Eureka!

Suddenly, inspirations! Inspirations everywhere!

spongebob_imaginationI think I found the perfect core concept for my new iteration of the Ancient Lands setting. And if you know me just a bit, it will be no surprise to you: “Star Wars as a Bronze Age Sword and Sorcery setting.” Specifically the two Knights of the Old Republic comic series.

And now I also know what to do with the naga in the setting that isn’t simply making them Yuan-ti. These guys:

Sadow_vs_KresshI am not going to copy the whole Sith War storyline, but I think the old Sith are a perfect inspiration for the overall mindset and culture of the naga.

I’ve already been planning to do a group like the Mandalorians and the Qunari from Dragon Age for a long time. And two of the races are directly inspired by Jarael and Sylvar.

Air Genasi
Air Genasi
Kaas
Kaas

The Dathomir Nightsisters also have many great pictures I can use.

Kaska Witch
Kaska Witch

Of course, I am also taking liberally from Mass Effect (the second best thing after Star Wars), and the naga get a race of obedient servants inspired by the Geth.

Serpentmen
Serpentmen

And there will be both wood elves and dark elves as well.

Falden
Falden
Yagashi

This is coming along pretty nicely so far.

Setting up conflicts in worldbuilding

While I am revising my Ancient Lands setting, I’ve set down to once more give some deep thoughts to the underlying conflicts of the world. I make no secret about my oppinion that the Mass Effect series has the best worldbuilding I’ve ever seen anywhere. Not because there is a lot of lore on the locations and a long detailed history. In fact, there is barely anything in that regard, at least if you don’t read up on it in the ingame codex. Perhaps there is some, but I didn’t read any of it and I still think the worldbuilding is superb. The Mass Effect galaxy is incredible because it has lots of factions that are tightly interconnected with each other, forming a complex web of conflicts and alliances in which absolutely everyone is included in some way. And these groups are friends or enemies with each other not simply because the writers say so, but because they share a common past which can be sufficiently explained in three or four sentences but gives them good reason to feel what they feel, and in a way that perhaps doesn’t make you approve of, but at least understand their views. The same company that made the Mass Effect games also made the Dragon Age series at the same time, and while I am not as much a fan of that setting, it also excels at having lots of conflicts that affect everyone in some way and in which each side has some good points.

This made me realize that conflicts are really what makes a fictional setting tick. Cultures, landscapes, religion, and magic are all nice, but to get your audience invested in what is going on in the world and its people, underlying conflicts probably define the world more than anything else. This applies both to settings for roleplaying games, in which you usually want to give the players the option to chose the side their characters are taking, and to episodic fiction in which different parts and aspects of the world are explored in each story arc. So I’ve been looking at all the other fantasy and sci-fi worlds I think have great worldbuilding with interesting conflicts and dynamics between factions. From Star Wars to the Witcher, and from Halo to Forgotten Realms. And I made an important discovery when it comes to creating conflicts: Even if you have a conflict in which both sides have a point and you could easily get into the mind of a character of either group, the conflicts still always started because someone was a giant dick!

Back to Mass Effect, lots of nice sidestories with difficult moral descisions involve the alien Krogans and the human Cerberus group. In many cases you can sympathize with them, perhaps even support them, and actually very much like individual characters of these groups, even though many people consider them evil and villains. But the thing is that in the past their leaders made some descisions and ordered some actions that were really total dick moves. No questions about that; those things were wrong and they got what they deserved. But those past wrongs were not commited by the specific people you’re dealing with right now. These people can be really nice guys and they might not have done anything wrong. But for some reason or another, they are now part of this group that has a long and violent conflict with some other groups. The source of the conflict lies in the past, but it established some facts that still matter a lot right now. And I think that’s really the key when setting up some underlying conflicts for a setting rich with ambigous characters and descisions. Creating a conflict in which neither side is truly bad is really difficult, if not outright impossible. But that does not have to prevent the existence of conflicts in which neither side is truly bad now. If you want to set up a conflict that lasts for generations and affects whole peoples, make the conflict start with one terrible person making a really unfair descision. Doesn’t really matter if it’s too much black and white, because that person likely is long dead or may not appear in the story at all. What does matter is the people who are on opposing sides right now, and being sufficiently removed from the original source of the conflict, they can easily be as ambigous as you want. In Halo 2, some of the alien enemies quit the Covenant and start a civil war against their former masters, which put them on the same side as the humans. But that doesn’t change the fact that they had been the officers in charge of the Covenant army that had been leading a war of annihilation against humanity for the last 30 years. They hardly could be called friends by any stretch, but from that part in the story they have to work together and fight their common enemy, whether they like it or not. There still is great hostility between them and from a worldbuilding perspective you can still regard them as two opposing sides in conflict with each other. You can sympathize with characters on both sides, but also have no trouble at all understanding accepting that they won’t be nice to each other and getting into fights.

