I've taken the time to do some design work on the tentative Soul Saga RPG that I've been toying with. Having tried my hand at home-brewed rules and even overhauls of entire game engines, creating an entirely new system is still posing quite a challenge.
My first major decision has been settling on the basic dice engine, which will be percentile-based. Expressing game mechanics as percentages is clean and straightforward and makes adapting real-world statistics easier.
Speaking of real statistics, did you know that shooting accuracy figures for police and military forces are extremely hard to find? The best I could come up with was an often-repeated but unsubstantiated forty percent hit figure for police shootouts within ten to twenty feet. Slightly better sourced were statistics claiming ten percent average accuracy for trained soldiers at three hundred meters with the M16A2 rifle and ninety percent accuracy for snipers with M24s at six hundred meters.
The search for realistic firearms data led me to reexamine another aspect of most RPGs that I've always found woefully inadequate: damage rules. The worst offenders are systems that use "hit points" to track characters' health status. The manifold distortions involved in reducing a person's physical well-being to a number are disconcerting enough, but the idea of someone with one hundred HP being whittled down to fifty or ten or even one and still going about his business normally is against all logic.
Of course, what these game terms are supposed to represent are injuries like ballistic trauma, blast injuries, and blunt trauma. While each of these conditions can vary widely in severity, the bleeding likely entailed by all of them means that traumatic injury isn't a one-off proposition. Training and adrenaline might keep you on your feet after sustaining ten points of "piercing damage" (aka ballistic penetrating trauma), but the external and internal hemorrhaging will pose increasingly serious problems over the next few minutes and hours.
Most RPGs only address the effects of cumulative injuries. The oversight I want to correct is their omission of the progressive aspects of trauma.
Some will object that portraying damage more realistically will cramp the players' style by making everyone conflict-averse. I counter that the lethality of combat is offset by the implementation of more realistic marksmanship and melee rules. The fact is that even trained professionals miss most of the time, and battles tend to be resolved when the enemy retreats, surrenders, or is incapacitated rather than massacred.
Besides, sound logistics and advance planning wins more battles than sheer force. So the upshot is that more realistic combat will discourage hack and slash antics and encourage players to fight smarter.
Friday, June 3, 2011
Wednesday, June 1, 2011
Throw a Dart
In light of Kaze's response to my post on genre, I've been examining various subtypes of sci-fi and fantasy to identify the best fit for Nethereal. This process has proven more difficult than I'd expected. However, I think I can narrow it down.
Kaze's favored answer was sword and planet. I agree that this science fantasy subgenre is a good fit, or at least a major influence. The only catch is that really only one character in the "mundane" world uses blades as his weapon of choice. Otherwise, firearms are very prevalent. Also, straight-out magic is widely accepted as real. However, one could invoke Arthur C. Clarke's rule about any sufficiently advanced technology being de facto magic since Workings are based on well-established natural laws that essentially make them another fundamental physical force like gravity, electromagnetism, etc.
The Guild is another aspect of the setting that argues both for and against a clear sword and planet definition. While they do possess some antedated trappings, the Brotherhood's outlook is basically skeptical, rationalist, and pragmatic.
I decided to take a step back and consider the classification of my novel from the other end of the spectrum. Exploring fantasy subgenres, I found a few that seem to inform my story. Magic realism seems to dominate, but there are traces of lost world and even imaginary voyage fiction.
Hell, my stated intention for writing the book was as an experiment in philosophical fiction. The strong vein of paranormal horror isn't to be dismissed, either.
It seems that what we've got here is a story that's straddling the line between genres, or in this case several lines--like that geographic point where the corners of four states meet. Or, to put it back in terms of fiction, it's reminiscent of Star Wars--not to compare myself with the series' early genius or later dissolution.
I think that the real difficulty here is the inherently subjective nature of genre labels. All of the definitions above presuppose a rationalist, decidedly Western worldview. A New Yorker's paranormal horror could be realism in Hong Kong. Unfortunately, effective marketing relies on such transitory labels. So I'll have to stick with sword and planet/magical realism used to frame a philosophical discourse.
Kaze's favored answer was sword and planet. I agree that this science fantasy subgenre is a good fit, or at least a major influence. The only catch is that really only one character in the "mundane" world uses blades as his weapon of choice. Otherwise, firearms are very prevalent. Also, straight-out magic is widely accepted as real. However, one could invoke Arthur C. Clarke's rule about any sufficiently advanced technology being de facto magic since Workings are based on well-established natural laws that essentially make them another fundamental physical force like gravity, electromagnetism, etc.
