Writing dense descriptions and generative rhetoric.

Aside from “What’s best in life?” there are two sentences from the Conan stories that are more or less widely known, even outside REH fans. The most likely winner would be

“Barbarism is the natural state of mankind,” the borderer said, still staring somberly at the Cimmerian. “Civilization is unnatural. It is a whim of circumstance.”

But I’d say the second is this from the introduction in The Phoenix on the Sword:

“Hither came Conan, The Cimmerian, black-haired, sullen-eyes, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and gigantic mirth, to tread the jeweled thrones of the Earth under his sandaled feet.”

That is just a sentence, but it’s hard to imagine a more apt and densely-packed description of Conan. It is also widely different from the usual way of writing descriptions (or writing, in general.)

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Asimov’s Adventure editorials III: on mythology, sword & sorcery, and economists.

This is the third editorial [first and second] of Asimov’s Science Fiction Adventure Magazine, a short-lived magazine with only four issues (from late 1978 to late 1979,) where the famous writer explained his understanding of adventure, science fiction, fantasy, and their place in the current scientific era.

His thesis is that there is an important abyss between the pre and post scientific understanding of the world, especially concerning the problem of how to manipulate the universe or to make it work for us. He isn’t wrong, though, but I’d really like to know what was his opinion about writers like Jack Vance, who were aware of that pre and post scientific chasm but consciously played around it to undermine it and mix the different worldviews. Unfortunately, I have never come across any suggestion that Asimov knew or cared about Vance.

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You are (probably) doing it wrong: Hit points, literature, and D&D.

This will the first post in a series where I will address a gaming topic that has intrigued me for a long time, the suspicion that one of the games many people love (Dungeons & Dragons) has been seriously misinterpreted even by some of its most ardent followers. In other words, that you have been playing or -at the very least- interpreting it wrong. If nothing else, that at least there is another, and better, way to play it. As the title says, it’s a probability, not a necessity.

Some of you reading this may be grognards with a lot of practical experience with this stuff, and because I know some of you are also very interested in the literary side of D&D (and, as you will see, this is as much about books as about games,) your opinion and criticism would be greatly appreciated. You may consider many of this stuff “obvious,” but from what I have seen and read, I suspect it’s not for the majority of people.

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The pitfalls of worldbuilding.

You are hungry, but there is a bakery near your place, so you go up and leave your home [you are a ratman, and you live in the sewers], following that delicious smell.

“Hello, Mr. Ratman,” says the fine lady behind the counter. “May I help you?”

You can choose one of these answers:

a) Just ask for a classic butter croissant.

b) Ask for the same croissant, and explain to her why you like them so much, perhaps illustrating the point with a humorous or beautiful short story about your croissant-filled past. It’s a small town (but with big sewers!), though, so people don’t mind a bit of small talk.

c) Ask for the croissant, and then go rambling for half an hour about its origins during the Siege of Vienna, and about all the European kings who have ever suffered from lactose intolerance.

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Cirsova #1 review

First of all, thanks to Cirsova for a free review copy of its first issue.

 

Amazon Link

 

 


The pulps are fantasy’s father, or at least a similarly important family member. Unfortunately, for most people there is a huge cultural gap between the origins of that genre and what they actually consume now. As Jeffro Johnson wrote in his blog:

[…]the general view of science fiction history is that it just somehow jumps from Jules Verne and H. G. Wells straight on to Clarke, Asimov, and Heinlein.

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