portal. I routinely use a ridiculous D&D character named Firebeetle to try out different roleplaying game rulesets, and in that case, I put him through a harrowing ordeal called Clueless In The Sunless Citadel. Click these guys here to see what that was all about, and download the free pdf. Only takes about a half hour or so to read, but it’s fun.

Clueless In The Sunless Citadel

So anyway, I was in a big old used bookstore called McKay’s in Nashville, TN a few weeks ago. I strolled to the RPG section with no particular goal in mind and found an odd, strangely electrifying, though ultimately unsatisfying hardback called Maze Of The Blue Medusa. I knew as soon as I read the back, felt the weight and texture of it in my hands, as soon as I flipped through a few pages, that this was something special.

Maze Of The Blue Medusa

(I understand there is some controversy around one of the creators behind this book, so I’ll stick to the work itself in my comments.)

The book describes a system-neutral dungeon complete with a detailed map, illustrations, a bestiary and associated encounter dice tables, and intricately detailed descriptions of every one of its over 300 rooms. In every room, something weird is happening, something grotesque and surreal is creeping about, and crumbs of an over-arching story are dropped.

However, unlike so many mega-dungeon books with their Tolkein tropes and endless loot crates and traps, this whopper is written like an art project, with text that reads like it’s for shrewd adults capable of seeing irony and social commentary in its encounters.

I excitedly cracked it open when I got the chance to run young Firebeetle through his paces inside the Maze.

And I wasn’t into it.

It just didn’t click for me. The adventure escaped me, and it was just going through motions with no point. I couldn’t find a story hook that mattered. Each room seemed weird and vaguely interesting, but nothing popped or sparkled for me. The encounters were tedious and amounted to nothing. Here’s a Youtube video of some dudes in an actual play session of Maze Of The Blue Medusa – watch that for a few minutes and I suspect you’ll see what I mean.

Even with a great GM and some funny players, this wasn’t an adventure so much as a haughty stroll through the bohemian part of town where I don’t really fit in. I wanted the awe and danger of exploration inside the covers of a book and found only a meaningless series of weird things. Maybe that was my fault, but the mechanisms available just didn’t work the way I wanted.

That was on my mind when I heard of a little book by Emmy Allen called The Stygian Library, I thought maybe I had found redemption.

The Stygian Library

Pick up the older version of this booklet free here. It’s available in a remastered version here.

The Stygian Library bills itself as a dungeon for bibliophiles, promising a procedurally generated fantasy library you can explore in ever deeper levels. That sounded amazing, requiring you to map your way (though you can run blindly and get lost). Much like Blue Medusa, this wasn’t written with solo play in mind, but with enough dice tables and imagination, I figured I could rewire it.

Emmy delivers a wild bestiary including golems made of paper, animated books that follow you around, mysterious creeping librarians working on enigmatic calculations, even a half-man, half octopus that eats brains. Nice.

You roll for the levels you’re entering, details about them at first glance and also if you search around, as well as random events and, when prompted, encounters of a friendly or a violent flavor depending on your choices so far.

I took this idiot inside.

Firebeetle

Firebeetle was a name I was given for my very first D&D character back in the day. I recreate him in any game system I’m testing out because he amuses me.

He’s an aimless adventurer, in it for the thrill, always ready to take up a quest or try a mysterious corridor, picking up random things along the way and relying on his luck to seem him through. He’s not really charming, but thinks he is. Loves the ladies. Gets into trouble practically at every destination.

Firebeetle has a tendency to stumble into dimensional portals (as I try new game systems), finding himself in underground dungeons in the Middle Ages (D&D), Viking-era Iceland in an impossible city made of clusters of hot air balloons (Ironsworn RPG system), or in the far future on a dying space station (Starforged RPG system).

He just kind of goes with it. And it all works out in the end.

Neither Blue Medusa, D&D, Ironsworn, nor Starforged were delivering on the premise I was searching for: the awe and danger of exploration inside the covers of a book. Maybe Emmy’s Stygian Library would be the trick. I love libraries.

I put this ridiculous booklet together during conference calls in the COVID-19 quarantine, and I treated it as the opening sequence before entering the Stygian Library. It was going to be called Five Days In Boghallow, a fighting romp with a funny undead sidekick. Literally the only reason I’m including a link here is to give you a feel for this character. He’s such an idiot.