The Guild is another aspect of the setting that argues both for and against a clear sword and planet definition. While they do possess some antedated trappings, the Brotherhood's outlook is basically skeptical, rationalist, and pragmatic.
I decided to take a step back and consider the classification of my novel from the other end of the spectrum. Exploring fantasy subgenres, I found a few that seem to inform my story. Magic realism seems to dominate, but there are traces of lost world and even imaginary voyage fiction.
Hell, my stated intention for writing the book was as an experiment in philosophical fiction. The strong vein of paranormal horror isn't to be dismissed, either.
It seems that what we've got here is a story that's straddling the line between genres, or in this case several lines--like that geographic point where the corners of four states meet. Or, to put it back in terms of fiction, it's reminiscent of Star Wars--not to compare myself with the series' early genius or later dissolution.
I think that the real difficulty here is the inherently subjective nature of genre labels. All of the definitions above presuppose a rationalist, decidedly Western worldview. A New Yorker's paranormal horror could be realism in Hong Kong. Unfortunately, effective marketing relies on such transitory labels. So I'll have to stick with sword and planet/magical realism used to frame a philosophical discourse.
Monday, May 30, 2011
Page Count
Currently on chapter 10, page 158 of Souldancer version 3 revisions. 1280 pages to go, although that figure's been shortened by about twenty pages already as I've streamlined the text. So, I'm whittling away at this monster from both ends.
Friday, May 27, 2011
The Importance of Genre Matching
Since many of this site's readers have also kindly offered to review my manuscript, I'd like to explain why your contributions are so vital. For novels, proofreading isn't just about checking for spelling and grammatical errors. The quality of the story and writing style are equally important. In addition to these elements, my primary concern in regard to marketing the manuscript is identification of the book's genre.
Forgive me if this sounds too simple. If you happen to be one of the gracious amateur editors who've read the review copy, please tell me what category you think the story falls under. I'm too close to the project to see the forest for the trees.
Before anyone counsels me on the artificiality of labels, there are very specific reasons why accurately categorizing a book is crucial to its success. Most of them have to do with how publishers pick which manuscripts they buy. Almost all publishers compile a yearly list of books they want to print. These can be specific titles or just kinds of books. Once assembled, the list sets the company's budget for acquisitions, printing, and advertising. Think of it as the publisher's wish list.
Most publishers want to establish a reputation for promoting a certain genre. This specialization helps customers to identify them. Therefore, a publisher's list will be heavily weighted toward their specialized genre.
The length of the list varies between publishers, but a hundred books is a decent hypothetical figure. Of those hundred, let's say that seventy-five slots on the list are reserved for appropriate genre titles. Of the seventy-five, some places are filled in advance by titles in existing series and new books from established authors. The remaining twenty-five slots could be allotted to marginal projects--books that are less likely to make money than the publisher's standard fare. Marginal projects could be poetry anthologies, technical materials, etc. Unfortunately for me, manuscripts from first-time authors are always considered marginal projects. There's just no guarantee of profitability. This means that the fewest slots on the list are available to new authors.
A first-time author should make every effort to maximize the appeal of his book to a potential publisher. An indispensable part of marketing a manuscript is researching agents and publishers to find buyers who specialize in your book's genre. The more your book resembles a publisher's established titles, the better the chances of them buying your manuscript.
On the downside, producing something truly original can be the kiss of death for a first-time novelist. Publishers can't assign a market value to a book that's so unlike anything else that there's no economic frame of reference for it. Offbeat material is far more likely to be accepted after the author has gained industry clout through success on more mainstream projects.
So, if you've read my book and know of any published work that's like it, please let me know.
Forgive me if this sounds too simple. If you happen to be one of the gracious amateur editors who've read the review copy, please tell me what category you think the story falls under. I'm too close to the project to see the forest for the trees.
Before anyone counsels me on the artificiality of labels, there are very specific reasons why accurately categorizing a book is crucial to its success. Most of them have to do with how publishers pick which manuscripts they buy. Almost all publishers compile a yearly list of books they want to print. These can be specific titles or just kinds of books. Once assembled, the list sets the company's budget for acquisitions, printing, and advertising. Think of it as the publisher's wish list.