So this is my appeal and my advice: Conflicts neither have to be black and white, nor fairly balanced. You can have very good underlying conflicts built into a setting, which started out with one side being the villain, but by now has developed into a state of regular agression from both sides.

The Face of Pictdom?

How can I wear the harness of toil
And sweat at the daily round,
While in my soul forever
The drums of Pictdom sound?

Robert_E_Howard_suitWhat is it with this picture of Robert Howard? It’s probably the most well known picture of him that gets used the most. Far be it from me to claim to really know a man who lived on the other side of the world and has been dead for 80 years, but I always feel that this isn’t really him. This is Robert Howard trying to pretend to be someone who he is not. As far as I know, this is the only picture of him with a tie and a hat (at least this hat). And it doesn’t match the way he described himself in his writings and correspondence at all. Maybe his agent demanded this picture for promotional material or it was him dressing up in costume (there’s a couple of pictures of him posing and showing off his collection of anachronistic stuff). This probably is purely subjective, but that look on his face never seems to me like a man looking cool. It looks like a man trying to look while feeling very akward. This just doesn’t seem to be him.

Especially when compared to other existing pictures of him.

rhowardREH_Fence_Photo

 

 

 

 

 

 

 

 

 

This seems to be the real Robert Howard, how he actually was and how he wanted to be seen. He clearly had his problems and who knows what had been going on inside his head. But I think that picture with him in a suit really is doing the man a disservice. It doesn’t seem at all like the way he should be remembered.

Revision time… again!

I’ve been working on the Ancient Lands setting for a bit over four years now, and it seems a pretty regular ocurance that I feel like I went completely wrong somewhere and have to start all over. I think this is about the fifth time that I am sitting down to try to define the core concept of the world and pick the basic elements that are going to go into it. Though it’s not all in vain, as I am not completely starting all over again. It’s more like disassembling the whole thing and trying to put the pieces together in slightly different way, making some modifications at some parts while a few get discarded and perhaps replaced by something new. Or to use the poetic analogy I’ve heard somewhere, it’s like the waves on the beach, going back and forth, but each time getting a bit higher up the sand. Two steps forward, one step back. And I think I’ve come really pretty far by now. That I announced completion a few weeks ago does not have to concern us here now…

I think I primarily made two main errors, which resulted in the setting turning out as something somewhat different than I wanted it to. I think I also had a bit of a change of taste, as I’ve been reading a lot Sword & Sorcery and pulp over the last half year or so. I put the blame at Beyond the Black Gate and From the Sorcerer’s Skull, as well Planet Algol with all their pulpy goodness. Made me remember what my own work is missing and now I have to do it again to put it all back in.

The one mistake that I’ve made was with creating the concepts for my city states. They are city states and good ones, but they are more along the lines of Byzanthium, Carthage, and Babylon. And like Rome these are much more known as the capitals of big empires rather than the small Greek city states of the Trojan War I’ve really been thinking of when I had the idea. As a result, civilization got waaay too big. Much bigger than it really fits the concept of the Ancient Lands. In the stories they are called “kingdoms” and “cities”, but what I really need for the Ancient Lands are glorified fortified towns. The Golden Hall of King Theoden of Rohan is really the archetype for the kind of “palace” that is common in the Ancient Lands. This means I am probably going to scrap all the cities I have so far and start them all over again. Which given the amount of work I’ve put into them so far isn’t really much of a loss.

