The RUINS book tour!

February 10th, 2014

These events have been in my calendar for a couple of weeks, but I thought it would be a good idea to collect them all here in a single post for ease of reference. RUINS is the climactic finale of the Partials Sequence, and probably my favorite book in the series, and it comes out March 11! My physical tour will be limited, because that’s also the same time FRAGMENTS comes out in Germany, and I’m kind of flying back and forth to cover both. I do have a handful of awesome US events planned, though, so if you’re in the neighborhood come say hi!

March 17: Atlanta, Georgia
Books For Less – North Point
6:30 pm
(I think this is technically Alpharetta. This is a new location for me, but it’s run by one of my favorite booksellers, and he always does a great job with events.)

March 19: San Diego, California
Mysterious Galaxy
7:00 pm
(My brother, fellow HarperTeen author Robison Wells, is joining me for this one. This is a great store, and I tend to get people from as far as LA at these events, so if you’re anywhere in southern California please drop by.)

March 21: San Francisco, California
Borderlands Books
7:00 pm
(How much do I love this store? It’s one of the best in the country. Rob’s joining me for this one, too.)

March 22: Portland, Oregon
Powell’s – Beaverton
2:00 pm
(Don’t forget, this is the one in Beaverton, not the one downtown. It’s also in the afternoon, not the evening, so don’t miss it! This is a great store and tends to have a pretty big turnout with great Q&A. Rob will be with me at this one as well.)

March 25: Orem, Utah
Barnes & Noble
7:00 pm
(This event will be a full blown authorpalooza, brimming over with some of Utah’s best SF, fantasy, and YA authors. I don’t know the full guest list, but it’s guaranteed to have plenty of awesome folks.)

March 26: Salt Lake City, Utah
Weller Book Works
7:00 pm
(The final, triumphant event of the tour. Rob will be with me, the crowd will be huge, and much awesomeness will be had by all.)

Vikings, and Historical Accuracy

January 31st, 2014

Yes, sorry, this is two “rant about TV shows” blog posts in a row, but this is bugging me. My problems with Almost Human last week were mostly based on the writers not trying very hard to make up a new, imaginary world, but my problem with the History Channel show Vikings is in some ways opposite, and far more damning: the world they’re portraying is not new or imaginary, but they’re getting it wrong ON PURPOSE.

Historical fiction is hard—it’s far away the genre I read most often, but it’s not something I’ve ever written, or am likely to write, because the level of research you have to put into it is insane. Most of us have a pretty good idea of what we think a viking is, but how many of you could describe, right off the top of your head, an authentic viking meal? Outfit? System of government? How much do you really know about their economics, their level of technology, or their day-to-day lives? The image we have of vikings is a very modern, romanticized one, and if you’re going to write a book or make a show about them you need to know these things. And yes, you can be forgiven for some inaccuracies, because a lot of what we know about the vikings is shaky at best—they kept no real written records, and most of what’s recorded about them was written a few hundred years after the fact, and usually by someone the vikings had attacked. These kinds of accounts are inherently, purposefully biased. If you get something wrong because of that, well, that’s okay. We understand.

What bugs me, though—and it really, really bugs me—is this quote from Michael Hirst, the creator of the show, in an interview with the NY Times: “We want people to watch it. A historical account of the vikings would reach hundreds, occasionally thousands, of people. Here we’ve got to reach millions.” Let me say that again just to let it sink in: the creator of the show has deliberately chosen to get his facts wrong, because he believes that getting them right would turn people away. You see, there are many, many facts about viking culture, and the cultures they raided, that are NOT lost in history, that are verified by well-known evidence, and this guy has apparently decided to screw that crap because historical accuracy would ruin his show. This, I assume, is why his vikings live in frame houses instead of viking longhouses—a type of house so synonymous with vikings that they’re in the houses’ name. No one would ever watch a show about people who live in longhouses! Don’t be stupid! He had to put them in frame houses because he wants to reach millions of people, and that takes some sacrifices.

What else has he sacrificed in the name of viewership? Everything we know about viking government, for one thing. Vikings lived in a very democratic society: one man was in charge, but only because the rest of the men trusted him to lead them successfully, and if he failed in his job, they stopped following him and followed someone else. The vikings in the tv show live in some kind of feudal autocracy, beholden to an Earl (played, I must admit, with deliciously slimy aplomb by Gabriel Byrne) who orders them around and screws everything up and contributes nothing valuable to their society. Real vikings would throw that guy out on his ear—if he doesn’t lead the raids, he doesn’t get to lead anywhere else—but the tv vikings kowtow just like, well, like the feudal English warriors that the writers are presumably more familiar with. This error, honestly, I don’t suspect is a fault of their research so much as their storytelling: we’re so culturally accustomed to stories about oppressive rulers, especially in the last few years, that it was simply easier/flashier/more topical to write a show about one man fighting back against a tyrannical government. They could have put in the time and effort to come up with an equally compelling story about egalitarian viking politics, but they didn’t want to, and as a fellow storyteller I can kind of see that—it’s lazy, but it’s a good story, and that counts for a lot. But it drives me up the wall to hear them excuse their laziness by saying it’s the only way to make people watch. The hell it is. Don’t blame us because you couldn’t be bothered to come up with an authentic viking story for your viking tv show—that’s all on you. Write a good story and we’ll be there for it.

The list of historical inaccuracies goes on and on. They depict what is considered to be the start of the “Viking Age,” kicked off by an attack on Lindisfarne (accurate!), using advanced navigational tools (accurate!), but they bury it in a story about how that’s the first time the vikings ever discovered the saxon islands existed (woefully inaccurate by several centuries!). When the vikings pillage the Lindisfarne monastery (accurate!), they meet a monk who speaks norse (plausible! But completely nonsensical in their proposed world where the norse and the saxons didn’t know about each other!); the monk tells them his land is called England (inaccurate by almost a hundred years!); they run afoul of the local king named Aelle (inaccurate by about seventy years!); they fight Aelle’s men in a shield wall (accurate!), but rely on archers instead of spears and axes for most of their attacks (inaccurate and ridiculous!). At this period of history (approximately 793 AD, given what we know about Lindisfarne), the kingdom that would eventually become England was still split into four mini-kingdoms, and the one the vikings hit first was called Northumbria, and it was not nearly as clean or as advanced or as unilaterally Christian as the show depicts it. The process that united these kingdoms began with Alfred the Great, who is allegedly slated to appear in season two of the show despite the fact that he wasn’t even born until 849, and wasn’t king until 871, and that the entire purpose of his rule was to create England which their version of the show has already done, and that he still didn’t manage to create it until his grandson Athelstan finally united the four kingdoms under a single ruler in 924. What are they going to have Alfred do in 793? Make up some kind of crisis to separate the kingdoms, so he can reforge them again? The more they try to conflate these different elements of history, the more inaccurate they’re going to get.