Most publishers want to establish a reputation for promoting a certain genre. This specialization helps customers to identify them. Therefore, a publisher's list will be heavily weighted toward their specialized genre.
The length of the list varies between publishers, but a hundred books is a decent hypothetical figure. Of those hundred, let's say that seventy-five slots on the list are reserved for appropriate genre titles. Of the seventy-five, some places are filled in advance by titles in existing series and new books from established authors. The remaining twenty-five slots could be allotted to marginal projects--books that are less likely to make money than the publisher's standard fare. Marginal projects could be poetry anthologies, technical materials, etc. Unfortunately for me, manuscripts from first-time authors are always considered marginal projects. There's just no guarantee of profitability. This means that the fewest slots on the list are available to new authors.
A first-time author should make every effort to maximize the appeal of his book to a potential publisher. An indispensable part of marketing a manuscript is researching agents and publishers to find buyers who specialize in your book's genre. The more your book resembles a publisher's established titles, the better the chances of them buying your manuscript.
On the downside, producing something truly original can be the kiss of death for a first-time novelist. Publishers can't assign a market value to a book that's so unlike anything else that there's no economic frame of reference for it. Offbeat material is far more likely to be accepted after the author has gained industry clout through success on more mainstream projects.
So, if you've read my book and know of any published work that's like it, please let me know.
Wednesday, May 25, 2011
Vin Diesel Working for Scale in Third Riddick Installment
For the second week in a row, I have movie news that should interest Mick. Honestly, I didn't even know that a third movie in the Chronicles of Riddick franchise was in production until Total Film reported this story on the star's pay cut.
It seems that in order to avoid a repeat of the furor over the second movie's PG-13 rating, director David Twohy has promised to make the third film a solid R. For some reason, doing so means that Vin Diesel must work for scale.
Regarding the movie itself, it's planned to begin shooting this summer and will feature a reduction in scope from its predecessor's epic scale to focus on more traditional horror elements.
It seems that in order to avoid a repeat of the furor over the second movie's PG-13 rating, director David Twohy has promised to make the third film a solid R. For some reason, doing so means that Vin Diesel must work for scale.
Regarding the movie itself, it's planned to begin shooting this summer and will feature a reduction in scope from its predecessor's epic scale to focus on more traditional horror elements.
Monday, May 23, 2011
Souldancer 3.0
Having gotten the manuscript for Nethereal in satisfactory form, I've started work on a new revision of the old version of Souldancer. Reading the second (chronological) book now, I can't believe I ever deemed it ready for print.
I don't know whether it was grad school, the number of books I've read between "finishing" SD v2 and now, or both; but my awareness of flaws in the execution of version two is now glaring. My main issue was having too many descriptive clauses modifying any one object. The book as it stands reads as if I couldn't decide between descriptors and chose to include them all. The result was very cluttered, as you can imagine.
Presently, I'm going back through Souldancer, intent on giving it a total overhaul. The text will be fully streamlined and revised while being brought up to spec with Nethereal. That means shoring up continuity between the two books, harmonizing established nomenclature, and almost certainly cutting a few scenes that no longer fit the narrative.
To those who might object to an abridged version, consider that rendering both manuscripts in double-spaced, twelve point text, Nethereal tops out at a respectable 780 pages, while Souldancer currently bursts its binding at 1340. Simply reining in my exposition should help make the page count more manageable.
In case you're wondering why I'm going to the trouble of revisiting a five year-old manuscript that took me two years to write in the first place, not including original revisions, the answer is that there's nothing else I'd rather do. The reason I started with the second book in the cycle is because I feel very strongly that Souldancer is the heart of the saga; the philosophical and emotional axis around which the whole thing turns.
Don't get me wrong. Nethereal isn't a throwaway piece at all. I wouldn't market a story I didn't believe in. I purposefully wrote the tale to be fully self-contained if needed. However, the fact remains that the first novel's primary job is to rack up the pins so the larger game can commence.
Having gotten the introductory story on paper (rather, on file via word processor) has greatly aided my improvement of Souldancer, providing the firm foundation lacking during my first go-round. Using Nethereal as a reference point, I have no doubt that SD v3 will proceed more naturally; the two texts forming a complementary and fully coherent narrative.
