Writing Advice: Premise (The Anatomy of Story, Chapter 2)

There are many ways to start the writing process. Some writers prefer to do it by breaking the story in its seven primary steps–to be explored in Chapter 3. Most begin with the shortest expression of the story as a whole, the premise line.

The premise is your story stated in one sentence. As soon as you decide to pursue one idea and codify it within your premise, you’re locked into it — so you better be happy and certain with your choice.

What you choose to write about is far more important than any decision you make about how to write it.

Premise is the one decision on which every other decision you make during the writing process is based. If your premise is weak, there is nothing you can do to save the story.

Premise is a classical example of the dangers of a little knowledge, its inherent structural weakness is found in the fact that it offers you only two-three scene; the scenes just before and after the twist that makes your premise unique. A novel’s premise may have double-triple the number of scenes that the premise of a movie.

You have to remain flexible and open to all possibilities. This is where using an organic, creative method as guide is most important.

Developing your premise

Step 1: Write Something that may Change Your Life

If a story is that important to you, it may be that important to a lot of people in your audience. When you’re done, no matter what else, you’ve changed your life.

To follow this particular step, you need to know yourself. For that, you need to explore yourself. Get some data on who you are, via these two exercises:

  • First, write down a wishlist of all the things you’d like to see in a book. That’s what you’re passionately interested in, and what entertains you. You might jut down imagined characters, cool plot twists, great lines of dialogue, themes you want to explore or care about. Write it all down without worry for organization or any considerations.
  • The second exercise is to write a premise list. Write as many premises as you want, as long as they’re one sentence each. This’ll force you to be clear about each idea. It also allows you to see all your premises together, in one place.

After that, a look at the key patterns will start to emerge about what you love. It’s your vision in its rawest form. The exercises are designed to open you up and to ingetrate what is deep within you already.

Step 2: Look for what is possible

Explore your options. The Intent here is to brainstorm the many different paths the idea can take and then to choose the best one. Ask yourself “What if…?” so as to define what’s allowed in the story world, and what isn’t. Let your mind go free, and don’t censor or judge yourself. No idea is “stupid,” those often lead to creative breakthrough.

Step 3: Identify the Story Challenges and Problems

There’ll be particular problems embedded in the story idea, and you can’t escape them. You want to confront these, and solve them if you wish to execute your story well. Most writers identify the inherent problems of their stories too late (if at all). The trick is learning to spot the big ones right at the premise line. Of course, you won’t be able to diagnose every problem this soon in the process.

Step 4: Find the Designing Principle:

Problems and promises known, you now have to come up with an overall strategy for how you will tell your story. The overall story strategy, stated in one line, is the designing principle of your story.

The designing principle helps you extend the premise into a deep structure.

The designing principle is what organizes the story as a whole.

It is the internal logic of the story, what makes the parts hang together organically so that the story becomes greater than the sum of its parts. It is what makes the story original. It’s the seed of the story, in short. It tracks the fundamental process that will unfold over the course of the story.

Most stories don’t have a designing principle; it’s already abstract, the deeper process going on in the story, told in an original way.

Designing principle= Story process + original execution

It’s the “synthesizing idea,” the “shaping cause” of the story.

Be diligent in discovering this principle, and enver take your eye off it during the long writing process. Don’t do as most writers do, by picking a genre and imposing it on the premise, forcing the story to go through events associated with the genre in question; draw the designing principle out of the one-line premise.

Step 5: Determine your Best Character in the Idea.

Always tell a story about your best character.

The best character is the most fascinating and challenging character, always.

Step 6: Get a sense of the Central Conflict

Ask yourself: “Who fights whom over what?” and answer the question over one succinct line. All conflict will boil down to this one issues, codified in your answer.

Step 7: Get a sense of the single Cause-and-effect Pathway

A good organic story has a single cause-and-effect pathway; this is the spine of the story and without it, the story will fall apart.

The trick to discovering this it ask yourself: “What’s my character’s basic action?” One action that your hero takes is more important than any other, and unifies every other action the hero takes, and that’s the cause-and-effect path.

Step 8: Determine your Hero’s Possible Character Change

That’s the second most important thing to gleam from your premise line: the fundamental character change of your hero. Character change is what your hero experiences by going through his struggle.

WxA=C ( Weaknesses x Action = Change )

The basic action should be the one action best able to force the character to deal with his weakness and change.