Anyway, I’ll give you the airplane view of what went down inside the Stygian Library and make my point for the day:

On what happened inside the Library…(keep in mind, virtually all of this was determined by dice rolls and game mechanics)

Bereft, the undead knight and Firebeetle entered the Library from the pit into which they’d fallen. They were amused by a couple of animated books that followed them around like cats, though the creepy librarians kept appearing to whisk the books away into the shadows. Something they read inside the cover of one of the books gave them a quest to find some machinery in the deep levels of the endless Library. They encountered bees made of paper (swatted them away) and a golem (ignored it) and paid visits to a planetarium, a pile of treasure, the master catalog of contents, and a hall of taxidermy before managing to be entirely lost and stranded inside an ever-shifting labyrinthine library.

Ahh, I thought. Here’s where things pick up for young Firebeetle. He’s stuck now. Looking for some machines or something.

They kept pressing on, ever deeper, picking up all manner of treasures and vaguely defined books that seemed promising. ‘Let’s see Firebeetle’s careless attitude work his way out of this mess’, I said to myself.

Then inside a giant paper beehive, a bird-like bandersnatch started pecking at Firebeetle’s sword to steal it (because it was shiny). Stupid bird-thing. When they finally killed it, the fact that they were killers turned the Library into a deadlier place. This would pick things up then, as the Library beasties got nastier and the hapless adventurers grew more desperate to find a way out.

In an enormous statuary, Bereft and Firebeetle were accosted by a floating skull, attended by floating teeth that were enthralled with its every word. It grew increasingly insulting, commenting on their appearance and bumbling like they were museum curiosities, before it began to smash itself into Firebeetle muttering something like, “See, students, how a skull may stomp a bug without the need of feet!”.

They ultimately shattered the pompous skull, scattered its minions, and dealt handily with some phantoms the encountered as well. And they did, believe it or not, wind up in the chamber they sought with its outlandish calculation engines, where the hooded Librarians worked their mysterious mathematics.

And would you believe it…and I honestly didn’t make this up at all…the dice rolls delivered Firebeetle an intangibility potion. It’s the one thing that would get him back to an escape from the Library, with treasure and books in hand. I mean…I tried to put the guy in danger and make a madcap adventure of the whole thing, and his ridiculous luck somehow just pulled him out of it.

The Stygian Library was amusing, even interesting and novel, definitely worth your attention if any of this sounded like your cup of tea, but overall it failed to deliver the spice I was seeking: the awe and danger of exploration, except in the covers of a book.

So what am I saying then?

Here’s my point. And I learned this through all these experiments with different game systems through comparison with the one I’m testing now – Forbidden Lands by Free League Publishing. The difference has been night and day. And I believe I know why.

Solo RPG game play is absolutely possible. It’s enjoyable and surprising, stretching your imagination and your sense of fun. It may even rewire your personality as you rip and stretch aspects of yourself that don’t see enough light of day. It takes a few things though, which I’ve found in Forbidden Lands more so than with these other systems, including The Stygian Library:

In my day job when we deal with companies making big changes, we use something called The Airplane Model to define the major elements that make things happen, that drives people to do things. I’m applying this to manufacturing adventure. Hear me out:

Adventures work when:

  • (Vision) …there is a meaningful purpose to what the characters are doing – a destination and a clear, important goal that you find interesting. The Forbidden Lands ruleset offers a Legend Generator that covers this well. I believe I was missing this in many of my random exploration experiments.
  • (Sense Of Belonging) …the characters matter to you, fleshed out with formative events that made them who they are. I trusted the Formative Events dice tables in the Forbidden Lands to build a person for me, a hunter named Colter, and he’s starting to feel like someone I’ve known a very long time.
  • (Sense Of Contributing) …the decisions that your characters make have consequences. I felt in the Maze Of The Blue Medusa and to some extent in The Stygian Library that the random conflicts and odd bits of treasure were irrelevant. Curating good dice tables, like the Action and Theme oracles in Ironsworn and others is fantastic for surprises and a sense of wonder and discovery, but what you do has to mean something or there’s no weight to what’s happening
  • (Sense Of Progression) …there is a clear, definable sense that progress is being made against the purpose. Ironsworn, Starforged, and The Stygian Library all three provide an abstract Progress Tracker intended to keep score of how things are going in the story versus goals, but I found that unrelatable in solo play. Boring and meaningless, even. I’ve found I start to give up on the adventure entirely if there isn’t any meaningful progress or sense that things are moving along. In the case of Forbidden Lands, a deliciously detailed map is provided which is incredibly satisfying.
  • (Sense Of Urgency) …time is ticking, and there is a real possibility of dying or losing something precious. Particularly in D&D 5th Edition, I feel like it’s kind of hard to die. One thing I’m seeing in the Forbidden Lands ruleset is that the stats are unforgiving, and there are lots of things able to kill my character. It forces me to make Colter plan more, and think creatively about his decisions since he could die so readily.