I'm not turning the second book into a clone of the first, either. The scope of Souldancer is still far broader, numerous new characters are introduced, and the stakes are raised compared to the conflict that drove the cast of Nethereal. How can a threat of already universal scale be surpassed?
Rest assured, I've got it covered.
I don't know whether it was grad school, the number of books I've read between "finishing" SD v2 and now, or both; but my awareness of flaws in the execution of version two is now glaring. My main issue was having too many descriptive clauses modifying any one object. The book as it stands reads as if I couldn't decide between descriptors and chose to include them all. The result was very cluttered, as you can imagine.
Presently, I'm going back through Souldancer, intent on giving it a total overhaul. The text will be fully streamlined and revised while being brought up to spec with Nethereal. That means shoring up continuity between the two books, harmonizing established nomenclature, and almost certainly cutting a few scenes that no longer fit the narrative.
To those who might object to an abridged version, consider that rendering both manuscripts in double-spaced, twelve point text, Nethereal tops out at a respectable 780 pages, while Souldancer currently bursts its binding at 1340. Simply reining in my exposition should help make the page count more manageable.
In case you're wondering why I'm going to the trouble of revisiting a five year-old manuscript that took me two years to write in the first place, not including original revisions, the answer is that there's nothing else I'd rather do. The reason I started with the second book in the cycle is because I feel very strongly that Souldancer is the heart of the saga; the philosophical and emotional axis around which the whole thing turns.
Don't get me wrong. Nethereal isn't a throwaway piece at all. I wouldn't market a story I didn't believe in. I purposefully wrote the tale to be fully self-contained if needed. However, the fact remains that the first novel's primary job is to rack up the pins so the larger game can commence.
Having gotten the introductory story on paper (rather, on file via word processor) has greatly aided my improvement of Souldancer, providing the firm foundation lacking during my first go-round. Using Nethereal as a reference point, I have no doubt that SD v3 will proceed more naturally; the two texts forming a complementary and fully coherent narrative.
I'm not turning the second book into a clone of the first, either. The scope of Souldancer is still far broader, numerous new characters are introduced, and the stakes are raised compared to the conflict that drove the cast of Nethereal. How can a threat of already universal scale be surpassed?
Rest assured, I've got it covered.
Friday, May 20, 2011
The Passion of St. Bill
As far as movie adaptations of his books go, William Gibson ranks close behind Stephen King on the disappointment scale. New Rose Hotel was good, if not very accessible. There were two X-Files episodes: one decent, the other...wanting. Then you have the tragic rejection of his script for Alien III, especially considering what we got instead. What's to be said when your best-known film is Johnny Mnemonic?
Now, after a long hiatus, news of a new film project based on a William Gibson book has surfaced--and not just any book; but the seminal story that is perhaps the jewel in the sci-fi author's crown. Word from the Cannes Film Festival is that Gibson's breakthrough novel Neuromancer has been picked up for production. Some healthy skepticism is natural at this point, but the few reported details seem to hint at light on the horizon.
The first promising sign is that Vincenzo Natali is attached to direct. Considering his work on Cube, it's hard to imagine someone better qualified to helm this project. Also intriguing is the fact that Tokyo, Istanbul, and London; all of which are either visited or mentioned in the novel, have been cited as shooting locations.
If anyone is holding his breath over the outcome of this project, it isn't Gibson. The iconic author responded to the news via his Twitter account, advising fans to quit worrying about Neuromancer in favor of preparing for the impending eschaton.
Now, after a long hiatus, news of a new film project based on a William Gibson book has surfaced--and not just any book; but the seminal story that is perhaps the jewel in the sci-fi author's crown. Word from the Cannes Film Festival is that Gibson's breakthrough novel Neuromancer has been picked up for production. Some healthy skepticism is natural at this point, but the few reported details seem to hint at light on the horizon.
The first promising sign is that Vincenzo Natali is attached to direct. Considering his work on Cube, it's hard to imagine someone better qualified to helm this project. Also intriguing is the fact that Tokyo, Istanbul, and London; all of which are either visited or mentioned in the novel, have been cited as shooting locations.
If anyone is holding his breath over the outcome of this project, it isn't Gibson. The iconic author responded to the news via his Twitter account, advising fans to quit worrying about Neuromancer in favor of preparing for the impending eschaton.
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