That’s the basic sequence of the human growth – what you, the writer, must express above everything else.

Write down a number of possible options for the hero’s weaknesses and change.

Remember that premise work is extremely tentative, especially concerning character change.

Step 9: Figure out the Hero’s possible Moral choice

The main theme of a story is often crystalized by a moral choice the hero must make, typically near the end of the story. Theme is your view of the proper way to act in the world. It is your moral vision, and it is one of the main reasons you are writing  your story.

Theme is best expressed through the structure of the story, the moral argument where you make a case for how to live, not through philosophical argument but through the actions of characters going after a goal.

To have a true choice, your hero must either select one of two positive outcomes or, on some rare occasions, avoid one of two negative outcomes.

Step 10: Gauge the Audience Appeal

Be ruthless in answering this question of commercial appeal. Don’t fall into the either-or trap of believing that you can either write about what matters to you or what sells. Always try to write something you care about, and also think will appeal to an audience.

Coming Next: Chapter 3 – The seven Key Steps of Story Structure

Magnus Commentary: Well, wasn’t that one hell of an interesting read? While I am far from subscribing to John Truby’s idea that his is the best way of going about writing, this is certainly a fascinating look at a methodology that I’m more than willing to try.

There is also a lengthy writing exercise which calls upon us, the readers of said novel, to attempt to follow these ten steps. It’s in the book, and you should check it out; I’m currently attempting it with an idea for a novel that’s been stuck in my head for some time now, and I’ll be happy to report my progress to anyone who’s interested. Comment below!

PS I decided to go without my own thoughts on the premise, as I’m still playing around with the methodology.

Adventurer’s Mishaps: No One Appreciates a Bard!

Welcome to Adventurer’s Mishaps, a new short fiction series on my blog, inspired by my love for role-playing games akin to Dungeons and Dragons (D&D).  Today’s entry is all about the hard life of a bard, as you might’ve gathered. Let’s get started!

“No one appreciates a bard! Here I’m at, a week after I trapped–single-handedly, I may add–Single-Handedly, I tell you– that black monstrosity that’s been terrorizing your piss-poor countryside, and not a dime off tonight’s meal, and a tenth of the official prize for the dragon paid besides! All evening I get ‘Thank you for this , Master Musician,’ ‘Thank you for that, My Lord Minstrel,’ but is there a single coin in my hat, is there a–BARMAID!” Luzwig waved the half-filled tankard, spraying drops of ale across the faces and beards of the villagers that had gathered around from the entire village, expecting to meet their savior.

Any man would’ve noted the storm brewing amongst that crowd; any man save for one as intoxicated as Luzwig. The people of Isthvaan, normally as meek as sheep, had been marinating in the newly-arrived bard’s tirade against King and country for a little over two bells’ time. Where warm smiles and kind words of gratitude had welcomed the bard earlier, only vicious glares and deep frowns were left.

The little gnome’s stay in the tavern had started well enough, with a few merry songs and an ancient epic retold with such mastery as to leave even those men most devoid of imagination speechless. Then, the tiny guest of the ‘Old Lady’ had requested–nay, demanded–a drink. Then, he had called for a second. And then for another one, and one more besides. That had been an hour past.

“Where’s that damn gir–what was I on about? Right, right, the small-minded pettiness of small-town folk. You won’t find smallness so…so…” the bard seemed to fall into a reverie of which only the harsh screeching of a nearby chair could pull him out. “…Tiny,” Luzwig finished. Some semblance of clarity returned to his eyes. The tiny orbs of violet focused on the face of a youth, strangely familiar to him, and sharpened. “Have you a clue of the intricacies of weaving spells into song? The years of study that went into mastering the lyre and the flute, the horn and the harpsichord. Touching the hearts and minds of your listeners, like plucking the strings of a harp, is no easy matter. Here, I’ll show you.” The gnome took to unpacking one of his instruments with care that didn’t reflect his intoxication.

In the silence, murmur broke out like the aftershocks to an eruption. “We gon’let him play us for fools now?”

“Mean-spirited drunk, that one! Throw ‘im out!”

“Not a coin to his name, and yet this one expect us to believe he’s who he says he is? I say cut off his tongue, see him spew that filth without it…”

“No knee-licker is going to disrespect My King in the ‘Lady’, while I’m standing in it! Grab the Trickster, and let the river spirits do away with him!”