And you know what? It all comes back to Michael Hirst’s lame excuse. They could tell an accurate story if they wanted to: they could depict the Vikings, and the Northumbrians, and the clothes and the buildings and the rulers and everything else, completely correctly if they wanted. It would not be any harder or more expensive than the show they’re currently making. And they’ve chosen not to do that, and that’s their choice, but to blame it on the viewership just gets me so mad. What kind of audience is he imagining that would refuse to watch a show because they call it Northumbria instead of England? What’s so amazing about his laughable shield wall tactics that’s going to expand their audience from thousands to millions? Why should we trust a show from a man with so little faith in real history he thinks he has to screw it up on purpose or no one will watch?

I complained about this on twitter, and many of you agreed, and many of you said “I don’t care, that show’s awesome.” And you know what? The show is awesome, and I’m enjoying it, and even though I sit there and point out all the inaccuracies to my wife while we watch it (a habit I get from my Dad, who does the same with World War II movies), I will probably keep watching it. But my plea to the universe, or at least to the makers of TV shows, is the same now as it was with Almost Human: yes, your show is fun, and yes, it’s entertaining, but can’t it also be good? Can’t you get your science/history/laws/physics/whatever right? Do I really have to ignore hundreds of years of well-known history just to enjoy your show?

Can’t our entertainment be awesome AND great? Why should we settle for less?

Almost Human, and Writing the Future

January 22nd, 2014

I discovered this week that Almost Human was on Hulu–I don’t know why I didn’t just assume it would be, but I think I mostly forgot the show existed. I knew it was coming, because “Karl Urban stars in a TV show about android cops in the future” is the kind of thing that will inevitably show up on my radar long before it airs, but since I don’t live in the US I never saw any commercials for it, and it eventually just faded from my mind, and by the time it actually debuted on TV I’d forgotten about it. So score one for advertising, I guess, as I suffered for the lack of it. Anyway. Learning about this show is important to me, because I just sold a cyberpunk trilogy to HarperCollins, and it’s always good to know what other people are doing in your genre. Almost Human is not technically “cyberpunk,” but it’s near-future, and that ends up hitting a lot of the same notes. So I watched it.

It’s…kind of terrible.

It’s also kind of awesome. Karl Urban I have loved in pretty much everything I’ve ever seen him in. I think he’s fantastic. Michael Ealy, who plays his android partner, I’ve never seen in anything before, but he’s similarly fantastic, and the banter between the two of them is the best part of the show. They have a wonderful buddy cop vibe, with a surprising amount of humor, and the best scenes in the show are invariably the two of them in their car, driving to or from a case, just chatting and arguing and ribbing each other. This all works perfectly.

The problem is pretty much everything else on the show.

(Let me preface this entire discussion with a pre-emptive strike against the inevitable comments that the show is fun, and really not that terrible: please realize that “really not that terrible” is one of the worst recommendations you can possibly give to anything. We live in a world surrounded by thousands of years of collected knowledge and art, and I think it’s a painful waste of my time and yours to spend it on something that’s “really not that terrible.” Do we really want to make our entertainment decisions using a scale that only goes from “terrible” to “really not that terrible”? Isn’t there room for “good” on there? Or maybe even “awesome”? I have, at most, three or four hours in a day to spend consuming media, and that’s being generous and losing a lot of sleep; I could watch a TV show that’s fun but kind of lame, or I could watch one (or a movie, or read a book) that’s fun but also awesome. I know which one I’ll pick.)

Almost Human has some basic problems that all cop shows have (terrible cop procedure, blatant disregard for actual law, implausible detective work), and some characterization problems (the token women are underutilized cutouts, ironically far less developed and human than the android), but the things that really bug me are the science fiction aspects. By which I mean: there are virtually none. My attitude about this is weird, and I recognize that, but here’s the thing: in movies, I’m willing to give SF the benefit of the doubt, and in TV it goes the other way. If I’m looking up movie ratings on rottentomatoes, for example, and I see an SF movie hovering around 75%, I know that I can add at least 10%, maybe more, to my own personal enjoyment of it, solely because it’s SF. Being SF means I’ll like it more than an equivalent non-SF movie. With TV I’ve realized that I have an opposite standard–I expect TV SF to be good SF, and to give a good showing in the genre. An SF cop show has to be better than a non-SF cop show, or I’ll hate it. Maybe this is because of TV’s excellent history with SF (Star Trek, Cowboy Bebop, Battlestar Galactica, etc.), or maybe this is because movies are more acceptable as style-over-substance spectacle (Star Wars, et al.), or maybe it’s simply because TV has entered such a golden age of excellent writing (Breaking Bad, Justified, etc.) that I hold it to a higher standard. Maybe it’s just because adding SF to a TV show gives me extra nits to pick: Castle is a fun show with terrible cop behavior, but Almost Human is a fun show with terrible cop behavior AND terrible worldbuilding. I don’t know.

Regardless of my weird differences between movies and TV, though, I know straight out that my biggest complaint about Almost Human comes from the fact that it’s a genre I work in, and it’s doing it all wrong, and that bothers me as a professional futurist. The worldbuilding in Almost Human is awful, and for two main reasons: it doesn’t feel like a plausible projection of the future, and it doesn’t hold together as a consistent setting.

First: Almost Human doesn’t feel like a plausible projection of the future. Let’s start with phones as a great example. Some of the people in the show have these neat little video phones that project on their hands, and others have slim little cell phones, but that’s all they are: phones. No one ever checks the Internet on them, no one ever uses a hands-free headset or earpiece (except the scientist guy), and no human ever uses them to stay connected to the net in real time. My 12-year-old daughter has a prepaid smartphone without a data plan, and she’s more connected than anyone in this show. The main android will occasionally do things like issue speeding tickets wirelessly, or access a database with his head, but it’s a rare thing, and he has to stop and make a big deal of it. Consider the episode where a hacker kills people on FutureYouTube: there’s a scene where the cops find a woman with a bomb around her neck. While the android defuses the bomb (talked through it by the scientist over the phone, instead of just downloading bomb defusal information from the police database, which all by itself sets this movie 100 years further in the past than it wants to be), the other cop asks the woman to describe her attacker. They look the guy up later, but why wasn’t anyone looking him up right then and there? I’ll concede that the writers are not imagining a future with Google-Glass style wearables, which I think is wrong but whatever. Why weren’t the people listening back at the precinct jumping on normal Google to find this guy? Why didn’t the cop look him up himself on what I have to assume is an Internet-capable phone? Forget near-future predictions–we have the technology TODAY to have found that guy’s online profile and started tracking him down before the bomb was even defused. In a show that at least gives a head nod to police drones and tracing technology, they could have found this guy and had him under surveillance within minutes, or explained in one line of dialogue that he’d used his hacking skill to hide from them. Instead we wait, like cavemen, and then find him instantly an hour later when we bother to look him up.

