(Yes, well, it’s the holidays. I can’t use the mouse too much, but games which are heavily or primarily keyboard-accessible? I am all over those.)
So, I finished Walking Dead: Season 2–the story game, not the TV show, definitely not the Walking Dead™: Survival Instinct game which from what I’ve heard is absolutely terrible–and it was good. (I generally find the Telltale Games stuff to be really good; the only work of theirs I haven’t picked up is the Game of Thrones one, and if they ever do a 100 Bullets game I will probably go missing for several hours at regularly spaced intervals. I find they don’t branch as much as the Choice of Games narrative fiction, but they are very good at inspiring an emotional connection with the characters.)
Anyway, the game’s been out for a year or for four months (depending on whether you count from the first or last episode), but I realize some people may not have played it yet, so I’m putting the rest behind a cut. Continue reading “Walking Dead: No Going Back”
I have had a long day in a few respects, so I am coping by accentuating the positive. Onwards!
After making plans, and waiting for several months (I mean, not many several months; the kind of several months that could also be a few months), I have gotten a tablet. It has a ten-inch-and-change screen, and I am really pleased with it. It occupies a niche closer to a smartphone than a laptop, for me; WiFi only, and not something I expect to do a lot of typing on.
That said, it is better for browsing on than a smartphone (due to the screen size), good for playing light games, and much better for reading on.
I’ve found that if I’m going to e-read (that is a verb, right?), I prefer relatively short pieces of fiction; magazines and anthologies work for me, as do standalone stories and individual issues of comics. Usually I’ve used my Kobo for this; it’s light and fairly durable, has great battery life, and it’s easy to read in direct sunlight. But the eInk screen has a regrettable tendency of freezing in -20C weather or lower (making waiting at bus stops extremely boring), the resolution is fairly low, it doesn’t handle images or zooming very well, and… well, not to be shallow, but it’s in greyscale.
There are certain aspects of the e-reading experience that are not well-served by 800 x 600 resolution in 16-level greyscale.
(By the way, I am kind of loving Cat Rambo’s stories, and her covers for same; I think my favourite so far is Her Windowed Eyes, Her Chambered Heart, but since I am not sure how to pull that cover out of my Kindle app, I am tossing up the one for Jaco Tours.)
I need to be careful to stop using the tablet a while before I turn in (backlit screens before bed don’t improve my sleeping any), but it’s really made it a lot easier to get drawn into some of the stories I’ve been collecting. And since I have an upcoming trip (although not to Costa Rica, where Jaco Tours is set), I expect I will be getting a lot of reading in. I look forward to this.
I was going to mention this last, but I figured that was very much burying the lede; I have a spare copy of Fallout: New Vegas on Steam to give away. It’s an action/RPG, set in a post-apocalyptic retro-futuristic Nevada. It’s honestly a rather cheery setting; less the actual wasteland than an idea of the wasteland that might have been spawned from the ATOMIC SCIENCE of the 50s, crossed with Mad Max and given a cheerful jolt of early- and mid-20th century music.
If you think you might want it, there’s a more detailed summary here. That page also has the system requirements. If you do want it, drop a comment and we can figure out the logistics?
With that out of the way: yesterday work had an incident with spray paint fumes (for a pumpkin; yes, really), and I had been working long hours last week and this week both, so I am at home today. It will mean no headache and being at home.
Am optimistic about the weekend! In addition to Hallowe’en happening (either today or in several hours, depends on where you count from), tomorrow I’ll be making a trip out to Carp to visit the Diefenbunker. It’ll be a day trip; go early, visit the museum before they close it to get ready for their Hallowe’en tour, get lunch or something, and then go back for the Hallowe’en tour that explains just exactly what happened on the night of June 21, 1994.
…I have non-post-apocalyptic interests. I’m just not focussing on them right now, it seems.
And then Sunday is actually getting together with people and playing board games, which is something I enjoy that I just haven’t had a chance to do in months. I’m thinking of bringing a copy of Gloom, a cheerful little board game in which you try to get your own spooky gothic family killed off before the other players can kill off their own spookily gothic family. It’s entertaining.
These boots were made for walking– and will take a skilled cobbler perhaps thirty work-hours to replace. When going among the radioactive hell-weasels, please try to get bitten primarily about the arms and face.
As surprises probably no-one, I am a fan of post-apocalyptic settings. (My boxed copy of Wasteland 2 came in recently!) But I was thinking lately about skillsets that would be useful in a post-apocalyptic setting that don’t get a lot of attention paid them.