And that’s what I wanted to say about all this. It’s been interesting, testing all these systems out and trying to use them to breathe life into a story I can experience.

The awe and danger of exploration, except in the covers of a book. Possible?

What do you think?

Till next time,

Announcing A Massive Freebie From Grailrunner!

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Ahhh…free stuff. Who doesn’t love it?

One thing we’ve heard loud and clear from you is that you feel it’s hard for someone to first get into the Salt Mystic universe without having the Sourcebook And Core Rules. You’ve got your battle deck, your own copy of the book, and you’re ready to smash some tornadoes together. Your head’s swimming with images of gunslingers dueling with ball lightning and abandoned sparkling oriel gateways leading to treasures and ruin.

Yet there’s a lot of gaming options out there (and so very little spare time!), you struggle to get someone to buy any of that for themselves, so there’s no one to play the game with.

We hear you. And we’re fixing it.

All you need is a printer!

Starting today, the free ebook available right here on the Grailrunner site will include:

  1. Two full color Volume One starter decks, available in print & fold format
  2. Dice cards and a measuring ruler
  3. A fully realized narrative scenario complete with short fiction and table setup guidance
  4. An assortment of sample terrain elements, including one customized for the included scenario

The included adventure scenario is particularly dear to my heart, because we mostly stick to flash fiction at Grailrunner. We’ve always kind of thought people like their non-mainstream stories super short, high impact, lots of shock and cool ideas, with great eye-catching illustrations. Like we’ve attempted with the Lore Cards. The novels will be great when they come, but that moves incredibly slowly for me at least.

Yet you asked for more now. Thank you!

The bonus game scenario is titled “Towerlock”. We wanted to elaborate on a fan favorite character, the devilish all-seeing wildcat who calls herself “The Wake”, bringing her to life in a way that might surprise anyone that has gotten to know her so far. Or thinks they have.

The accompanying tale exists to help you visualize the unique battlefield conditions that will exist in the game scenario. The pressure cooker conversation between The Wake and this mysterious adventurer with whom she apparently has history is your chance to ask yourself just what you’d do to either attack or defend the summit of that mountain. You know your assets, your liabilities. Then…what would you do? Play and find out.

Towerlock: An abandoned oriel terminus has been discovered on the summit of a towering granite butte in the desert country in Jasphouse Province. A single oriel gateway leads to artificial pockets of space left over from The Infinite Republic, and could contain treasures and technologies beyond belief. Yet a terminus might contain as many as twenty such gates. No one nation can be allowed to control that sort of thing.

Karak and a vanguard watch from Alson in the Mountains got to the summit first and established an operation financed by an enigmatic partnership known only as Towerlock. He will need to plan his defenses carefully and consider all possible avenues for assaults and seiges.

Segmond and a vanguard watch from Tanith in the Salt Flats has arrived to take the summit back. He’ll need to analyze the defenses being set up, consider all intelligence he can gather, and prepare as devious or as bloody an assault as he can muster to have any chance at success.

Wonders beyond imagination could be ripe for the taking. But the fight will take place on a sheer vertical wall, and anyone who’s defeated falls like rain. Good luck. Draw well.

What’s your strategy?

Anyway, that’s what we wanted to let you know today. It’s a big deal to us, and will hopefully open the door to more folks dipping into this fascinating, experimental world that’s so unbelievably building itself.

Make sure you’re signed up for notifications for new articles here on the site; we plan to post a sample chapter from the upcoming novel, Mazewater: Master Of Airships.