While we’re talking about the hacker episode: what is going on with the Internet in Almost Human? Token Female Cops 1 and 2 have a clunky conversation about how the bomb videos are appearing on “the darknet” (a term the writers obviously don’t understand), and talk about bringing in a cybercrimes unit, but why is there not already a cybercrimes unit, or at least a cybercrimes guy, on the force? In 2050, is there seriously nobody in the whole police station capable of tracking down the IP address of a live video with thousands of viewers? Brooklyn Nine-Nine, a half-hour cop comedy, has one line in one episode about hiring a teen hacker to help with their online security, which all by itself gives that show a more believable prediction of the future than anything Almost Human has ever done.

I’ll continue griping about their use of technology in my second point about inconsistent setting, but let’s finish the first point by mentioning the sheer non-futuristic nature of the show in general. There’s an episode about drugs that has exactly three futuristic elements: a subcutaneous listening device, a magical drink that turns you into a GPS locator, and the androids themselves. That’s it. The drug isn’t real, but it isn’t science-fictional either, it’s just a green drink that makes you high and kills you, and honestly I’m being very generous counting the subcutaneous wire, too. Turn the magical drink into a radio beacon, give the cops a magnifying glass and a forensics bag, and that entire episode could take place in the 80s. The episode about artificial hearts has a little chip that could exist today; the YouTube episode combines 10-year-old Internet technology with a bomb-around-the-neck trope that’s older than I am. The magical sniper bullet episode, while kind of ridiculous, at least posits two science fictional technologies (the magical sniper bullet and the memory scrubber) and then crafts a story that couldn’t exist without them. That’s awesome, I admit, and the fact that the most well-developed SF is from the most recent episode gives me hope, but not much: it turns out that the sniper bullet episode was actually the second one written and filmed, right after the pilot, which means the SF writing has been getting worse over time, not better.

Someone on twitter, when I started complaining about this, described Almost Human as being a projection not of modern technology, but of 80s technology; it’s the same future imagined in movies like RoboCop. This is actually a fantastic description of how the show feels, right down to Karl Urban’s silly name and Road Warrior car. Someone else linked me to an io9 article positing that this 80s feel was intentional on the part of the writers, as kind of a retro-future period piece, but that I don’t buy for a minute. Too much of our current technology (web cams, bitcoins, surveillance drones) is creeping in; if they were actively trying to recreate the future as we saw it in the 80s, there’d be less of that and more of other things, like virtual reality and Asian influence. I find it far more likely that they decided to make an android show, gathered up all the near-future elements that were already in the public consciousness (ie, RoboCop and the rest of the stuff from the 80s), and called it a day.

Now: onto my second point about creating a consistent setting. They haven’t. The world the characters live in is almost identical to our own, for one thing, with the obvious addition of androids; there is no meaningful way in which daily life would be any different for them than for us, if you don’t count Karl Urban randomly murdering robots in the middle of the street with no repercussions. The Internet functions the same for them as it does for us (though they seem oddly less connected to it, as mentioned earlier), and in more or less the same ways. Where is the Internet of Things? In 2014 someone has already hacked a fridge, and connected devices are going to get more prevalent, and that’s going to change the way we live. Where are the self-driving cars? Where’s the wearable tech? Almost Human takes one or two science fictional ideas per episode, uses them in the service of some very run-of-the-mill cop stories, and then drops them. This is not what the future will be like, folks. We used to think the future was all flying cars and hoverboards, but even Back To The Future 2 was smart enough to recognize that the real impact of the future will be in the smaller things that change the way we live from day to day–things like Mr Fusion that turns garbage into energy, or a food rehydrator that sits on your counter like a microwave. Real world futurism is about things like smartphones, which aren’t just small computers, they’re disruptive technologies that have changed the way we work, play, and communicate. They have a meaningful and measurable impact on society. None of the technology in Almost Human, including the androids, has an impact on anyone.

Consider one tiny, throw-away FX shot in the magical sniper bullet episode: Karl Urban is in an anger management class, and we get a quick overhead shot to establish that they’re all sitting in a circle, and there’s a little drone hovering across from one side to the other. I can’t tell if it’s a drink tray or a garbage can, but wow–that’s a real technology, plausibly projected into the future, and I got really excited because I use drones a lot in my cyberpunk. How will drones be used in the future? We already have things like the Roomba, and that kind of servant-robot has a huge possibility of becoming a disruptive technology that changes the way we live. If drones are common enough that they can be used as drink trays or garbage cans, what else will they be used for? How about cleaning or laundry drones in people’s homes? Drones that walk dogs? Camera drones in populated areas? How about surveillance and security–if I could get a little hover drone to follow my daughter around and tase anyone that tried to attack her, I’d totally do it. Or how about a roving database, since the cops don’t seem to have Internet phones? Even if they don’t have them in the field, they could have them in the station: little computers that follow them around, looking things up, projecting things on screens or walls. That’s kind of what the androids do, but since energy usage is obviously a concern (at least in the one episode where it mattered to the plot), drones would be a more efficient way of conserving it. Drones have so much potential, both in the real world and in science fiction, that they should have a huge impact on the world, but just like the energy shortage the show uses them only when it wants to, without any regard for how that technology would actually change society.

Another example: the same magic bullet episode showed another one-shot technology when the android walked in front of an advertisement and it started talking to him. Yes, they stole this one wholesale from Minority Report, but I do think it’s plausible: once advertisers figure out how to identify you, whether by retinal scan or smartphone locator or an RFID on your credit card, they’re going to start approaching you directly. They already do it on your computer, and it’s only a matter of time before they do it in other arenas as well. Researching for a novel the other day I looked up a compression pump on Google, to see what the PSI was; Google remembered this, and added that data to the profile it keeps of me, and the next time I logged into facebook I had an ad in the sidebar for compression pumps. As part of my search I clicked on an Amazon link, curious about the price; I was logged into my Amazon account at the time, so it saw and remembered, and a few days later Amazon emailed me a list of amazing deals on compression pumps. Targeted advertising is everywhere online, and you can bet good money that as soon as they know how to extend that reach into the real world, they will. How long before I walk into a hardware store, get recognized by its software, and a little screen pops up offering me a 5% discount on compression pumps? They could even have a drone fly in to lead me to the right aisle, and answer basic questions about PSI and maybe try to upsell me on some nozzle attachments. This is not crazy, out-there futurism, this is right around the corner, and it’s going to change the way we interact with the world…except on Almost Human, where it’s only used in one scene to help the characters figure out a clue, and then it never happens again to anybody.

