Month: April 2010

“Sunbeams dance”

Sunbeams dance on my window’s glass pane;
Blue skies smile down upon the earth’s lush green;
Flowers bloom, and winter’s chill has vanished
With spring’s coming—but none of that matters,
Only that yet another day has passed
Since last I saw my beloved’s countenance,
And, most importantly, Christ is risen.
Though my heart longs to weep bitter tears, therefore
I will yet rejoice: he has risen indeed.

This is only the second truly recent poem I’ve posted here; I wrote it a couple of weeks ago.

I always welcome your comments, questions, or other feedback about this or any other part of my work. If you’d like to read more of my poetry, you can browse my archive. You may also share this poem with others, subject to my sharing policy.

Contest Update: April Retrospective

I wrote a while back about how one of my entries in WEbook’s PageToFame contest had been rejected. That post turned into a lengthy criticism of the methodology of this stage of the contest, and it’s been a couple of weeks, so today I’ll explain where I stand currently. (I’ll tag those who gave me advice earlier in the Facebook version of this post, so they know how their recommendations fared.)

I originally entered three novel first [half-pages]((https://shinecycle.wordpress.com/2010/04/01/half-page-to-fame/) in the contest: The Invasion, Sunshine Civil War, and An Internal Conflict: The Second Time Around. Of these, only Sunshine Civil War remains “in play”; Internal Conflict was removed by WEbook after 73 people had rated it and only 17% voted to promote it, while The Invasion was removed after 105 people had rated it and only 20% had voted to promote it.

When WEbook offered a free entry in either half of the contest to anyone who entered two pieces in either half of the contest, I entered two poems (“If you’re not she” and “A Love Unknown”, the two recommended by one of my trusted critics), then used the promotional code to enter “A Murder, A Mystery, and A Marriage”. So far, as of Wednesday, Sunshine Civil War has been rated 108 times, with 36% voting to promote it, while “A Murder, A Mystery, And A Marriage” has been rated 21 times, with 38% voting to promote it. From the FAQ I understand that a work has to be rated at least 100 times and meet their dynamically-calculated “rating threshold”; Sunshine Civil War meets the first requirement and has around twice as much appeal so far, so I have some hope it will be selected. Rating of poetry hasn’t started yet.

On the other hand, I still think that An Internal Conflict would have the most potential if it had gotten past this stage, and I think the reason it was so disliked was the nature of the prologue, which consists almost entirely of Persephone’s recollections. If some benevolent soul would be willing to help me turn the beginning of the first chapter into a polished, presentable “first page,” I would be very grateful.

On the poetry front:

As I am a notoriously bad critic of my own work, I’ve been seeking your advice as to what poetry to enter in the “shorts” half of the contest. As mentioned above, I did enter two poems, but I’m still having trouble narrowing my choices down. I’ll list the poems that remain on my short list below; please help me decide what to submit by telling me which of these (or my other poetry, or for that matter any of my essays) you think I should submit, and which I should cut, and any ideas you have on how to make them better.

The remaining poems:

Comments? Please review!

Strategic Primer: History: The middle period

On Wednesdays I write about my strategy game, Strategic Primer. The current campaign is still looking for players; will you join?

I’ve written at some length about how different the first campaign of Strategic Primer (circa 2001) was from the present game, including the technology I used to help me run the game and what kinds of advances players could discover.

I tried to run a second campaign the year after that, but it never got off the ground. By the end of my senior year I had gotten enough interested players that I got and ran a few first-turn strategies, but it went no further. (This is why I call the current campaign “the second campaign.”) I think there were several reasons for this, but one major reason was that the rules, and even the very nature of the game, were in a great deal of flux. For instance, I was playing Dungeons and Dragons for the first time in that period, and decided that units should be D&D characters. And I read an analysis (in Game Design: Theory and Practice) of Myth: The Fallen Lords, which made me decide to remove unit construction from the game, except for the rule that the player got a free prototype of every new unit he invented, but I still allowed the players to build unit and fortress improvements. On the other hand, even with all the changes I was considering, Strategic Primer was still basically just another strategy game; players had to give orders to each unit individually, and nearly all kinds of units were nearly identical, distinguished only each kind’s constant statistics, my idea of all units being D&D characters notwithstanding.

Even though my two attempts to start a campaign in high school failed, several important innovations began in this period. First, the idea of units being characters with their own individual strengths, weaknesses, personalities, and motivations, originally borrowed from role-playing games. Second, the ability to change a unit’s equipment, prompted by the planned removal of the ability to build new units at all. Third, the growing complexity of fortresses, from just a label marking a tile as giving units on it a defensive bonus and allowing the player to produce units there, to a collection of resource-gathering apparatus and defenses, to a structure that has to be designed. And fourth, the gradual improvement in the coherence of advances.