Till next time,

A 13th Century Machine For Seeing The Future

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“Chance favors the prepared mind.” -Louis Pasteur

That’s a great quote, one of my favorites. And it’s a crucial philosophy for anybody who has to be creative in what they do, which I believe is pretty much everybody. If this isn’t your first time around here, you’ll know Grailrunner’s key driver is inspiration for innovative ideas. Mainly we’re into science fiction and recently, tabletop gaming, but dropping idea-bombs like the one today is gasoline for us.

You never know when you’re going to be able to draw a connection between ideas and make something wonderful happen in what you’re doing, so it’s best to file away all sorts of gems as you come across them and do everything you can to understand what made that idea work, what made it fascinating and useful to whoever dreamed it up.

Which brings us to mysterious brass machine crafted around 1241 AD, marvelously decorated with inlaid silver and gold, emblazoned in gorgeous Arabic script, and stored in the British Museum’s Oriental Antiquities Department:

“I am the possessor of eloquence and the silent speaker,

and through my speech [arise] desires and fears.

The judicious one hides his secret thoughts, but I disclose them,

just as if hearts were created as my parts.

I am the revealer of secrets; in me are marvels

of wisdom and strange and hidden things.

But I have spread out the surface of my face out of humility,

and have prepared it as a substitute for earth.”

-Naskh script inlaid in silver on the Geomantic Tablet

Let’s get this out of the way now, and don’t say it to offend anybody who feels otherwise, but there’s no reason at all to believe that patterns or movements in the stars, random dots in sand, or how birds move around brings any insight into the evolution of future events. There’s no known medium or physical law that would fuel something like the supposed axiom fortune tellers often lean on: “As above, so below”.

That doesn’t make it less fascinating to me though, how people throughout the millennia have given it every effort elaborately and exhaustively. And somehow, whether in hexagrams flipping through The I Ching or the dots in the sand of geomancy or other avenues, we find insights into ourselves and human dynamics in the intricate connections, metaphors, rules, and manipulations of fortune telling machinery.

islamic-geomancy-and-a-13th-century-divinatory-device-another-lookDownload

If you find this sort of thing interesting, download this 2003 study by Emilie Savage-Smith and Marion B. Smith updating their earlier work on the same device. They’ve really done some exhaustive and illuminating work, fleshing out what this amazing machine was built for, how it was used, how it’s constructed, and the Islamic divination background from which it came. This is available for free in a few places on the internet, but I’m including it here so it doesn’t get lost.

What is this machine called? Most references to this device call it the ‘geomantic tablet’.

Who built it? A craftsman named Muhammed ibn Khutlukh al-Mawsili in 1241 – 1242 (he signed and dated it).

What was it for? This device is a unique machine for conducting geomancy divinations without the use of sand or dirt. Someone wishing to know the outcome of a future event could manipulate four sliders and a number of dials and then, following geomantic principles, get detailed insights into what was likely to happen.

But what’s geomancy? Geomancy is a divination technique usually involving poking random numbers of dots in sand or dirt in 16 rows while concentrating on a question for which the seeker wishes to know. Since the mind is supposed to be absorbed in the question and the mood, it’s important for them to be unaware of how many dots they’re making. Geomantic rules outline how the seeker would count the number of dots in each row and form four standard figures (called “the Mothers”). From those, rules explain how to form four more standard figures (called “the Daughters”), then more manipulations to further derive two more generations of figures and ultimately a final resulting figure.

Does geomancy work? The figures have names and a host of connections that flavor the oracle being provided, which is (to me) where the actual magic happens. Our minds find patterns everywhere; it’s literally how they’re built and how they reform themselves. Complicated jiggery like this makes it seem like science, but in my mind these manipulations and connections draw out our ability to see events and circumstances differently by throwing random noise into the problem solving process. We seize onto bits of noise that seem relevant, our rational processes jump out of the rut we’ve found ourselves in trying to resolve the issue, and we focus instead on puzzling out how this other new bit is related. In doing so, we may have found an answer that our paradigm and assumptions were preventing us from seeing before. So an oracle has spoken.

How did this machine work? The authors do a really nice job of piecing that together, actually. Those four curved sliders in the top-right corner each bear all the standard geomantic figures on them in a non-standard sequence. It’s likely the user would concentrate on their question and randomly pull the slider out to some position without looking, then look at the bottom-most figure visible in the window to see which figure was to be placed as the first “Mother”. And so on till the first four figures were found.