The first string notes silenced the growing voices of discontent as if they’d never been there. Music filled the overcrowded common room, found its way through skin and flesh and bone, and, like draconic claws, sank into the villagers’ hearts.  Discontent, pain and hurt flooded the men’s hearts. Anger soon followed, but not towards the bard.

The gnome did not see who threw in the first fist and soon enough, it hardly mattered. One moment, nothing but the music and the baited breaths of the villagers broke the silence; the next, the soft stringing of melody was drowned out in the melee that erupted through the ranks of men.

***

Luzwig closed the door to the small village inn behind him, and hummed a small spell, locking it tight. Then he whistled, a sharp, clear sound that reinforced the doors and windows and walls of the establishment.

“A pity, that,” Luzwig said, before disappearing.

Several hundred feet from the village, a human woman, clad in a black mantle, awaited in the darkness. Her stance exuded of deadly calm, like a serpent awaiting the opportunity to strike.

Before the gnome had removed the invisibility spell off himself, the woman said, “All went well, I take it.”

He almost tripped in surprise.”H-how did you know?”

“How does anyone?” She didn’t await Luzwig’s response, throwing a purse of coins that the gnome hastily caught.

He weighed the pouch thoughtfully, then asked. “Liadrin…what was that whole thing for? If whoever you’re working for now wanted a couple of villagers dead, surely there would’ve been less expensive ways to go about it. More direct. Less a pain in the ass.”

Liadrin’s lips twitched into a humorless smile. “Sometimes, a cut is all the more painful when it comes not from outside, but from the inside, where you would least expect it. My employer will be pleased by a job well done.” The woman turned her back to Luzwig, saying “I’ll be sure to recommend that he use your services again, should he require…a softer touch.”

Before the gnome could respond, Liadrin took a few steps away, and vanished from sight. Luzwig glanced around, frowning, then took one last look at the small village of Isthvaan, a place whose importance he couldn’t have understood if his life depended on it.

“A pity, that,” he repeated in a low mumble, as he began to walk to Keirn. “If only that old miser, Lekaved, had seen fit to pay me more. I bet I’d be somewhere far away, with loads of booze and far away from that bloodthirsty bitch.”

He could’ve sworn, then, that he heard laughter.

 

Thank you for reading! Join me next week for more Mishaps! This series will run through the whole gamut of classes of D&D–I Hope– and while each adventure will be its own story, there’ll also be an overarching storyline running through and connecting each character!

Saturday Night Gaming: A Review of Wolfenstein: The New Order!

I made a little here review of 2014’s Wolfenstein: The New Order. You can click here to go straight to YouTube, or check it out below.

I had a lot of fun writing the script, editing the footage and audio; I even used Adobe After Effects for the first time, to make the fun tiny intro at the very beginning. Some of the humor’s a bit off, but I’ll keep working on my timing and on the whole process!

 

Book Recommendation: The Walls of Air

0bc8729fd7a0780c456fc010-l

Ah, recommending the second book of a trilogy, that’s a new one for this blog!

The Walls of Air is the second novel in Barbara Hambly’s Darwath trilogy. The second book of a trilogy is always a bit tricky; you have to find a balance between answering some of the questions that the first novel set up while setting up the final stage of the final book.

Barbara Hambly manages to do just that in an admirable way. Our main characters — Ingold, Rudy and Gil — all face considerable challenges and each of them grow and change; some in ways that you’d expect, while others might surprise you. What Ingold goes through at the end of the novel, in particular, changes him into a much darker, more cruel version of himself; a version that was only hinted at, previously.

I won’t go into detail, but it’s an understandable transformation which feels very much ‘earned,’ if you will.  Appropriate. So it is with Gil and Rudy, whose transformations are more gradual and less…contested.

The Walls of Air features two storylines:

The first storyline deals with Rudy and Ingold’s journey to Quo, the Magical Capital/College of the world. I didn’t quite fancy Rudy as much as Ingold or Gil in the first book, but this storyline had me rooting for him time and time again. Our San Fran wizard’s apprentice is quite a charmer, that’s for sure.

Gil has some problems of her own in the Keep, overshadowed only by her proclivity to scholarly work, and her ability to see patterns early enough to make her brilliant but late enough not to resolve the tension over Rudy and Ingold’s quest.

Hambly’s prose is once again splendid. I read it with such ease that it’s a challenge not to lose myself and any notion of time when I’m within the confines of Darwath’s fantastic world.

