January 1, 2017
It was bound to happen. Somebody called Stenibelle a Mary Sue.
It’s been over a year since we released LoE Book 9: Stenibelle. Stenibelle is unique in the LoE series, it’s by far the shortest book of all, ringing in at around 54 thousand words–much shorter than my usual average of 125 thousand (Hey, I write until I’m done, then I stop. I conducted the story I wanted to tell, which happened to be 54k). It’s also the first book in the series told entirely from a female protagonist’s point of view, all of the other stories tend to be male/female ensembles.
I really don’t like pitting one gender against another, highlighting one while denigrating the other, which seems to often be the case in many books. That approach tends to be extremely polarizing, and, for me, rather annoying. I like Humanist stories featuring positive cooperation and teamwork between the sexes.
A new term has popped up lately, and, like most things people catch wind of, everybody wants to bust it out and make bold use of it. The term has gotten batted around the Sociosphere like a piñata. The term in question: Mary Sue, mostly in regards to the character Rey in Star Wars: The Force Awakens.
What is a Mary Sue? The term is loosely defined and can mean different things to different people. Mary Sue first came from a piece of parody Star Trek fan fiction by Paula Smith entitled: A Trekkies Tale, where a 15 year old girl named Mary Sue graduates as the youngest person ever from the academy, joins the Enterprise and quickly outperforms Kirk, Spock, McCoy and Scotty, takes command of the Enterprise, captures Kirk’s heart, out-Vulcans Spock, and dies a hero for which a holiday in her name is remembered ever after.
So, with that in mind, a Mary Sue is:
–A female character who outperforms all other characters in a given platform.
–A female character who has skills and abilities that are out-of-joint with her backstory.
–A female character who exhibits near flawless traits.
With Star Wars: The Force Awakens, the Rey character seems to exhibit all three of these criteria, though her full backstory isn’t known at this point, and, there’s always the wildcard of “The Force” to explain away pretty much everything she does: Rey could just be the greatest Force user …ever. When reading a book or watching a movie, you usually expect the characters you’re watching to grow and change in some way. With a Mary Sue (or as in her male counterpart, the Gary Stu) there’s no room for her to grow–she’s already perfect in every way. Such a character tends to be a product of lazy or just plain bad writing. In any event, such a character tends to be annoying, difficult to relate to and tends to make some people think that the film has a singular Feminist Agenda, and thus the conversation and frequent use of the term “Mary Sue” today when examining strong female characters.
So, back to my original thought–somebody read Book 9 and thinks Stenibelle, the female protagonist of the story, is a Mary Sue. Let’s take a look at the facts and see if that is the case or not.
A Mary Sue is a female character who outperforms all other characters in a given platform.
I honestly can’t see how Stenibelle outperforms anybody in the story. At the beginning Stenibelle is in prison, for failure and malfeasance of command during the Seeker Affair. She was captured in space, clapped in irons, frog-marched off her own ship by Lt. Gwendolyn and thrown in jail. She is saddled with self-doubt, self-loathing, is full of angst, full of self-pity and, though she, as a fully trained Tyrolese Sorceress, has the skills to escape from her imprisonment, she chooses not to as she wishes to hide from her problems.
It takes a monumental amount of tenacity and self-growth to not simply triumph in the end and conquer her personal demons, but to simply survive. Along every step of the way, her skills are put to the test and she fails as often as she succeeds. She also needs timely assistance from her allies around her, otherwise, she might nearly have been either killed or enslaved. Stenibelle does triumph, but it’s no day at the beach.
A Mary Sue is a female character whose skills and abilities are out-of-joint with her backstory.
Stenibelle has quite a few abilities that a common person about the League probably does not have, but, these abilities are all consistent with her backstory. She has the exact same training as Paymaster Stenstrom, thus, she was trained for nine years by her mother, Lady Jubilee of Tyrol, in the ways of Tyrol Sorcery. As such, she is able to Fade into the Shadows, essentially, to turn invisible. She is highly skilled at picking various types of locks. She is a skilled herbalist and chemist, well-versed at creating and using Holystones for a variety of effects and can conjure them at will out of thin air, along with her deadly MARZABLE throwing daggers. Stenibelle is also highly proficient at using the VUNKULA of the House of Grenville, which is a powerful weapon she makes use of quite a bit. A former lover, Lord Geryron of Grenville, taught her how to use it.