The dials also all held all the standard figures (each one being identical), so they’re just basically registers for the user to display the relevant figure as they use the “Mothers” and the geomantic rules to know which one to turn to. Inscriptions around each knob name and explain the figures.

Each figure is housed in ‘houses’ and brings all the requisite connections to flavor the oracle (The House Of Fathers And Mothers, of Offspring And Children, of Illness And Disease, of Women and Sexual Matters, etc). The elaborate starburst knob at the bottom, with its arcing display window, is for gaining deeper understanding into the result by linking that figure to not only its adjacent figure but to states of the moon (setting, rising, etc), and omens (mixed, tending towards good, increasing good fortune, etc).

Interesting, but how does this help me? Well, back to the point I made at the beginning…or at least Louis Pasteur’s point. There’s something to be said here about problem solving and the idea-creating process, about fascinating lore and beliefs from the 13th century, and maybe all manners of stories to tell about mysterious divination machines and the intrigue that could result. In our Salt Mystic line, there is an enigmatic calculus done with the manipulation of figures that is in many ways based on what geomancy purports to be, though the emphasis is on repeating patterns in human behavior along the lines of Asimov’s psychohistory.

What can you you do with all this? Maybe nothing now, but check out the hard work the Smiths put in here, and file it away. You never know when something might be needed.

So prepare your mind.

Till next time.

So Gene Wolfe Got Me Thinking About Connecting With Stories…

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If you’re a science fiction & fantasy person, you’ve maybe heard of Gene Wolfe’s Book Of The New Sun. It’s a four-part series, tracking the story of a dude from a guild of torturers in a future world, but one degraded into a fantasy-style medieval setting. Armor and swords and whatnot. The reason I bring it up is kind of interesting.

Give me a second here. There’s a larger point about why we stop reading books after a page or two, and why we keep going.

Anyway, people in the know brag about this series like it’s Tolkien or the Bible or Dickens. They go on and on, writers whom I respect very much and who should know dregs from riches. If they say it’s worth the read, even though it’s dense and uses esoteric words that look made-up but are actually in the dictionary (when you bother to look and don’t just skim past hoping they’ll make sense in context), you figure you should give it a shot. Well I did. Four times.

Four separate times, I tried to start reading the first book, Shadow Of The Torturer. “It’s mind-blowing”, they said. “A masterpiece”. I had not found it to be so. In fact, I tried some other Gene Wolfe books (in the library so I wasn’t blowing money on things I expected to hate) trying to see the big deal. I couldn’t do those either. So I figured this dude just isn’t the beans for my java and moved on.

Let me put just a little flesh on the bone before we move on here: The opening scene seemed to me to have some typical fantasy-trope band of misfits at a gate of some kind, whispering about how to get inside. Or something. The word choices were exotic, the descriptions dense, and I hate plain-vanilla bands of misfits doing fantasy thieving stuff. It’s. Been. Done. I honestly never got anywhere with that first book because it seemed like tired content, done in an unnecessarily obtuse style.

I listen to a lot of disparate things when I go running at the lake. Seriously, it’s all over the place. Here’s a good one, if you’re into Harlan Ellison, a collection of all his Sci Fi Buzz appearances called ‘Harlan Ellison’s Watching‘. It’s great to hear him rant or get excited about something, then have the ability to fast forward with a Google search to see what became of it.

But I came across these two intelligent, informed gentlemen, discussing at length one of my favorites…a set of pieces collectively called Viriconium by M. John Harrison.

Here, just click this one to listen to these two, it’s hypnotizing: Books Of Some Substance with guest Brett Campbell of doom metal band, Pallbearer.

I’d never heard of ‘Books Of Some Substance’, nor have I listened to anything from a doom metal band from Arkansas (and likely never will), but Viriconium‘s one of the great ones. That’s a life changer, at least for me. It gets in my head. I can’t read it without it changing how I think, how I choose my words. Harrison’s a genius at mood-setting, at impressionistic fiction, at sending your mind off to flights of fancy. Maybe not of telling a story – he’s not great at that. But otherwise, a true work of art there. These two gents had a fascinating chat about Viriconium, so I heard them out on that count. And towards the end, when these two had completely won me over with a rich, insightful conversation that encourages you to think maybe they’re not all Snapchat-addicted neanderthals out there, the doom metal guy mentioned Book Of The New Sun.