I could say so much more about it…but I’m afraid to spoil a great experience for you. I’d really rather not do that, so you go ahead and read it!

Writing Advice: The Anatomy of Story, Chapter 1

I’ve been thinking about today’s blog post–quite a bit, in fact. I decided that instead of offering you some of my own hard-earned wisdom(insane laughter), I would take you on my exploration of John Truby’s well-regarded, well-known book, “The Anatomy of Story.” 

The plan is simple: Make a post about each chapter (sometimes the posts about a chapter might be more than one, depending on how complex the chapter is).  Within these posts I will attempt to extract the most important advice, guidelines, techniques and so on by retelling and rephrasing the most important parts, those that jump at me from the pages of this book; I will occasionally offer my own commentary and views, no doubt a great deal less worthwhile than Mr. Truby’s, but none the less, mine. It is *my* name on the blog, after all…ain’t that right, lads’n’lasses?

I hope that this little adventure will be useful and worthwhile not only to me, but to you as well, dear reader. So let’s begin!

CHAPTER 1: Story Space, Story Time

It’s no easy feat, creating a great story. Showing the how and why of human life — perhaps the end goal of storytelling, all things considered — is a monumental job.

There are numerous obstacles in your way.  Take common terminology: what help are terms like “rising action,” “climax,” “progressive complication” and so on, when we get down to the nitty-gritty of practice? Those terms, so theoretically burdened and broad, are meaningless and lack practical value for storytellers.

Just so with the ‘three-act theory,’ which, while a lot easier to use in practice, is a mechanical view on story, hopelessly simplistic and almost inevitably leading to episodic storytelling.

Great stories are organic – living, breathing organisms that develop, in a way eerily similar to the human body.

We could define a story as: “A speaker tells a listener what someone did to get what he wanted, and why.

Three distinct elements can be observed: the story itself, the speaker (or storyteller), and the the listener, or audience.

Good storytelling lets the audience relive events in the present so they can understand the forces, choices and emotions that led the character to do what they did. Stories are really giving the audience emotional knowledge–what we can easily dub as wisdom–in a playful and endearing way. (Magnus’ commentary: I thought that was a really nice view and explanation on stories.)

The storyteller constructs a sort of puzzle, to be figured out by the listeners. Two major elements go into the construction of this puzzle:

  1. The author presents the audience with information about a made-up character; and
  2. He then withholds the certain information–which is crucial to the storyteller’s make-believe, by forcing the audience to figure out who the character is, what his motivations are. That’s what draws the audience to the story; without it, we no longer have an audience, and the story stops.

THE STORY

All forms are a form of communication that expresses the dramatic code.

But what is the dramatic code? It is, in simple terms, an artistic description of how a person can grow and evolve. Let’s explore this concept further:

  • Change is fueled by desire. (“I want, therefore I am.”)
  • A story tracks what a person wants, what he’ll do to get it, and what costs he’ll have to pay along the way.
  • Characters who go after their desires are forced to struggle; it is that struggle that effects change upon a character.

The ultimate goal of the dramatic code is to present a change in a character, or to illustrate why change didn’t occur. The different forms of storytelling frame human change in differing ways, of course.

The dramatic code expresses the idea that human beings can become a better version of themselves, psychologically or morally. The story body is made of many parts: characters, plot, revelations, the story world, the moral argument, the symbol web, the scene weave and symphonic dialogue.

Theme is the brain of the story, characters–the heart, story structures are the skeleton, and so forth. Each subsystem of the story consists of a web of elements that help define and differentiate the other elements.

STORY MOVEMENT

Nature uses a few basic patterns to connect elements in a sequence. Storytellers use these same patterns, individually and in combination, to connect story events over time. Let’s see which those are:

  • Linear Story: Tracks a single main character, from beginning to end.
  • Meandering Story: Follows a winding path without apparent direction.
  • Spiral story: The character keeps returning to a single event or memory, and explores it at progressively deeper levels.
  • Branching is a system of paths that extend from a few central points by splitting and adding smaller and smaller parts.
  • Explosive Story: Has multiple paths that extend simultaneously. These stories also put more emphasis on exploring the story world, showing the connections between the various elements there and how everyone fits, or doesn’t fit, within the whole.

WRITING YOUR STORY

What writing process will give you the best chance of creating a great story?

Most writers use an approach that is external, mechanical, piecemeal and generic. We will work, instead, towards a writing process that may be described as internal, organic, interconnected, and original. It’s no easy process.