The problem, of course, is that Almost Human isn’t trying to build a science-fictional world, they’re trying to tell cop stories with a science fiction twist. The plot is king, and the setting (and most of the characters) are after-thoughts. It’s the difference between looking at a mystery plot and thinking “how can I add some crazy tech in here,” and looking at a piece of crazy tech and thinking “how will this change the change the way my characters live and think and act?” Start with the first one and you get a fun cop show that kind of looks like SF, from a certain angle; start with the second, and you get a great SF show in which you can tell all the cop stories you want. It’s a subtle difference, I’ll grant you, but as a fan of SF I think it’s a very important one. I can’t watch Almost Human without seeing all the holes where it could have done something great and didn’t bother. I will probably keep watching for a while, because the two lead characters are legitimately great, and I want the show to succeed. I want it to grow into itself and become the awesome near future show it could be, and that means we need to support it now so it doesn’t get canceled. But there’s a vast horde of good and potentially-great SF on TV right now (Sleepy Hollow, Person of Interest, etc.), and my genre loyalty only goes so far. If the show reaches a point where its good points (two characters) are outweighed by its bad ones (everything else), I’ll give up and watch something else.

By the way: in writing this, I realize I’m setting a pretty high bar for myself with my cyberpunk series. I can’t whine and moan about their SF and then turn around make the same mistakes. Going full circle to the beginning of my post, this is why it’s so important for writers to also be readers/watchers/listeners of everything in their genre. You need to keep your finger on the pulse, and know what other people are doing, and think about how you can do it differently or better. My take on the near future was already very different from Almost Human (I have no androids, for one thing), but analyzing how I react to the show, and what I like about it and what I don’t, and most importantly why, has already helped me to see my own work in a new light, and see where the weaknesses are that I need to shore up. My series doesn’t even come out until Fall 2015, so I’ve got some time to work on it. I’ll do my best to make it as awesome as I can.

Eldritch Horror

January 6th, 2014

My kids (with some strong hints from me) gave me a copy of Eldritch Horror for Christmas. It’s the newest in Fantasy Flight Games’ massive line of Cthulhu mythos games, and is presented as a kind of updated/streamlined version of Arkham Horror, which despite many recommendations I have never played. I’ve had the chance to play Eldritch Horror a few times over the past couple of weeks, though, and I absolutely love it. I love games that tell a story–I like winning, but I consider that secondary to the experience of playing a game, and nothing improves that experience for me like a really great story. This is one of the reasons that I love Last Night on Earth so much: it has so much flavor, and creates such a strong narrative as you play it, that you remember it long after, almost like a good movie or a book. Games that create this kind of situation, that put you in a place not just to play a game but to experience something cool and dramatic, are the reason I love gaming. Eldritch Horror has this in spades.

The board represents the entire world, in the classic Lovecraftian era of 1920/1930, and in that way kind of resembles Fortune and Glory, but with a strong horror focus and a game engine that’s much deeper and more polished. Each player takes the role of a specific character, and you work together against a scenario: one of the Greater Old Ones is starting to awaken, and you have to work together to find the right clues, solve the right riddles, and save the world. There are a ton of random encounter cards, and a great assortment of characters that each play surprisingly uniquely, making each game different even when replaying a familiar scenario.

I could go into specifics, but really there’s no better recommendation I can make than simply recounting one of the standout story moments from my last game. I was playing solo (it’s a fantastic solo game) with two characters: an investigator and a psychic. The investigator was great, thanks to an early ally that gave him a big boost exploring cities, and he’d managed to accrue a lot of great equipment–balanced by a few Condition cards (like ‘Debt,’ ‘Hallucinations,’ and so on) that represented the high price he’d paid for his power. The Conditions are fun, because there are several different versions of each, and you never know which one you get until a game effect tells you to flip it over and see what happens. Maybe you’re in debt to some mob thugs, who’ll come and break your legs, or maybe you’re in debt to a warlock who wants to steal some of your sanity. It’s a great system. The psychic, on the other hand, had stronger willpower than the investigator and stayed a little more pure, but as a consequence struggled for a lot of the game. We managed to solve two of the three mysteries required to stop Yog-Sothoth from waking up, but time was running out, and I needed more clues–I was desperate for clues. How desperate? I got the chance to find out when my investigator took a boat across the Atlantic, following a lead from Johannesburg to Buenos Aires, and halfway there ran into some mysterious creatures with the information I needed. They offered to share it, but only for a price: two clues in exchange for a Dark Pact. A Dark Pact is a Condition that could potentially devastate me, up to and including just killing the character outright, but I didn’t need to worry about that, right? The odds that the next big event card would trigger the pact were extremely small, and even then I had to roll incredibly poorly for anything to happen–and even if my investigator died, who cared? With those two clues my psychic could cast the spell I needed and win the game on literally the very next turn. I had this game in the bag. What could a little deal with the devil hurt me?

End of turn event card: trigger the Dark Pact. Oops. Well, no matter, I probably won’t roll a…oh. Oops. Looks like the mysterious creatures are calling me in to fulfill my half of the bargain. Still, no worries, because even if I die I’m fine, so let’s flip the card over and see what I have to do….

My investigator has to sacrifice ANOTHER character. Not himself.

The investigator’s dangerous flirtation with the forces of darkness has led him too far! He’s made one too many shady deals, and now it’s time to pay the piper. He betrays the psychic, losing his very humanity in the bargain, and the dark gods laugh. I struggle desperately for another couple of turns, solving the final mystery just a fraction of a second too late, and Yog-Sothoth awakes. He repays my poor investigator with a dragon to the face (a Hound of Tindalos eats him), which is a fitting punishment for such a fallen wretch, and though I still get to keep going with new characters it’s simply too late. Yog-Sothoth devours the world, and all is lost in madness.

I know several gamers who would hate to lose the game on what is essentially a random effect like that, and if that’s you, I’m sorry. This game is not for you. I LOVED it. I’ll remember that fateful decision and it’s soul-crushing repercussions for years to come, far more than a good hand of 7 Wonders or a clever bit of action timing in Agricola–both games I love, but for different reasons. Random effects by themselves can be onerous and frustrating, but random effects coupled with rich storytelling and tense situations are the stuff of pure drama. It’s all about the experience, and if you love games that give you a thrilling experience, definitely give Eldritch Horror a try.

My Essen Report!

November 5th, 2013

I went to Essen last week! And since I bought a ton of games, and played a ton more, and since I desperately owe you guys a blog post, I think it’s high time for a rundown of the show.

“Essen” is the nickname for Internationale Spieletag, a board game fair that takes place every year in the town of Essen, Germany. Did I say “a” boardgame fair? Because it’s really “the” boardgame fair—the biggest in the world, and by far the most important. Three massive halls of a gargantuan convention center fill up with game companies, game retailers, hobby shops, demo booths, rabid fans, and eager designers trying to promote their games, pitch to publishers, or both. PAX and GenCon might be bigger, but they also have a much wider focus. Essen is tabletop games, pure and simple, with four solid days of nothing but games, games, games.