The other mistake was the backstory for the Vandren, a human tribe of horsemen inspired by the Scythians or Kozaks. What I’ve been working with almost from the very start was that the elves of the Ancient Lands encountered the Vandren when their explorers reached the Great Plains on the far side of the great forests and through them got access to exotic goods from the distant Western Lands. Pretty much all the recent history then build upon the elves and the Vandren making alliances, the Vandren migrating to settle in the Ancient Lands as their vasalls, and so on. But now I realized that this results in one very big problem. As it stands now, the great forests stop somewhere on the left side of the map where you see the edge of the Great Plains with a big arrow that says “To the Western Lands”. And that just doesn’t work for the kind of prehistoric setting I want to do. One of the very first concepts for the Ancient Lands was that of a Forest World, but what I ended up with is a world of plains and steppes with a few big forest which you can ride around. Now the forests are just big, but not stretching beyond the horizon into the unknown, beyond the borders of what mortal eyes have ever seen. I deliberately did not make a full continent or even a world map for the Ancient Land and had the sea only on one side with the other side being land all the way to the edge of the paper. But showing the far side of the giant forests and adding a (figurative) arrow that tells you what lies beyond completely defeated the purpose. I still love the Vandren and someone gave me a great idea how to salvage them. Instead of coming from the plains, the continent is now once again all forests and mountains, and the Vandren will be some kind of hill people. And instead of bringing spices and silks, they now simply trade in salt. Salt is the universal spice and more importantly food preservative. Everyone needs it in bulk quantities and really can’t do without it (or have a really terrible winter) and though I am mostly familiar with salt mines in coastal plains, there are actually many much older deposits in mountains like the Himalyas. So hill people could conceivably become major salt traders. Perhaps making them ride on horses doesn’t make as much sense in a forest and mountain world, but maybe I make them ride on oversized yaks. Or hadrosaurs. (Yes, in a fantasy setting riding hardrosaurs can make much more sense than horses.)

I already have a new vision for the setting in my mind. Not quite sure what I am doing with the naga and lizardmen yet, and I am not completely sure if there is a place for the dark elves without things getting too crowded. But I want to give a much bigger role to the kaas, which is inspired by the Lords of War trailers for World of Warcraft. (Only played Warcraft III, but they look cool.)

I’ll think some more about it before discarding what I’ve written so far, but I am actually feeling a lot more excited about the setting than I’ve been for quite some time.

Movie Review: Conan the Barbarian (2011)

Synopsis: What a shitty movie.

I’ve watched this movie about a year or so ago, but my memory was a bit hazy so I watched it a second time before doing a review of it. Why did I even bother?

Conan the Barbarian 2011
Conan the Barbarian 2011

The movie is called Conan the Barbarian, which is exactly the same name as the famous and highly regarded movie Conan the Barbarian. It’s neither a remake nor a reboot, nor anything like that, so why us the name of an already existing movie? There is an infinite number of possible titles, and so many options to name it that make it clear that it’s Conan. And now we always have to call it Conan the Barbarian 2011. Conan the Barbarian is not even the name of the series of stories, comics, and other stuff. Conan the Barbarian is just the name of a single movie. The Ahnold movie. This is a cheap attempt to cash in on someone elses good work. Despite not being a remake of Conan the Barbarian, and I think the director explicitly said it’s not a remake but a completely separate movie, Conan the Barbarian 2011 recycles the stupid subplot of Conan searching for the warlord who destroyed his village and killed his father. Which is a completely original invention of Conan the Barbarian and doesn’t exist anywhere else in the story of the character. Totally not a remake. Because they said so. Even Conan the Barbarian could barely be considered an adaptation of the Conan stories. Conan the Barbarian 2011 does a bit more name dropping so you know that it takes place in the Hyborian Age, but feels even less connected to the source material. Conan the Barbarian may not really have had much to do with the original stories, but I think it did a great job at visualizing the setting and bringing it to life. This movie doesn’t.

The movie is way too dark most of the time, so you can’t see anything. The music is also way too loud and the voices way too low, so you can’t hear anything either. Not that there would be anything to hear either. The plot is pretty much nonexistent. Any 20 minutes episode of Conan the Adventurer had more plot than this. And this is no joke. I actually mean that literally. While the indoor shots are always too dark, the outdoor shots of cities and fortresses all look terribly fake. They look like out of 300 or a Diablo III cutscene. Pretty, but completely inappropriate.

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