Given all that, nothing Stenibelle does in the story is out-of-the-blue or unexpected and is perfectly in-line with her background and training.
A Mary Sue is a female character who exhibits near flawless traits.
Essentially, this point means the character in question is nigh invincible, needs no help, and has no defects. As I mentioned before, Stenibelle is far from flawless. She is highly skilled, but is hampered by considerable self-doubt and inexperience that must be dealt with during the course of the story. She is crippled mentally and spiritually by past failures, and she needs lots of help along the way to discover herself, clinging to her friends, Lord A-Ram and Lady Alesta, for strength and guidance, and to her benefactor Hannah-Ben Shurlamp for financing and the exotic tools she needs for success. Even Bunged Up into a ruthless, heartless person by over-reliance on bolabungs, Stenibelle loses a brief fight with Lady Alesta–who is a monk, a Pilgrim of Merian. By the end of the story, Stenibelle discovers her confidence and her courage to become a truly formidable and seasoned adventurer, but it takes a long time and a lot of assistance to get her to that point.
So, given all of that, I’m not certain what story that person read to come up with the notion that Stenibelle is a Mary Sue. Perhaps he didn’t properly understand the term and simply busted it out in a review to sound current.
Stenibelle is a fully-developed human character exhibiting all the flaws, weaknesses, foibles, skills, potential, endurance and capacity for self-growth that we all have … she just happens to be a girl.
copyright 2017, Ren Garcia, Eve Ventrue and Carol Phillips
October 12, 2016
Every fictional character goes through a genesis of sorts during the creation process, be it big or small–it’s just natural for an author to either polish up or improvise bits to a character during the creation process, or to change their mind completely and start over.
It was doubly so for Kat in the upcoming LoE book 12: The Shadow tech Goddess: Kat. I changed her so much she really isn’t the same character as when I started.
I do that a lot, though. As I prepare no notes or pre-plan no outline for a story project, I tend to frequently change course, get inspired, add tid-bits, or, change direction entirely. I’ve cut lots of pretty cool stuff because I either thought I was treading over previously covered ground or could find no good use for the material. The Temple of the Exploding Head trilogy is nothing like what I started out with–nothing.
And so, we come to LoE Book 12: Kat. First introduced in Book 8: The Shadow tech Goddess, as one of the 7 potential love interests for Paymaster Stenstrom across the universes, my original intention with Kat was to simply pull her off the page as is and resume her tale in Book 12 with little or no intro or preamble. In StG, Kat was a Black Hat sent with several others to infiltrate the Ruins of Clovis in the Kanan north and uncover evidence of the identity of the Shadow tech Goddess. It was, essentially, a suicide mission with the possibility of success remote at best.
Kat was a Knife-class Black Hat, very mobile, very heady with micro-line Shadow tech. When Paymaster Stenstrom came upon her in the cold ruins, she was alone, her two nameless companions dead, killed by whatever lurks in the depths beneath Clovis. She was cold and uncaring, limber to the point of being rubbery and quite ruthless.
This somewhat limited character is what I hoped to make the heroine in Book 12. I made a good go of it, but, as I neared the completion of the first draft, I realized something.
Kat was boring.
It’s important for an author to be able to step back to see the naked truth as it unfolds before them. Though I loved the limber, blonde-headed Kat (I had based her off of Ginger Rogers), I had to face the fact she was not only a re-tread from previous characters in the series, she had no life. She was plain boring. Her transformation from Black Hat to loving Countess had already been done (as with Syg and Duchess Torijayne of Olyn), and her love for Paymaster Stenstrom bordered on the dreaded “Insta-Love”. I stopped writing. I knew action had to be taken.