(And of course bratwurst, because this is Germany, and that’s the quickest, cheapest meal to grab while on your way to more games.)

I’ve wanted to go to Essen for years, but last year was the first time it was financially feasible—since I live about three hours away now, and 60 Euros for a train ticket is a lot cheaper than 1200 bucks for a plane. I talked my friend Will, a fellow game geek I’ve known since second grade, who happened to be studying in Oxford at the time, to come and join me, and I loved it so much that I immediately planned a return trip. This time I got a hotel room early (landing me with a much better one) and managed to convince my friend Nick, from my old game group in Utah, to pony up the $1200 and join me. I also brought my 10-year-old son, because he happened to be on vacation most of the time—I had to get him excused from one day of school, which is no small task in Germany, but we did it. The three of us headed up and made our plans.

I’d been watching the various Essen previews on BoardGameGeek for a while, so I’d already concocted a list of what I wanted to see while I was there. The first stop on the first day was Portal Games, for a game I’d actually preordered: Legacy: the Testament of Duke de Crecy. I bought this one sight unseen, based solely on the previews, and I was not disappointed. This ended up being my hands-down favorite game of the fair, so I’ll save my description of it for last.

After that we wandered a bit, taking in the sights, and we ran across another game from my watch list: Rokoko, though I got the Eagle Games version so the box says “Rococo.” The only place we could find that was running a demo of this one was Pegasus Spiele, their German publisher, and their booth was a crowded morass, so I bit the bullet and bought this one, again, unplayed and untested. This was worth it to me, though, because I got it with my two daughters in mind; they love to play games with me, but they really get tired of how many “daddy games” have fighting in them, and Rococo is about making dresses for a fancy ball. I brought it home and played it with them (12yo and 7yo), and it was a major hit, so well done. The 7yo isn’t likely to win anytime soon, but she can play it easily, and the game is still fun for me. I recommend this one highly.

Day one also saw the purchase of my other favorite game from the fair, and probably the wackiest, most out-there game I’ve played all year. I dropped by the Repos booth to pick up the 7 Wonders: Wonder Pack, and saw that they were running demos for Rampage, another game from my watch list and from the same 7 Wonders designer, Antoine Bauza. He was already one of my favorite game designers, and Rampage cemented this status more firmly than ever. Put simply, it’s a game where you set up by building a city out of cardboard tiles and little wooden people (as shown here), and then the point of the game is to KNOCK IT DOWN WITH GIANT WOODEN DINOSAURS. This is already cool, but what makes it so great is that the mechanics behind the destruction are classically Euro-gamer, with careful management of actions, and scoring based on set collection, and all kinds of “respectable” gaming tropes…it’s just that in this case, the actions are things like flicking your dinosaur across the table to move it, crokinole style, or picking it up and dropping it on a building full of tasty wooden meeples. It is equal parts ridiculous and awesome, and just as much fun for adults as it is for my 5-year-old. Huge kudos to Bauza and his co-designer, Ludovic Maublanc, for even attempting this insane balancing act, let alone pulling it off.

While I spent the fair looking for games I could play with my kids, my friend nick was on the prowl for space games; he’s a huge fan of Twilight Imperium, and we playtested five or six similar titles looking for something that scratched the same itch but in a short time frame, and/or a better sense of focus. He really loved Quantum until a string of bad dice rolls killed it for him, and kind of liked Theseus, but not enough to pick it up. All of these brain-burning space games were wearing on my 10yo’s patience, however, so when an eager demo-er at some random booth offered to show us a kiddie-looking dungeon crawl game, we said yes as a concession to my son. That’s how we stumbled onto Super Fantasy, a game I’d never seen from a publisher I’d never heard of, which Nick and I both bought about 40 minutes later. Despite the kiddie-looking art, Super Fantasy has some of the most clever, tactical, hack-and-slash gaming I have ever played. It uses dice as action points, allowing you to allocate them however you want each turn. You only get six, but say you need to move, kill a monster, and pick a lock on a chest: how do you divvy them up? Can you afford to risk two dice on the attack, or do you need three? The game handles special abilities, experience and leveling, treasure, equipment, and so on in the simple, elegant way that other dungeon crawlers like Descent have always tried for and missed the mark, and yet without sacrificing any fantasy flavor. I especially loved the way you charge up abilities and then spend them. Such a great game, and with phenomenal support: the Red Glove website posts new maps and scenarios for free, and there are two expansions coming in the next few months. If you like fantasy and dungeon crawls, definitely check this one out.

My last purchase of Day One (yes, this was still all Day One) was Luchador!, a little dice game from my watch list that had some of the best demo staff at Essen. You can tell a good demo from two factors: they control the length of the demos (so the tables aren’t tied up for hours), and they make the games look fun. The Luchador! demo guys were REALLY getting into it, which not only attracted a big crowd but helped everyone, even if they weren’t actually playing, figure out how the game worked. Fun little touches, like having to high-five your team-mate in a tag-team match, and shouting out the countdown when you try to pin somebody, go a long way. This wasn’t a groundbreaking game by any means, but it’s fun and short and portable, and that fills an awful lot of niches for a guy with five kids. It’s simple enough for my 5yo, which is a nice bonus, plus there’s a lot of cool Lucha Libre flavor, including wonderful descriptions of each character’s special moves. Some of the Mexican culture bits are awkward, like the name “El Cobra Vuelo,” which doesn’t really work, but that’s more than made up for by names like “Ay! Dolores,” which you’ll have to trust me, is hilarious.

How did we spend our first night? By playing Super Fantasy, obviously. Seriously, guys, it’s an incredible game.

Day Two saw a distinct lull in the purchasing frenzy, mostly because we’d already hit most of our watch list games and were now on the prowl for something new. I wanted to love Countdown: Special Ops, but it had some weird logic problems and didn’t really hit the “careful planning caper team” sweet spot I was hoping for. I really wanted to try out Freedom: The Underground Railroad from Academy Games, but every time I went by they said “we’re demoing that tomorrow, come back,” and eventually they ran out of tomorrows. Exodus: Proxima Centauri was easily the best space game we tried all weekend, but they didn’t have any promos and Nick was pressed for space in his luggage, so he resolved to just pick it up after he got home. Why was Nick pressed for space? Because our one major purchase of the day was a big one. A significant subset of Essen games are miniatures games, and we often found ourselves stopping to admire some jaw-droppingly gorgeous minis only to demo them and realize that the rules are terrible; it’s almost like the rules are an afterthought, as an excuse to sell the figures. When we finally stumbled onto Dropzone Commander, we were shocked and delighted to realize that the rules were every bit as awesome as the minis. It’s an “epic scale” game, meaning that the infantry are about 10mm high and come five to a base, with the main units being tanks and air support; the game focuses on rapid deployment and redeployment, and it plays fast and smooth while still having an impressive amount of depth. They offered a starter set with two basic armies, but Nick went whole hog and bought a “large army” bundle for each of the four factions. They threw in some templates and two massive terrain sets for free, and we walked away with a hefty pile and a serious airline baggage weight limit problem.