You’ll construct your story from the inside out, meaning that:

  1. You must make the story personal and unique to you;
  2. You must find and develop what’s original within your story idea.

With each chapter, your story will grow and become more detailed, with each part connected to every other part.

Next Up: Chapter 2: Premise

Things are heating up!

 

 

Sunday ComiX: X-Men Madness and the Time-Travelling Summers/Grey Spawn!

Time travel is the status quo when it comes to comic books, but the X-Men are on a whole other level. The team’s roster is filled with mutants from past, alternate and future timelines; it’s a hot mess of clones, identical-but-different individuals from identical-but-different worlds ruled by Apocalypse, or by Sentinels, and even occasionally by Magneto.

But which are the X-Men who’ve made Earth-616 their home?

cable-01-01

Nathan Summers, aka ‘Cable’: Ah, the life that Cable has had…infected by the Technovirus at a very early age, he had to be taken into the far-off future in order to be cured; ultimately, that didn’t quite happen. What happened instead is that Cable made it his life’s goal to stop Apocalypse from ruling in his usual fashion in that same future, which is the purpose he had in mind when he returned to the proper timeline. He’s the one who kept Very Special Mutant Hope Summers alive through a pretty horrifying ordeal that involved X-Man-turned-traitor Bishop. Speaking of Bishop…

3634701-bishop_00

Ah, Lucas Bishop. He grew up in a mutant concentration camp, 80 years in the future, after the Summers Uprising, which didn’t work out for our guys at all too well. He came back to the future, and was alright for a while; people liked him, he liked himself, I even  think that Storm liked him a bit too much! …And then Hope Summers was born, and he decided that if he were to kill her, all his problems, or his future’s problems at least, would magically go away!
That was a conscious decision he made after…what, over fifteen years among the X-Men? Twenty? No matter what you do in the mainstream continuity, you ain’t changing nothing about yours, man. Sorry to spoil that for you…

Generation_Hope_Vol_1_2_Women_of_Marvel_Variant_Textless

Hope Summers was the first mutant to be born after M-Day, the day when the Scarlet Witch took away 99% of the mutants in the world’s power. Pretty big deal…not as big a deal as being hunted by a demented Bishop, going further and further in time and suffering through constant hunger, thirst and near-complete isolation. On the bright side, she’s amazing at kicking things’ asses!

rachel_grey___legacy_by_jamiefayx-d52izq9

Rachel Summers is yet another amazing telepathic X-Man from a future timeline; yet another daughter of Scott Summers and Jean Grey(as Cable is; although he is actually the son of Jean Grey’s clone, Madelynne Pryor…yeah, I know…), and another host of the Phoenix Force. I…got nuthin’. She’s a badass, who’s been through an awful lot in life, and I love her to death. Rachel’s also got these tattoo-like things that appear whenever she uses her abilities; they give her a very unique look, which is plain awesome.

nate-grey-x-man-marvel-comics

Nate Grey, aka…X-Man. Confused yet? Nate Grey was created by Mr. Sinnister in the Age of Apocalypse(AoA) timeline–not the timeline from which Nathan Summers (Cable) comes from, mind; just one with a somewhat similar premise. Now, Nate Grey isn’t actually the son of Jean Grey; he’s a gene-spliced baby, created by the DNA of Jean and of Scott Summers, who’s not a particularly nice guy in AoA. X-Man, for his part, was a near-omnipotent mutant, whose powers at their height were comparable to a Phoenix Force-imbued Jean Grey (or anyone, really). I haven’t seen much of him lately, but I opened Wikipedia to check out what’s been going on; he apparently burned his powers out while opening a portal to..Sugar Man’s home reality. I’m not sure what that means, or why Nate was so in need for some sugah, but I suppose this song fits perfectly.
I should really catch up with his latest adventures, I’ve always been fond of Nate.