Disclaimer: “post-apocalyptic” covers a huge range of stuff, from your generic brown whoops-the-bombs-fell-pass-me-my-gas-mask setting to Fritz Leiber’s chill dark “A Pail of Air” to the slow burn of On The Beach or Stross’s bureaucratically gleeful Mythos-drawing “A Colder War”. So yeah, not all post-apocalyptic settings require those skills, but they strike me as the kind of thing where it’s… hmh. Worth confirming that you don’t need them, if you don’t?
Cobbling. I mean, honestly, there is so much walking in so many of these settings; driving too, and the occasional ornithopter, but… shoes. Sooner or later the pre-existing shoes are going to be scavenged, or you’re not going to be in a spot where you can get more, or you’re just a really common size and everyone else got there first. And yet I don’t think I’ve ever seen or heard of a cobbler in a post-apocalyptic setting. Everyone’s too busy selling spit-cooked rat or something.
While we’re on rats and food… Food preservation is going to come up at some point, unless there is no way to ever raise, grow, hunt, or gather more than you need on a day to day basis. I, for one, have no idea how to can or preserve food (I think you boil it and then pour wax on it; I think I’m missing some critical steps), and would fully expect meat to rot before it became jerky.
Pharmaceutical training, too. Medical skills are a given (again, remember, this is not a discussion of skillsets that are obviously useful, it’s a discussion of useful skillsets that aren’t often paid attention to; this is why mechanics and doctors haven’t and won’t be mentioned), but even just knowing how drugs need to be stored and what interactions you can expect would be useful. Pharmacies in Canada at least often don’t print expiry dates on the prescriptions they dispense; it’d be nice to at least know where to look to find those.
Speaking of knowing things? Archival skills. It’s awesome that you have a printed copy of… well, Wikipedia and the Mayo Clinic site. But even leaving aside that modern paper tends to be acidic, what’ll you do when the black mold gets in? How’re you going to make more copies (where will you get the ink)? If it’s a single huge print-out, who’s going to index this in a useful way now that you can’t just click on a link?
I mean, I am sure there will be workarounds, and I’m not saying a post-apocalyptic setting needs these things, or needs to dwell on them. I am saying it is possibly quite cool to examine the possibilities of developing these things.
There are more, but I really do need to run off and Do Things. I just wanted to note this down while I had a moment.
Bouncing around links, as one does, I ran across this post and while I am not currently speaking to the second point of the post[1], I think the first point is extremely on-point:
When you read an x-men book today, you’re not reading it because of what is in the actual book–you’re reading it because it’s the X-men and the feeling it gives you reminds you of positive memories you have of the very best of the x-men stories.
(No, obviously not exclusively!) But.
I read that and I remembered trying to explain what I felt about the second Hobbit movie, and why I’m probably going to go see the third. It wasn’t that it was good, really. It wasn’t that it was deeply moving, or well-paced. And I was trying to explain my reaction after and what I came out with was “It’s not that it’s good! It’s that it looks close enough to something that was good, when I read it when I was a kid, that I can use that to get back to how awesome it was back then.”
It’s like air being blown into a bouncy castle. >.> (An incredibly dignified image, I am sure you will agree.) It doesn’t have to be good air. It doesn’t have to have the whisper of summer-evening meadow-flowers, or the far-off breath of the sea, or have strains of far-off dwarven chanting[2]. It needs to be uncorrosive enough to not rot the bouncy castle from the inside-out. (And a nozzle that matches the valve on the bouncy-castle, I am sure, but here the metaphor is getting overcomplicated again.)
Just figured I would note down that particular case of a well-articulated point that clicked for me, because it is so bloody frustrating to not be able to set something out clearly.
—
[1] I am not disagreeing that it amy lead to a non-aspirational escapism, but I am disagreeing that a non-aspirational escapism deserves to be called “the worst” kind. But at that point you get into judging the values of escapism in terms of personal growth vs expansion of perception vs self-care, and I absolutely do not have time to do that at this point, so I will end this footnote now.
[2] “Gold, gold, gold, gold.”
(written several months back, and published now that I am cleaning out my drafts)
…I haven’t been so hooked by a graphic novel since I picked up Uzumaki, Vol. 1. And exactly like when I picked up Uzumaki, I am swearing because the comic book store has closed for the day, and now I have to wait before I can see about getting the next one in the series.