I don’t think I bought any games on Day Two, though I did break down and buy my son a foam sword from the Mytholon booth. I did find three of the Lord of the Rings Adventure Packs I needed, and in English even, but I didn’t have enough cash on me so they promised to hold them so I could come back the next morning. I hit an ATM bright and early on Day Three and swung back to pick them up, and they gave me too much change; when I pointed this out and gave their money back, they gave me two free Munchkin promo cards, in German, which I will happily mail (and possibly write on, with John Kovalic’s permission) to whoever can give me the most compelling reason in the comments.

Day Three was another flurry of buying, but tempered by learning that some of my watch list games were delayed in production, and thus unavailable at the fair. The main one in this category was Sultaniya, which I was really excited about, but oh well. The first purchase of the day was Tokaido: Crossroads, the expansion for another Antoine Bauza game. I also picked up the special promo character. I got the base game, Tokaido, at last year’s Essen, but despite the stunning art the game itself was too simple to really enjoy with anyone but my 5yo and 7yo; they love it, though, so back I went to keep the collection complete. The new one adds some more depth, but I don’t know if it will enter my adult game night rotation yet. Still, though—that art is incredible.

Another game with incredible art is Ace Detective, from Passport Games, which I’d been eyeing all weekend in its little back corner of Hall 3. It’s a storytelling game about noir detectives, where you chain cards together and weave a cooperative story about a murder investigation, with the added fun of being able to place “evidence” on different suspects to see which one is guilty at the end. It’s kind of a combination of Once Upon A Time and certain parts of Android, but more focused than the former and far more playable than the latter. The best part, though, like I said, is the art: the cards are made with original paintings—and sometimes original quotes—from Black Mask magazine, an old pulp detective rag that gives the game a delicious noir flavor. We finally got to demo it on Day Three, and I snapped it up right after.

Nick wanted to play some of the more complex games, like Nations (which I loved) and Amerigo (which was being demoed very poorly by Queen Games, so we never got a chance to play it). I was having fun—we even got to talk to Rustan Hakansson, a co-designer of Nations, and he signed Nick’s game when he bought it—but my son was getting restless again, so we made another goal to play absolutely anything he thought looked cool. He must have been in an archeological mood, because we tried Relic Runners (which he and Nick both liked more than I did) and Escape: The Curse of the Temple (which was another Queen Games title, so we had to literally force our way into a demo game. They REALLY need to control their demo space a little better). Escape has been out for a while now, long enough to have two expansions, but I’d never heard of it until Mur Lafferty recommended it last month at VCON. It’s a real-time game, with the same “10-minute CD” thing I loved in Space Alert, but instead of brain-burning puzzle-solving it’s a mad dash through a ruined temple, trying to lift a curse and escape before the CD stops and the temple collapses. It’s a fantastic group game, because there are no turns and no down-time—you’re literally just rolling dice like mad, flipping tiles and moving little gems and trying to coordinate with the other players in ten breathless, chaotic minutes. I bought the game, both expansions, and all three Essen promos (plus the free promo), so I guess you could say we liked it :)

Our last stop of the day was the AEG booth, where I had an appointment the following day to pitch my card game to two of their design guys. AEG’s one of my favorite game companies, so I wanted to make sure to give myself time to play their stuff instead of just pitching and running. The two I was most interested in were Smash Up (which debuted at last year’s show, but I never played for lack of time) and Canalis (which is part of the Tempest line I spent all my time last year playing :) ). Canalis, I must admit, immediately turned us off due to the game art; the other Tempest games are gorgeous, but Canalis just didn’t seem to fit, and we (foolishly) lost interest. (But stay tuned, because we’ll get back to this in a minute.) Smash Up, on the other hand, looked great and seemed to play well, plus they were stupidly cheap, so I grabbed the game and the Cthulhu expansion (the other expansion was sold out), and we headed back to the hotel to play some games.

Day Four was shorter than the others, and I had some stuff to do off-site, so we only spent a few hours at the fair. Nick basically just went from booth to booth all morning, getting all the free promos he could find, and then we dedicated our entire afternoon to AEG. At last year’s fair an AEG guy had explained the Tempest line to us, and my friend Will and I both thought it sounded like a good setting for a heist-themed card game I’d been noodling around with. This year, armed with a year of playtesting, a fancy prototype, and an appointment for a pitch meeting, I was determined to wow them with my game. Because I was determined to be there on time, we got there almost an hour early, and since there was nothing else to do we sat down to a demo of Canalis. I noticed it was designed by Philip duBarry, who’d also designed Courtier, which was my number one game from last year’s fair, and wondered if I’d been too hasty in passing it off. Barely five minutes into the demo, Nick and I looked at each other in embarrassed surprise—this was one of the best games we’d played all weekend. Canalis combines card-drafting and resource-shipping and road-building (well, canal-building) in a deeply tactical, absolutely cutthroat game of city management, carefully balancing screw-you mechanics with long-term planning and a hint of randomness. It was AMAZING. If not for Legacy, duBarry might very well have designed my favorite game of the fair two fairs in a row. I bought it instantly, and Nick and I played again as soon as we got home.

My pitch session went well—the AEG guys didn’t LOVE my game (or they have very good poker faces), but they liked it, and wanted to take the prototype back to show everyone else. My focus on a heist/robbery theme was, they said, not a perfect fit for Tempest, which is more of an intrigue setting than a criminal one, but they started pitching ideas for how to retheme it before I could even offer any, so I take that as a good sign. We also discussed the possibility of just keeping the modern heist theme, which thrills me, because that’s one of my very favorite genres and it’s grossly under-served in the game market. What we did not discuss, but which would make me APOPLECTICALLY HAPPY, would be a retheme into AEG’s stellar Legend of the Five Rings setting, replacing my factions with samurai clans, and the heists with various forms of battle and court drama. Obviously, at this stage nothing is set in stone and they haven’t bought the design and I have no claims on any of their intellectual properties, so don’t quote me and don’t hold your breath. I will reiterate, though, that the pitch session went well, and I have high hopes that something will eventually come of it.