Shine Cycle Background: A Chorus of Bards

A while back I wrote about what I call “applied metaphysics”, the main “fantasy” element in the world of the Shine Cycle. But there is one form of applied metaphysics in that world that doesn’t quite fit in that framework. Just as art, and artists, and particularly the best art and artists, don’t quite fit into our world, so too here.

In the world of the Shine Cycle, some people have the ability to affect more than just the hearts of their viewers or listeners through their artistic abilities. Music is the most common—to such an extent that such musicians, called “bards,” are accredited and usually taught entirely separately from other mages—but oratory, dance, acting, and visual arts all have a few mages who can work through them. This form of applied metaphysics is not necessarily subject to all the ordinary restrictions that most mages discover. Continue reading “Shine Cycle Background: A Chorus of Bards”

A Backwater Rebellion: Part Fourteen

On Saturdays I post my prose, including fiction and essays. For the past several weeks I’ve been serializing my story “A Backwater Rebellion”; this is its last segment. If you haven’t already, please start at the beginning or read Part Thirteen.

There! Rhinseth said. She placed the final stroke in the working, and the wheel in Portia’s mind stopped turning. An almost physical force snapped past her into the dragon, and it stumbled, if that were possible in the air, and plummeted a few yards before it regained clumsy flight. It tried to breathe at her again, but only flickers came out. The dragon turned back the way it came and awkwardly, almost painfully, limped back toward the far horizon.

Portia let herself relax in the saddle, and Rhinseth dove for the ground almost lazily.

 

An explosion rocked the ground, and something threw the enemy soldiers down. The bugler began ‘Taps,’ and when they could regain their footing the enemy soldiers began hoisting their helmets on sword-hilts in token of surrender.

Out of the bright sky, on her companion’s back, came Portia, and the city’s armies cheered at her triumph.

 

“This won’t last, you know,” Portia said to Thomas. “He’ll be back. In another form, probably, since I showed I could beat him here, but he’ll be back.”

“What are you going to do?” Aaron asked.

“I’ve already asked for Imperial troops, and I’ll get them,” she replied. “This universe has lain under subjugation for too long. We will—or rather you will, with our help—reduce Evil’s stranglehold here and restore order.”

“Or die in the attempt?” Thomas said, voicing what he must have thought she meant.

“It’s been tried. His Majesty has been doing this for centuries, and he hasn’t lost yet, even though his odds in the first war were considered nearly impossible,” Aaron put in.

“When do we march?” Thomas said eagerly, leaning across the table.

THE END

“On the Beloved’s Absence”

And what a boon it’d be to see again
Her face, in shades of laughter sweet, or in
Deep contemplation of our mutual task,
Her bangs, neglected, hanging o’er her brow,
Itself knit up, if prettily, in thought.
And when her eyes are in a downcast glance
And of herself in deprecating tones
(Too near unto despair) she speaks, why, then
It wounds the heart to see her face in gloom
And stirs desire to take up action swift
To lift her spirit and encourage her,
The doubting paragon of intellect.

I’m not sure when I wrote this poem; possibly it was my junior year of college, but probably quite a bit earlier. The second half or so of the poem was almost certainly written under strong influence of the end of the story “Fairy Gifts”, which I read in Andrew Lang’s [Green Fairy Book]https://www.goodreads.com/book/show/774571.The_Green_Fairy_Book). I always welcome your comments, questions, or other feedback about this or any other part of my work. If you’d like to read more of my poetry, you can browse my archive. You may also share this poem with others, subject to my sharing policy.

Strategic Primer: New directions

On Wednesdays I write about my strategy game, Strategic Primer.

Last week I wrote about my intention to start over the computer version of Strategic Primer. This week I’d like to talk at somewhat greater length about where I intend to take this new revision, including its impacts on the campaign version. (Which still needs more players: if you’re interested in joining the current campaign, please contact me; this would involve a time commitment of probably no more than a few hours a month, and we work around the players’ schedules.) I’ve laid my plans out more specifically on the project’s feature list, but the following is somewhat more general.

One major problem of the previous version was that everything was very tightly bound together, which made it very difficult to start working on anything I hadn’t touched in a while. To avoid causing the same problem in the new version, I’m making two user interface “drivers” from the very start, and I’m trying to ensure that everything except the actual UI code is thoroughly tested.

In the previous version, each “tile” represented a square a half-mile across. The problem that was the final straw prompting me to start over was how to allow multiple “modules” (units, fortresses, buildings, or landscape features) on a tile and still have meaningful and useful interaction and pathfinding. In the new version, each “tile” will represent an area about ten feet by ten feet, and until I start adding support for submarines, aircraft, and the like no two modules can share a tile. I intend to convert the campaign map to the same tile size, but have not yet thought of a suitable algorithm to do the conversion for me. (I wrote at length about this problem several weeks ago.)