Well crap. He said if you really like Viriconium, you’ll like that one too. He said it’s set in the far future where the old technology is literally a toe-scratch below the dust and shards of decaying cities. He said it was amazing.

So I took a fifth go at Gene Wolfe’s supposed masterpiece. I kept an open mind, telling myself this isn’t a piece of Dungeons & Dragons fan fiction or a bajillionth clone of Tolkien, that the exotic words can be skipped or considered in context without constant jaunts to the dictionary, that this very intelligent, insightful doom metal person who held a series I cherish in such high regard was telling me to give it a chance because it holds some of the magic that Harrison’s work does. He earned my trust, so I dug in with as open a mind as possible.

And honestly, it’s pretty good. They weren’t D&D-style thieves at all, but apprentice torturers. That scene was short and not at all what I thought it had been. They were young trainees basically, and this was going to have elements of coming-of-age tales. It’s super easy for me to connect with coming-of-age tales, especially when they hint up front at the great heights to which this person will reach (as this book does). I like to examine their choices, to question whether I’d make them as well, to see where external factors advanced their cause and when they seized their own fortunes alone. I saw this after a few chapters, beyond where I’d stopped those previous times.

The word choices remain exotic and annoying, but they add flavor and atmosphere, which was his point I imagine. I understand there will be an element of the unreliable narrator as I proceed, so I’m on the lookout for nonsense he pitches at me. We’ll see how that goes.

My point today is just to hand you a few links you might find interesting, and to suggest that our preconceived notions of what a book is about can throw us off the rails, that our impatience and lack of attention span can cheat us of some great tales, and that when you find reviewers or podcasters or other folks whose opinions you trust, maybe listen to them with an open mind.

If you’re into Gene Wolfe’s works, shoot me a note and let me know what you think. I’m anxious that this series will fail me at some point, but so far so good.

Till next time, guys.

Dreams are engines. Be fuel.

Deep Waters: A Case Study In Adding A Mythic Dimension

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shicheng

When I read Stephen King’s Dark Tower series or Isaac Asimov’s Foundation, anytime I read Dune, I get the same vibe as I’m planning to chat with you about in this post…that there’s something ominous and huge going on – a belief system or set of myths or larger than life history affecting events. I dig that tremendously; and I look for it in things I enjoy reading. In fact, when I was growing up, you were either a Luke Skywalker guy or a Han Solo guy – meaning you wanted to be the space cowboy or the brooding, mythic hero. I was a Luke Skywalker guy. The literary take on this is it’s much more interesting in your fiction should you plan to include some sort of belief system if you don’t just recreate the Greek Gods or rip off the American Indians with a ‘Great Spirit’ thing-a-ma-bob.

So I’m going to go deep with this one. Stick with me. I finished an interesting study recently that went way farther that I’d expected. I was googling and flipping through the original materials madly, chasing a huge idea that kept getting bigger. It was like pulling up one of those weeds where the roots keep popping up out of the ground and you finally just cut it when you can’t tell how far it’s really going to go. For me, it started with a random book on my shelf from years ago that had an article about the I Ching in it.

Anyway, another article in that book that caught my attention was about the Kabbala’s  Sefirot. The idea of treating a deity like an engineered contraption, like a set of physics rules you just needed to respect to make jedi-mind-trick things happen tickled both the logic and artsy sides of my brain. So I went deep into the Kabbala – read several books and spent some time reading what its believers found attractive about it. No offense if that’s your thing; but I ultimately found it full of promise and marketing but a big fizzler when you try to pin it down to something useful. It did strike me as fascinating though, the nebulous descriptions of the highest realms of reality – a nameless and unapproachable perfect being so incredibly pregnant with the potential of creation it’s provoked by nothing more than a state of mind. The sefirot idea stuck with me, so I poked into where it came from.

Read the Sefer Yetzirah if you like; but it’s gibberish to me. That was where the sefirot were first described. I bought the Pritzker Edition of The Zohar though, because that’s the big daddy of Kabbala, the place where it really took off. Get far enough into The Zohar; and you’ll get the feeling that nobody’s saying what they really mean and you can stretch and pull to make anything mean what you want it to. Still though, the massive superstructure of the universe having a secret dimension to it, a direct line of sight to a divine machinery, kept things popping. So I went deeper to see what influenced Moses DeLeon (the 13th century Spanish author or the channeler, whichever you dig).