I figured I’d go back, add a few scenes to the beginning of the book, flesh-out Kat a little bit and give her her own path. Shouldn’t take too long, I thought.
It would take half a year and about 40 thousand words before I was done, the “few scenes” I wanted to add took on a life of their own and Kat would never be the same.
I started from an elemental level, following Kat as she struggled to survive in the Black Hat’s horrid training facility, the Shade Church. I took away her mastery of Shadow tech, making her a novice in the extreme (though I would have to figure out a way to give her mastery back again by the end of the book). I gave her mentors, those watching her from afar, weeping as she suffered under the Black Hat’s heel. I even included Kat’s sisters, those sent with her to Kana. I also added the gods, people in far away places, mystical items, the works.
I threw the lot at Kat, and her transformation was stunning. Gone was flat, boring, Kat, replaced by a remarkable new character, full of life, one that I was proud of. Fueled by these changes, I finished the book in no time.
Kat is in the initial stages of pre-production. It should be out by 2018.
copyright 2016, Ren Garcia, Eve Ventrue and Carol Phillips.
May 13, 2016
Among the many new characters introduced in the upcoming House of Bloodstein books is the mysterious Xaphan Marist Roethaba of George.
Roethaba, for a number of reasons, is truly an enigma, so much so, even her very existence comes into question.
CONSUMED BY SICKNESS??
Per the Book of Xaphan, Roethaba was born in 3273 (or 003486AX in League designation) as the 5th daughter in the Court of George, a favored, gentile branch of the House of Burgon. Her mother, Marist Styxa of Burgon, was said to have snuck into a League ball and cuckolded with a Vith lord named Lord Mauro of Bloodstein. Two years later, Roethaba was the result, a beautiful, golden-haired girl, and she was given to the Court of George, who were lacking in females. A retelling of the story insists that Styxa gave birth to twin daughters, Roethaba, and Lady Chrysania of Bloodstein.
Roethaba’s young adulthood is very sketchy, with stories wildly varying. One story has her going to school in Midas before becoming an A-List Marist, other stories claim she was deathly sick as a child, inflicted with the genetic scourge of flesh rotting, an inherited defect brought on by the Burgon’s habit of eating human flesh. Other stories claim she was sustaining herself via arcane methods at the expense of her twin sister, Lady Chrysania of Bloodstein; her rivalry with her sister is a common thread in her narrative, be it arcane or social. In any event, Roethaba was considered a stunningly beautiful woman, long sought after by many Xaphan Warlords.
If anything, Xaphans love stories, and any Warlord or Marist of note have their life history extensively chronicled by people known as “Daemonesses“.
Roethaba’s history was compiled by a Deamoness named Sysaphaea Marx (or, in League designation: of Marx). As she worked, Sysaphea ran into a significant problem. Though Roethaba was notorious for her love affairs, her expensive tastes, her scandals, her Haitathe bodyguard, her friendships with a number of Black Hats, including Wilhella Cormand-Grande, the Mad Black Hat of Waam, she could find no tangible proof Roethaba of George had ever been to any of the places she was said to have been. In fact, she could find few credible people would could say that they’d ever seen her in the flesh other than from a distance. Sysaphaea had seen her several times at various social functions, but could never get close to her or be granted an audience. Her 10 foot tall bodyguard Hruntha, would allow her no admittance–were it not for the bodyguard’s presence, she would seem like a ghost. She began to suspect that Roethaba of George was a Cyberling, a fictitious person with an extensive made-up history making her seem real, hiding some vast secret. She suspected the League was involved, possibly perpetrating some grand conspiracy in Xaphan society.
In her digging, Sysaphaea wrote that she found a hazy link at a ruined temple once dedicated to a dead goddess, Anabrax, the Goddess of Fertility. In the temple was a fading mural connecting Roethaba, Lady Chrysania and an old dictator from the early days of the Xaphan empire named Queen Ghome of Trimble–their faces were all there, painted together. What that connection is, Sysaphaea never found out, as she dissapeared without trace, never having finished her work, leaving only incomplete hints as to what she had stumbled onto.