2679552-tumblr_mcf5i6xiqk1qze4byo1_1280

Last but not least…Young Jean Grey! Marvel recently announced that the real Jean Grey is finally coming back from the dead, after years upon years of denying the possibility. Woo-hoo! However, over the last couple of years, a hip new(or old, depending on your view) version of Jean has been running over the wonderfully contrite mainstream Marvel universe. That’s right, everybody! It’s teenage Jean Grey, enjoying the benefits of being a female character written in the 2010’s as opposed to the 1960’s! No longer in X-Men comics just as decoration, Teen Jean’s been a fun character to explore for a number of authors; mostly Brian M. Bendis, who ran the X-Men parade and came up with the idea of bringing the original Five X-Men to the future. Praise Bendis!
Oh, you were expecting me to say something about Jean? Well, she’s quite horrifying at times, having mind-controlled a number of teammates –okay, Angel, and it’s not like anyone cares about him, but still– over a number of times. Her powers developed quite a bit faster, as did her desire to make out with three out of four of her teammates.
Thank the X-Gods that Bobby is gay now.

On a serious note, she’s great; Bendis did a lot of solid stuff with her over his course as main X-Writer, and she’s currently got herself a nice little ongoing which has Hope and Rachel and Quentin Quire guest starring in its very first arc. I haven’t read it yet, but I will.

 

Gosh, what a post! This has been all about pesky Summers-Grey family members, clones, adopted daughters and granddaughters and all sorts of other madness, hasn’t it? I decided not to add the rest of the Young Original Five that’re currently kicking around in the present, but their time will come soon enough…don’t you worry ’bout that!

Damn, I forgot to mention Stryfe. Stryfe is Cable’s clone. Cool, huh?

Cable and Stryfe! Hah!

#madnessliveshere

 

Saturday Night Gaming: Dishonored 2

3156627-dishonored-2-review-thumb

Before you decide how to play Dishonored 2, you have a choice to make: The carrot, or the stick?

Will you choose to play as a deadly assassin, unnoticed and quick with his blade, or a merciful ghost that always moves in the shadows, unseen by any? Perhaps you’d like, rather, to strut into a room, take your blade out and cut guard after guard down with excellent swordwork and dark magic. It’s a choice you make every time you begin another level; hell, every time you enter into a new room.

Sure, it’s best to decide what your playstyle is going to be early on, and build your character’s skill set to best complement your style. I say ‘your character,’ since, as you probably know, you are free to choose between Dishonored 1 protagonist Corvo Atano, and his daughter, Empress Emily Kaldwin.

dishonored21280jpg-685334_1280w

Both characters bring unique powers to the mixture, allowing for a lot of replayability in terms of tools used to achieve the objective of taking back the throne. Yeah, you lose your throne to Delilah, Empress Jessamine’s sister, at the very beginning of the game. What a shocker.

That was a bit of a lore tangent–I have to be careful about those, since I always lean towards talking about lore, when I am trying to pay attention to mechanics, and how they allow you to craft your own story.

The Emily you play as a cold, almost bloodthirsty killer is a world away from the one that is ghosting through the levels without ending anyone’s life. Still more different is my Emily, who, try as she might not to kill, occasionally ends up pressed against the wall and will find herself forced to put someone down in the heat of the moment. The dialogue, the flavor texts and the cinematics don’t account for the difference between the ‘ghost’ style of playing, and my own–they’re both dubbed ‘low chaos’ — but they are different, none the less.

That’s what Arkane Studios, the game developer, has managed to do so well–it has recreated the freedom of choice that it brought on the table with Dishonored, and has gone one step further. The choice in characters certainly helps add another dimension to the fun, murder-y business that this little sandbox offers.

The powers at Emily’s fingertips are a great addition — she can summon a rift to the Void that hypnotizes a number of enemies, and can either continue on her way, cut a few throats, or let her opponents have a little nap. She can also link enemies, forcing the faith of one upon them all; as well as pull objects and bodies–living or dead; depending on how much Runes you decide to invest into your ability tree, you can get some pretty awesome upgrades to the base abilities.

Exploration will take you hours, which you will not regret spending…most of the time. Some bonecharms are rather…underwhelming. With the bonecharm crafting mechanics in place, though, that’s not all that worrisome; all you need do is ‘disenchant’ them for their special properties and build anew. The more you invest into that skill, the better the charms; and you can actually help along your play style by making relics which enhance your speed, endurance and so on.

The technical issues I’ve faced are still annoying, despite the game coming out a year ago. Performance has been much improved, certainly but there’s a lot to be desired in that particular aspect. I wish more could be done, but it is what it is, and with that much time having passed since release, I doubt that we’ll see another fix.

I have every intention of putting a video of a bunch more of my thoughts in a couple of weeks. And after…perhaps I’ll tackle Death of the Outsider, the expansion that just came out, on September 15th.