Spoilers for the first twenty-odd pages follow.
Like it says on the tin: the generically utterly evil technically-not-supervillain-because-no-superpowers-but-come-on-now Madder Red has, after years of therapy, apparently been cured of his anti-social drive.[1] Now he’d like to do some good.
I picked it up expecting a crime story. In the first fifteen pages, it had me blinking a little at what was being depicted (villain cheerfully slitting a child’s throat in front of the hero), and then twisted the standard “ha-ha, holding the city hostage by means of threatening something terrible” schtick into an entirely new direction.
It’s a murder mystery, sure. It’s grim and fast-paced and makes a creepy kind of sense. It’s beautifully drawn; the story weaves along between modern-day (full-colour art) and flashbacks to various points in the past (black and white and red all over). I am going to go reread it, once I am done posting this.
But beyond that, it feels thoughtful in a way that comics about characters like this–characters that are like how Madder Red started out, I mean, he’s quite different in the modern day setting–usually don’t, and for “usually don’t” read “never have”.
Series was apparently cancelled after enough comics to make two graphic novels. I am saddened by this, but… I guess it ups the odds of being able to convince other people to read the whole thing?
—
[1] Dead kids. Lots of dead kids. And dead women. (He hurt and killed woman and kids by preference.) And dead cops. And along the way, dead cats. His backstory rap sheet is drawn in in relatively few pages, and remains the kind of thing which is jaw-droppingly violent in a way I cannot recall having previously seen in comics.
A while back, I got into a discussion with someone about post-apocalyptic settings, and they referred to A Handmaid’s Tale as post-apocalyptic. It didn’t seem to meet the definition, but I didn’t have a chance to sit down and actually hammer out what I thought the definition was until now.
I think (and this is possibly heavily influenced by what I currently take for granted) a post-apocalyptic setting has two elements; an apocalyptic event[1], and a destruction of the larger social infrastructure. That might be because there are too few people left to sustain it, because the roads were ruined in the earthquake and roads are kind of essential, because the things that have lovely Victorian clothes and far too many teeth are coming through every fifteen hours and twenty minutes[2] and it’s completely shot everyone’s focus to hell… For whatever reason, the larger social infrastructure is gone.
(By the way, the Fractured anthology has some very good post-apocalyptic stories. Just saying. Also you can currently see it on my GoodReads feed, down in the widget corner.)
If you get an apocalyptic event without a destruction of the social infrastructure, then what you have is either a reconstruction setting or a dystopia, depending on how people reacted. (This is how I’d classify A Handmaid’s Tale or 1984 if they’d been precipitated by an apocalyptic event[3]. This is also how I’d classify Deadlands, actually, with a side-order of monsters so deep in the shadows that almost no-one knows that there’s been an apocalyptic event.) There’s an apparently stable and effective government operating on a federal level over a huge territory; if that is post-apocalyptic, it’s so far post-apocalyptic that the apocalypse has become irrelevant.
I don’t think a reconstruction setting needs to have that large or effective a government, mind. I’d call Fallout: New Vegas more reconstruction than post-apocalyptic, with the world starting to knit itself together again, and the territories claimed by the various factions certainly aren’t continent-spanning.
(Also, I will just note that I still have a spare Steam copy of F:NV to give away, because I collect them expressly for that purpose.)
If you get the destruction of the social infrastructure without an apocalyptic event, then what you have is… well, it’s rather cynical, and I can’t think of cases where I’ve actually seen it. But if it doesn’t have an apocalyptic event to have happened after then it’s by definition not post-apocalyptic, dammit.
Just some thoughts, I guess. Feels good to get them down, even if I’m not sure where they’re going yet.
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[1] I am absolutely willing to count slow or soft events as apocalyptic–total economic collapse, widespread drought or famine, humanity becoming sterile[4], etcetera. Doesn’t have to be bombs or plague.
[2] I’m short-changing Bob Leman’s “Window” horribly, here.
[3] I personally wouldn’t classify the event precipitating the Republic of Gilead’s creation as apocalyptic, but I understand that if you find the story focuses closely enough on the US, you can consider it to be so.
[4] See [3]; if you turn the narrative focus from “things potentially affected by an apocalypse” down to the narrower focus of “humanity”, you can tell an apocalyptic story even when the vast majority of life on earth will be fine. See also “There Will Come Soft Rains“, and yes, that was a deliberate link to the poem and not the story.