After the pitch, Canalis in hand, we returned to our hotel and camped out in the game room (a conference room dedicated to open gaming, because the city really rolls out the red carpet for the game fair). We gave a shot to Nick’s one blind impulse purchase, The Fallen City of Karez, which might have the worst rulebook ever written. The game is semi-co-op, which is Nick’s favorite thing, and it has a lot going for it in general, but it left us feeling kind of blah. We hope some further plays will reveal hidden wonders, but as it stood Nick was bummed he’d bought that instead of leaving room in his luggage for Canalis.

Our other play of the evening, bringing us full circle, was Legacy: The Testament of Duke de Crecy. This is a game from Michiel Hendriks, a first-time designer, which he shopped around for three or four years even after winning a game design award for his prototype. Kind of puts a damper on my high hopes for my very first pitch session, doesn’t it? The game is simple and beautiful: you play the head of a family in pre-revolutionary France, arranging marriages and forming alliances and guiding your family through four generations of glory and honor. The gameplay is simple and incredibly intuitive, with the best melding of flavor and mechanics I’ve ever seen in a game. You could literally teach people how to play simply by describing the theme behind it, which is an astonishing feat. There’s even a single player variant (a big plus for me, stranded so far from my game group) where you play the game backwards, piecing together a family tree in a kind of genealogical puzzle. The game is deep, fun, flavorful, and eminently replayable. I can’t recommend it highly enough, and it wins the Dan Wells prize for “Best Game of Essen 2013.”

Will I be back next year? I would love to, but it will be tricky. I’m moving back to the US in August, and probably flying to WorldCon almost immediately after, which dries up the budget for transatlantic flights pretty soundly. That said, it’s my favorite con of the year, and it would take a minimum of convincing to make me throw budget to the wind and fly over for one more go. And if by some miracle I have a card game coming out (wildly unlikely, but you never know) I’ll be there with bells on.

And that’s my Essen report. Just over 3500 words, which would be an awesome word count for NaNoWriMo, but a tad long for a blog post. Even one of my blog posts. I promise I won’t wake you wait three months for the next one.

The Crimson Pact, Volume 5

August 5th, 2013

A few years ago my friend Paul Genesse started working on a fantasy/SF/horror anthology with a cool, shared-world premise: there was a world invaded by demons, and a righteous army that sought to destroy them, except when they finally banished the demons they learned that they’d been tricked: getting banished was the demons’ plan all along, as they were now spread throughout the multiverse, ready to wreak their havoc on a wider scale than ever. The stories in the anthology are all about demons, in any world and setting you can imagine, all linked by this central concept. It was a great idea, and I wanted to contribute, but it was right in the middle of my work on the first PARTIALS book and there was simply no time.

The good news is, the anthology was so popular he did another one. And then another one, and then another one. Now at last he has compiled a fifth and final volume, packed to the brim with demon-y goodness (or, I suppose, badness), and I’m delighted to say that I’m in this one! Hooray! Volume five pulls it all together, tying up some of the serial stories (Larry Correia and Steve Diamond, for example, have been telling a multi-part, intertwined masterpiece over all five volumes), and bookending the origin story with a climactic and terrifying finale. I am honored to have my story, about a twisted source of manipulation and madness, as the first chapter in the book.

The great thing about The Crimson Pact series is that while they’re connected, they stories are designed to stand alone. You don’t have to read them all to appreciate one, and you don’t even have to read them in order. Paul has even gone so far as to reprint the origin story from volume 1 here again in volume 5, so if you want you can just buy the one volume and get the whole story. My story in particular you can read and enjoy without knowing anything about the Crimson Pact at all.

It’s fantastic fiction, some of it dark and scary, some of it action-packed, all of it thrilling. And there’s a LOT of it–the book is huge. At $4.99 for the ebook it’s an absolute steal, and the hefty print book is still a deal at around $19.00.

What are you waiting for? Buy it today, and join the doomed glory of the Crimson Pact.

League of Legends and the world of e-sports.

July 12th, 2013

I’m a big fan of video games, but one game that I’d never been able to get into was League of Legends–not so much that game specifically as the entire genre it belongs to. If you’re not into video games, don’t worry: I’m going to talk about writing, but first I have to set this stage. All you really need to know is that League of Legends is part of the MOBA genre–Multiplayer Online Battle Arena–in which teams of players fight through a Warcraft-style map and try to destroy each others’ base. It’s based on real-time strategy games, like Warcraft and Starcraft, but you only control one unit and you don’t have to build anything–you just fight.

Part of the reason I’d never got into this genre was that it seemed so intense. Some people play games for the challenge, others for the thrill of player-vs-player combat, but I’m a very casual gamer, who plays to relax, and MOBAs don’t really lend themselves to that style. When I’d see people talk about fine-tuning their timing or their team strategy or their clicks per minute I’d lose all interest, not because that’s a bad way to play but because it’s not what I tend to look for in a game. But on the other hand, I live in Germany now, far away from my friends and my old game group, so I’m always looking for ways to play with them online. When I saw that several of them had gotten into League of Legends I groaned and whined and re-installed the game anyway, and forced myself to try to figure it out purely as a way of spending time with my friends.

By coincidence, at this same time I was preparing a pitch for a new series–it remains unsold, so don’t hold your breath–with a main character deeply embedded in Internet culture. It’s a near future crime story, kind of “hacker Buffy in an cyberpunk Justified,” and I’ve been having a blast putting together the world they live in and the way their advanced technology has changed things. I tried to extrapolate how pervasive the Internet will be in the future, how connected we’ll be, how automated our world will become. One of the little details I wrote for the main character was that she paid for her extravagant Internet and energy bill by freelancing as an online privacy consultant, helping people keep their private data private. It’s a neat detail, and it says a lot about the world, but it’s boring. I couldn’t imagine any exciting scenes about consulting; certainly no action-packed ones, and not even any tense or suspenseful ones. Not a great choice for my heroine.

The confluence of these two events–League of Legends and cyberpunk outlining–was that I stumbled onto the world of e-sports, a multi-million dollar industry of professional video gamers. In some parts of the world, e-sports are already more popular than real sports. Fifty years in the future, if our culture becomes as embedded in the Internet as I predict in my book, I figure they’ll be even bigger. So boom: I made my character a professional gamer.

This works so well for the books, I can’t even tell you, but it’s not a side of gaming that I know anything about. E-sports is also, as you can imagine, the polar opposite of my personal gaming philosophy: it’s like the difference between going jogging in the morning and joining a track tournament. And yet for some reason, the idea of writing about super competitive video games totally got me into playing them. Where I used to be annoyed by the specific strategies, now I’m completely fascinated by them; instead of finding the specialized roles restrictive, I find the limitations they put on the game to promote real creativity. E-sport games have positions that the players have to play, just like football or baseball or any other game–but in e-sports they do it with magic spells and giant swords and dragons and monsters. It’s awesome.

