I Ate'nt Dead

I can assure you that the relative quiet is a good thing. It means work is getting done.

Firstly and most tangibly: The Undercroft #5 is finished. This issue was hijacked by a flood of what people have questionably named "Raggi's Rejects", a term you will find is entirely unjustified in all but the most literal sense. 100% grade A items, cover to cover, accompanied by the prettiest of pictures. They were so good and so many that I had to add more pages to the issue. It'll likely be available on RPGNow at some point, but that's in their hands now. EDIT: Here it is


Secondly, the City of the Dead has just passed the half way mark on first draft completion. After a month of frustration — and with some help from the relentless Matthew Adams — the way forwards was found and the kind-of-mega-dungeon bounds along happily once again. All that's left is for me to do is to get over my fear of gimmicks and people shouting at me for not including trigger warnings. After that it's a clear run to the finish line and palming it off on another play-test group.


Thirdly, the Patreon subscription experiment has gone smoothly. It works as a functional subscription system and takes a lot of the paperwork out of my hands. I'll do a proper report on this for those considering doing similar once everything is sent out and settled.

Books as remembered (poorly) by me, Part 2

On by Adam Roberts


I sometimes feel I'm the only person who's read this, a (sci-fi?*) book from the well respected Adam Roberts. That is of course until I meet someone who has read it, but then I find out they hated it so instantly expunge the conversation from my memory. Can't be wasting mind space on people who are so very, very wrong.

The link above will give you a plot synopsis and a bunch of people grumbling about it (remember: wrong) so I'll spare the details and get to why this book makes games better and everyone should read it and agree with me.

World building is important, obviously. How you do it is your own business but consider the option of being totally fucking mental. On takes place on a vertical world, The Wall, with platforms and outcroppings all the way up it that people live on. At various points they think about what's on the other side, or what's at the top, or why they can't fly very far out before they get pushed back in. Pretty crazy, huh? But wait! It's not. Mr. Roberts explains in a chunky essay in an appendix that the book is on Earth after a (apparently vaguely plausible) shift in gravity, so that it spirals around the world rather than pulls us down. There is no other side of the wall, there is no top, and you can't fly far out 'cos that's just space up there. And he didn't tell us in the fiction. Of course you could possible piece it together, but that's not the point.

So what is the point? Good question, me. The point is that he had a hidden keystone that connected everything in his setting together. If we had access to it then it would all click together, all the strangeness, everything that just didn't make sense. It did make sense.


The practical application here being: start with a keystone, extrapolate out, then hide it. It creates a wonderful logic that can only be seen from a specific angle, and one day you can hand over the keystone or have it taken from you, whereupon everyone will go ah ha, we're so smart!

Round of applause.

Besides this there are a few incredible portions of the book that translate to more concrete things that can be stolen, all need to be read to be used. The war fought through a vertical jungle full of tiger sized carnivorous earwigs, a trader who uses children as walking larders, and that god damn alien. Three pieces that will prove excellent fodder for theft.




* Like all good fantasy/sci-fi it resists easy labels but it most certainly generically inclined. Talking of genre, when are we going to admit that the fantasy/sci-fi genre split is ridiculous. They're the same bloody thing.

Books as remembered (poorly) by me, Part 1

I like talking about books, so I'm going to do that for a while. You could call what I'm about to do an Appendix N, but let's not. That term holds no meaning to me, I never saw the Appendix N when it came out and only learnt about it from other people whispering about it in corners. Spurred on by their hushed tones I found a digital copy of it and was shocked at how tiny and narrow it was. It's called a bibliography.

So here's part 1 of my annotated bibliography. I'll spare the waffle and just serve the meat.

Gene Wolfe

Gene Wolfe looms large in my lizard brain. Where there should be fight or flight responses and the urge to feed and fuck, I have the need to be Gene Wolfe.

Recommended reading:

Book of the New Sun
Latro in the Mist
Wizard Knight


All of these books are written as artefacts, two diaries and one long letter. All have unreliable narrators. Severian in Book of the New Sun is moving through a world that is as weird as anything on Dying Earth, yet we aren't given a proper look at it because that's just how it is for Severian. Everything is filtered through someone to whom this is normal or only slightly odd, leaving us wondering what's really happening. On top of this we also have the "translation" performed by Gene Wolfe, who claims the book is a found text which has to be very generously translated because of a lack of better words for such alien things. Many of these approximations are very weighted classical Greek references that reward knowledge of them.

These are all interesting things.

Both Latro and Wizard Knight are probably better written works, tighter and more disciplined. Each experiments with form in interesting ways, Latro is writing the diary because he forgets everything each morning. He is the opposite of Severian, being pure eyes for us to see through. The reader is more informed of what is happening than that poor fellow is, we having the ability to contextualise what he is writing.

Wizard Knight has the least experimental form: a letter written to his family back in the mundane world explaining why he isn't coming home. A portal fantasy, which is rare nowadays in adult fiction. This book is subtle and doesn't lean so heavily on classical references, instead creating an internal folk lore that requires extreme attention to unravel.


Of the three, Book of the New Sun is the undoubted king of influence. I read it at a formative time, way back when I started writing properly, and it has embedded itself. Every bit of literature, poetry or RPG thing that I do is held up against this book and judged. There are other books (as we might see later) that have had a more profound impact on a fundamental creative level, none have come close to the consciously chosen influence this has.

What did I learn?

• It is okay to not make sense, to be obscure and referential. You don't need to lead the reader by the nose or particularly help them in any way.
• Experimental forms can work if you throw everything in to them. We are not just making lists of facts to be absorbed, we can make things that tickle at an obtuse angle.
• Narrators matter. Even in RPG books, a narrator is a choice that we make. 
• Create the weird as though it is part of the furniture. Do not point.
• It is okay to have a full three act play in the middle of your work.
• Be weird, but have a logic to it. Even if only you know how it connects, it should connect.
• Be unapologetically literate.
• Anti-intellectualism and pop-cultural absorption is a choice, so make it or don't. Don't allow yourself to be washed along because that's how it's done.
• Foreshadowing and slow realisation is the greatest thing. When weeks later a player goes "Oh my shit..." and links everything together in a montage of paranoia, then you have Gene Wolfed them.