To help with that adjustment, I am making some significant changes to the terrain model. Previously, a tile was defined by its location and its “terrain type,” which was either ocean, plains, mountain, swamp, jungle, temperate forest, boreal forest, tundra, or desert. In the new version, each (much smaller) tile will be defined by its position and its terrain type, now from the somewhat smaller list of water, desert, swamp, plains, and ice (though that list is still open to revision), but also by its elevation and, eventually, the height of its water table. Forests will be plains tiles with trees, which will be landscape features.

In the previous version, including the campaign at present, a tile can have any number of “landscape features”–the one example I created in the code was a crater–but exactly one “event.” Events were what I came up with when a player sent a worker out exploring with specific things to look for; I made a list of 24 possible events (with enough of them, especially “nothing of interest here,” duplicated multiple times in the file to make it 256 possibilities) and assigned one to each tile. But that has proved not nearly detailed or flexible enough. Therefore, in the new version (and eventually in the campaign) each (smaller) tile can (but doesn’t have to) have any number of possible “encounters,” which are things that someone going through or nearby might see, run into, or otherwise “encounter.” And I hope to make this list much better informed by what the players want their explorers to be looking for.

So that’s some of the new things that I intend to implement. Comments?

Character Profile: Matilda

On Mondays I generally post background material for the Shine Cycle, largely character profiles, like this one. The previous profile was of Fidelia.

Matilda – Princess at large, bard, Visiting Scholar, and the highest rank in the Imperial Service. While she most likely has some talent for the Power beyond the bardic medium, she has not explored this possibility, choosing instead to focus on her bardic and academic studies. After being made a bardic Master she began an unofficial apprenticeship with the King’s Harpist, even though her primary talent is in voice. Continue reading “Character Profile: Matilda”

A Backwater Rebellion: Part Thirteen

On Saturdays I post my prose, whether essays or fiction, including at present, in small pieces, a rather short story I wrote several years ago. If you haven’t already, please start at the beginning or read Part Twelve, or this isn’t likely to make much sense. This is my second experiment in serialization; the story I serialized here before this one was already divided into chapters, while here I’m breaking wherever it seems sensible to do so. This story will conclude in the next part.

At last there was an end. The horizon was clear. By some miracle the knights, down at most ten, and the cavalry, with twice that number fallen, had broken through the entire enemy army and were clearing the field of the enemy archers. When they were dealt with, Aaron ordered the pikes out again. He saw no enemy officers on the field, but the enemy foot soldiers still fought on.

At a lull in the noise in the battle, he looked up. The dragon and his mistress were too high to see, but the sky was a mess of dark and light.

A trumpet rang out on the field below. It took Aaron a moment to realize what the call was, and then he saw it. The line of infantry broke. “Sound ‘retreat,'” he ordered, and the soldiers ran for the horses and galloped back into the city. The pikes followed, again in order, and took up a position in the recess before the gate. The enemy army boiled up against the walls, leaning ladders that seemed to appear from nowhere up against the vertical faces. The sheer weight of bodies kept the infantrymen on the walls from pushing the ladders back, and their foes crawled up the ladders.

The battle was moving much too quickly; this hadn’t been in any of his classes on tactics! Aaron’s emotions ripped out of his control for a moment, and then he fought them down and buckled them under his reason. The enemies on the ladders reached the top, took strokes from Aaron’s men, and fell backward, but there were too many. His men began to be pushed back, and soon they were on the defensive.

A bright light surged from the sky.

To be concluded …

“Temperament”

Oh, what is beauty? In the silver sound
A shining weave emerges; breaking surf
Against the beachheads of the coast of Life.
“Love levels ranks,” but what will level love?

O, pour me out as a drink offering
To the divine Redeemer of our souls;
Let my spirit be cast as in copper
In the mold of what I ought to become:
For I have plunged deep in wells of love,
I have leapt from the lofty cliffs to learn
To fly in greatest heights of metaphor.
O, that He would rend the heavens and come down,
For human love’s intensity brings out
The worst in men, to mete against the best.

As once Orlando did, in Arden’s wood,
Upon each green and leafy spreading tree
So set his Rosalind’s beloved fame
In letters bold and less-than-perfect rhymes,
So too my instinct is to shout aloud
My dear beloved’s praise and name to all,
Allowing itself only tempered when
Reminded that she knows not of my love.

I think I wrote this poem during my sophomore year of college, mostly because of the allusion to As You Like It. I seem to recall having this title suggested by an early reader, but I don’t remember who.

I always welcome your comments, questions, or other feedback about this or any other part of my work. If you’d like to read more of my poetry, you can browse my archive. You may also share this poem with others, subject to my sharing policy.