I still don’t PLAY the game with a pro-mindset, or anywhere near a pro-level, but I’m having all kinds of fun learning from the inside how e-sports work. And, more importantly, defining the fictional parameters of the game I want to put in my books. The game won’t show up often, but it will be there. If any of you are League of Legends players, look for me online and help me research–my username is, as you might expect, TheDanWells.

I’m doing a Reddit AMA tonight!

July 2nd, 2013

I’m very excited to announce that I’m doing a Reddit AMA tonight at 7pm, CST. Come one and all!

1) What is a Reddit AMA? If you’ve never heard of this before, or you’ve heard but haven’t known what it meant, Reddit is a massive Internet message board, and AMA stands for “Ask Me Anything.” Basically it’s a chance for you and the entire Internet to interview me, live, about whatever fool thing you want to ask me. Books? Sure. Games? Absolutely. My favorite color of psychedelic sheep? Why not?

2) Where is this awesome AMA? Right here.

3) How does one participate in this AMA? The website is free, so if all you want to do is watch and read my answers, follow the link at 7pm CST and watch the shenanigans begin. If you want to ask me questions, all you need is a Reddit account, which is also free, so hooray. This link takes you to the thread where the interview will take place, and people are already posting questions; if you have something to add, just pop it in there and I’ll answer it tonight.

4) Wait, don’t you live in Germany? Yes.

5) So while it’s 7pm CST for the rest of us, it will actually be 2am for you? That is all too true.

6) So you’ll be punch drunk and hallucinating from sleep deprivation all through the interview? Quite possibly.

7) Sweet. I’m definitely watching this. Sweet.

Many thanks to Steve Drew for setting this up, and Mark Aaron Smith for putting me in touch with Steve via this incriminating photo. I will see you tonight!

Some Dan Wells Short Fiction

June 22nd, 2013

Two years ago I started a specific effort to try to teach myself how to do short fiction, since it’s not a skill I’d really worked on before. I had some expert help from friends like Mary Robinette Kowal, and a lot of false starts that never went anywhere, but I do think I’m getting better–at the very least, I was able to sell some stories, so at least somebody thinks I’m getting better. Here are two that I’m particularly excited about, with more to come in the future:

The Butcher of Khardov
I’m a big fan of games, and a year or two ago I threw myself headlong into building and painting (and occasionally playing) the Privateer Press game Warmachine, a steampunk-y miniature wargame with great models and a fantastic backstory. There are several armies in the game to choose from, each with a host of cool, flavorful characters, and I was instantly drawn to the Russian-inspired kingdom of Khador, and particularly to the crazed warrior Orsus Zoktavir, a semi-psychotic super-warrior haunted by some horrible event in his past. About a year ago Privateer started a new fiction initiative, hiring awesome genre authors like Larry Correia and Dave Gross to write stories about their game characters, and you can imagine my delight when they contacted me about filling in some of the tragic backstory of Orsus Zoktavir. How did this expert warrior become a crazed berserker? What led him to the massacre that earned him the nickname The Butcher of Khardov? And down at the root of it all, why did he name is axe Lola? I had a devilishly good time reaching deep into this guy’s past to dredge up old horrors, invent some new ones, and present it all through the eyes of a mind fractured by loss and hatred and guilt. It’s a dark story, and a sad story, but also a high-octane butt-kicking story, all rolled up into one: magic and monsters and giant robots and paranoid hallucinations and all the things I love to write about. Orsus is a great character, and I had a great time writing about him. You can find my novella here and/or here. It’s worth noting that Howard Tayler has a Privateer novella as well, coming out sometime in the next few months; I’ve read it, and it’s awesome.

A Knight in the Silk Purse
My editor for the Privateer project was Scott Taylor, and after working with me on that story he offered me another opportunity I couldn’t refuse: a spot in a shared-world anthology set in a cool fantasy world first explored in the Kickstarter-ed Tales of the Emerald Serpent. What attracted me to this idea was, again, a fantastic character: Kalomir is a sort of reverse Elric, an evil necromancer kept alive by a sentient and benevolent sword that forces him to wander the world doing good. I can’t give you much info on this story yet, because we’re still putting it together, but the shared-world nature of the storytelling has been a fantastic experience so far, in particular the chance to work with people like Juliet McKenna–the two of us are intertwining our stories a bit, which is a new thing for me, but very fun to play around with. The Knight in the Silk Purse anthology is still being Kickstarter-ed, so if you want to read the stories–and I assure you that you do–drop a few bucks on it.

The BookSmash Challenge

June 18th, 2013

So HarperCollins is doing a cool thing, and I wanted to let you all know about it. The idea is that ebooks could be so much more than they are, but so far nobody’s really figured out what that’s supposed to be. Right now we’re basically treating ebooks as print books, and the experience of reading them is more or less the same, give or take a few trade-offs. Aside from a couple of minor things, though, like changing front sizes and such, no one’s really leveraged the idea that this is a new technology with a lot of new possibilities. Maybe you like ebooks as they are–a lot of people do. But maybe you have an idea so brilliant, and an implementation so amazing, that we’ll wonder how we ever lived without it.

Which brings us to the cool thing. The publishing industry doesn’t really know what to do with ebooks, but maybe you do. Maybe you have some brilliant idea about what an ebook could be, or should be, and you’ve just never had a book to play with to put your idea together. Well, now you can use mine, and if you use it well you can win a bunch of money. HarperCollins has created the BookSmash Challenge as a contest to see what people can do with ebooks, and they’ve released the full digitial assets of some of their books, including my PARTIALS, for you to do whatever you want with.

There’s a whole press release, which I won’t bore you with, but there’s the salient part:

Submissions will be accepted between June 6, 2013, and September 5, 2013, via They can be developed as an app, enhanced book, or other digital reading experience, and should be available to readers on iOS and Android platforms, as well as across the web. Judging of the digital products will be based on originality of idea, implementation of idea, and potential impact.
From the eligible submissions, there will be four prizes awarded: Grand Prize, Runner-Up, Popular Choice, and the HarperCollins Recognition Award. A group of judges, including entrepreneur and author of Curation Nation Steve Rosenbaum, entertainment industry veteran Paul Vidich, co-founder of N3TWORK and former Apple Executive Erik Lammerding, and CEO of LiveDeal, Inc., Mike Edelhart, will review the entries and select the Grand Prize and Runner-Up winners. Additionally, the projects will be posted to the ChallengePost online gallery this Fall, where members of the public will be able to vote for their favorite submission for the Popular Choice category. Lastly, the HarperCollins Recognition Award, a non-cash prize, will be awarded to a participating large organization. A total of $25,000 in cash prizes will be awarded to the creators of the winning projects.

Sound like fun? Go for it. I’d love to see what you can do with PARTIALS, so let your imagination run loose. An app? An enhanced ebook? Something we haven’t even considered yet? Time to make the future.