It’s been a really stressful few weeks, and I haven’t been saying much. (I got bitten by a German Shepherd last month, did I mention? Stupid owner.) I’ve been low on time and low on energy, but I ran across something and thought I should mention:
I’ve been tired enough that it’s been easy to drop onto TV Tropes and let it eat my attention and my time for fifteen, twenty minutes at a stretch (which is really longer than I’d like right now), and I wandered onto the page for The Truth of Rock and Roll, and…
At first I thought it sounded twee. But the tropes page mentioned a shout-out to that much-loved-by-me Walter-Hill-scored-by-Jim-Steinman this-is-where-the-80s-gets-kidnapped-by-the-70s-and-saved-by-the-50s heartsong of a movie Streets of Fire, and mentioned it was serialized on the author’s blog. And I figured, well, I’d take a quick look. Blogs are easier for me to read than ebooks, and if it’s serialized it’ll have natural breaking points, won’t take up too much time.
Okay, here’s a question: I am looking for examples of fictional narrative in which the author and the reader both know and learn more about the world than the narrator/protagonist/viewpoint character(s).
Examples of what I am speaking of, off the top of my head:
“Petey” – TED Klein
“The Events at Poroth Farm” – TED Klein (I sense a theme)
“Fat Face” – Michael Shea
that story whose title I can’t remember from the New Cthulhu: The Recent Weird anthology in which the narrator assumes he’s observing the behaviour of crayfish
(The latter three are probably easier to pull off, in that the protagonists discover the facts they are ignorant of before the end of the story. “Petey”, on the other hand, remains a story that in this regard is so beautifully executed I am in awe every time I read it. I will probably be picking it up to look at it, but )
The important thing to note in these stories is that the truth of the fictional narrative is not the reader’s default reality (or, if one of these was set in Regency England or Ancient Egypt, their assumption of what a default reality should be). “Fat Face”, for example, involves shoggoths; assuredly cuddly, but generally not assumed to exist in real life. Contrast this with any one of three dozen narratives in which someone is running around the street seeing ordinary people as “demons”; I am really not hugely interested in examples of the latter, since they are generally a way to tell the reader about the narrator and not about the world.
Finally, I’m looking for text only. This means that things like the I Am Legend movie do not count. It is a wonderful example of how what the viewer can see is really going on (as displayed on film) does not match what the protagonist asserts is going on, but I really want to see how this is made to work in text.
Over the last few years, I’ve been making an effort to log more of my reading on GoodReads. (Lately I’ve also been looking at BookLikes, but that is a bit of an aside.) A fair bit of the stuff I read isn’t already on GoodReads, or has incomplete records there–authors are missing from anthologies, cover photos aren’t provided for books, standalone stories or small epubbed collections aren’t in the system. Usually I grumble about this a little and correct it.
(Someday I’m going to put all the old Hell on Earth stuff into a proper series list, oh yes. Organized by publication number and everything.)
Since I’ve been commuting a lot lately, I’ve been reading a lot more epubs–picking up some old stuff, picking up some new. And one of the things read earlier this week was a collection of draft stories and partials that you could get being a sponsor during the Clarion West Write-a-thon last year.
It’s not for distribution, which is fine; it is something which does not belong in GoodReads at all.
And it feels so weirdly good to read something that I don’t have to track.
(I mean, I don’t have to track what I read in GoodReads, of course. But it’s become an ingrained habit now, and the yearly challenges have a gamified appeal.)
I suspect this is exacerbated because I’m a bit stressed at the moment, and have a lot of things going on. Still, it’s worth keeping in mind, and perhaps I will clear myself a block of time when I can just read and give myself permission to not document it. I am already behind on reviews of books that really deserve it (can I just mention This Strange Way of Dying, which really needs more love), and I don’t imagine it would help with that. But at the same time writing reviews is actually pretty hard for me, and I think the breathing room–official self-given breathing room, rather than falling-behind-and-not-doing it–might feel lovely.
I was going to mention this last, but I figured that was very much burying the lede; I have a spare copy of Fallout: New Vegas on Steam to give away. It’s an action/RPG, set in a post-apocalyptic retro-futuristic Nevada. It’s honestly a rather cheery setting; less the actual wasteland than an idea of the wasteland that might have been spawned from the ATOMIC SCIENCE of the 50s, crossed with Mad Max and given a cheerful jolt of early- and mid-20th century music.