I’ll speed up to make my point, though this took a while to trace. What I found was a pattern of about every two or three hundred years, a very similar theoretical apparatus was showing up in some famous writings. The themes are these:

  • There’s an indescribable, unapproachable entity way up in some higher dimension ready to burst with creative potential
  • This entity is either intelligent or just a principle of the universe, depending on who you’re reading; but it can be influenced either way
  • Since this thing’s perfect, it can’t produce things that aren’t perfect, yet here we are with cancer and weeds and birth defects
  • So this thing has levels beneath it, where things get progressively farther from the top and so are less perfect till you get to us
  • That means there are perfect versions of things somewhere, like flawless templates from which all matter is descended

I had discovered what they call Neo-Platonism. If you already knew that, good for you. I didn’t. It made me think of Object Oriented Programming, because it’s exactly the same idea where you have ‘classes’ defined as templates, then make ‘instances’ of them to tweak for where you use them. Going successively back in time…

  • John Scottus Eriugena (800-877AD) said the entity at the top was God; and He was creating stuff so that He could understand Himself. He said the primary Forms I was talking about above were the patterns of all things located in God’s mind. Eriugena was probably influenced by…
  • Pseudo-Dionysius The Areopagite (late 5th, early 6th century AD) who shared the view of a procession of realms from God but said a rock or a worm was a window upon the entire universe if you only knew how to look at it. He was intrigued by finding his place within that procession and seeing himself inside it, focusing on the sacraments as a way to engage with the apparatus. This guy was probably influenced by…
  • Proclus (412-485AD)  who was head of the Athenian school and thought Plato was divinely inspired. This guy wasn’t Christian, so his view of the thing at the top was more of a nameless ‘One’ you could influence with magic rituals. He was influenced by…
  • Plotinus (205-270AD) who studied Plato religiously. This guy had an inherent distrust of material things because they were a poor image of something higher. He said the supreme dealie-o at the top was a transcendent ball of potentiality, without which nothing could exist. He also said because of its nature of perfection, it couldn’t have a will of its own and couldn’t engage in any activity without becoming imperfect. So he had a procession downwards as well, culminating in matter.
  • The Gnostics were around this same time period, thinking the same sort of thing about matter being wicked and only a pale reflection of the perfect templates up there somewhere.
    • You see how big this is getting, right? 
  • Plato (4th century BC) developed in The Phaedo and in The Republic what’s called his Theory Of Forms . He likened us to people who’ve spent their lives watching shadows on a cave wall, thinking the shadows were what’s real when in fact there’s something making the shadows. Plato extrapolated from this idea that the soul was also a Form, and therefore perfect and unchanging, so..you know…reincarnation. He may very well have been influenced by…
  • Parmenides (5th century BC) who revolted against the sciency philosophers by suggesting there was actually a difference between true, objective reality and the stuff we can see. I’m not sure he started all this though because of…
  • Heraclitus (535 – 475BC) which is where my story ends. I read Remembering Heraclitus by Richard Geldard. Here’s a deep well like you wouldn’t believe. Heraclitus may have written a book and just dropped it off in the famous temple at Ephesus, and soundly changed the world. He described ‘the logos’ as a fiery, invisible rational principle that embedded the universe (like the Force, surrounding us, binding the galaxy together). It’s the wisdom of all of creation. Entirely possible it’s this guy that kicked the whole thing off that led to the same theoretical apparatus inspiring people for millennia.

My point is that this nebulous, vague description of a cosmic apparatus appeals to the logical side of your brain because it sounds like machinery; and you want to figure out how to make it work. It appeals to the creative side of your brain because it leaves so much for you to interpret and add to it. In fact, ,that’s just the way the I Ching appeals as well, presenting itself as reflecting the universe in a little microcosm so you can leverage what it’s up to as it changes.

Since the I Ching has been around in some form for 3,000 years; and the ideas the Kabbala built its palace on for not much less than that, those systems have something to say about how to make your manufactured belief systems resonate with people. Appeal to both the right brain and the left. Show how it could make people’s lives better in some way.

I took a real stab at this myself in Tearing Down The Statues, focusing on the idea that history repeats itself at different scales.

Now you go try and let me know how it turns out for you!

“The cosmos was not made by immortal or mortal beings, but always was, is and will be an eternal fire, arising and subsiding in measure.” -Heraclitus