For now, Roethaba of George continues to make headlines and break hearts across the Xaphan empire for her outrageous behavior, still ever elusive and full of mystery.
Roethaba of George appears in the League of Elder, Book 10–The House of Bloodstein from Loconeal Publishing.
copyright 2016, Ren Garcia, Carol Phillips, and Eve Ventrue
January 25, 2016
I was sitting with my wife at our favorite pizza place a few days ago. My wife was bored; I was regaling her with my thoughts for upcoming book projects. She’s not much of a reader, and when I start talking books, she tends to tune out. Happens every time. Finally, after several minutes of fruitless babbling, my wife asked me a seemingly innocent question:
“Where do you get your ideas from?”
And I had to sit there and think about it. Where does creativity come from? Where do ideas and concepts, characters and distant places originate??
After several minutes contemplation, I had to admit I really had no idea or a ready answer for my wife.
Creativity is a very personal thing. Where a person draws inspiration from will differ. I suppose, for me, creativity is a result of everything I’ve ever seen, read, watched, smelt, tasted and felt. For those with a creative persuasion these things stay in your head; you dream and ponder about them. It’s also based in all the things you love, you’ve hated, been confused by, been afraid of … everything sort of stirred together over time like a vat of hot butter in the basin of your brain continuously churned, and then recycled into something sort of like what you’ve experienced, but different. Sometimes these images linger in my head for years, slowly evolving over time before I insert them into my books. Lt. Kilos was one such character. I saw her in my thoughts for a long time, initially a banana blonde, in a colonial uniform holding a gun. Eventually the rough-and-tumble lady from Tusck spilled out onto the page, though quite a bit different than what I’d dreamed of. Things always turn out different once you get to writing.
Other thoughts site in head for only a day or two. That’s just how it works out.
As an example of the creative process for my wife, I used the Wumalaar. The Wumalaar, in my book series, is a mythical beast that the Sisterhood of Light believe in. They believe that, on the last day of the League, the Wumalaar will come, break through their defenses and reveal all the Sisters’ secrets. The Wumalaar is the one thing the Sisters are afraid of.
I came up with the name “Wumalaar” from a movie that I loved as a boy. I never forgot the name, let it twist around in the back end of my head for about twenty years, modified it a little bit, and wham! I had the name Wumalaar. For me, that’s how creativity works.
Can you guess what movie I got the name from, and what it was called before I modified it?? If you do know, you have one of two choices. A: You should give yourself a rousing pat on the back for having such minute knowledge of `80’s pop cuture. Or, B: You should check yourself into an insane asylum for having such minute knowledge of `80’s pop culture.
Here’s where I got the name from:
copyright 2016, Ren Garcia
November 4, 2015
One of my personal favorite portions of the book creation process is the formulation and execution of the cover. It’s a lot of fun putting my head together with talented artists, like Carol Phillips, and seeing what shakes loose.
For my next book, the unbridled House of Bloodstein: Perlamum, the planning process followed the usual pattern.
SO MANY SCENES
First, we hash out what scene we want to layout for the cover. I usually pick seven to ten scenes from the book that I think are interesting, pertinent to the general tone and feel of the book, and that will be strong enough to catch the eye of a passing shopper.
I type up a quick synopsis and send them off to Carol. Now here’s the weird part–even though this is my book with my characters and scenes, Carol has a great deal of say-so in what shows up on the cover. Using her polished artist’s eye, she selects what scenes to expand upon, often asking to read those select parts of the book, and scribbles up a few quick sketches for reference. Then, between the two of us, we agree upon the final subject matter for the cover. As for the rejected cover ideas, those almost always end up in the interior of the book–Carol’s work is just too good to throw away.
WHAT’S A “NIXIE”?
Most of the covers we do have at least one Nixie lurking around in them somewhere. A Nixie is an element on the cover artwork that either A)-has been greatly modified or exaggerated from the text, or B)-wasn’t in the book at all. We do this to give the cover composition a little more life and eye-candy where needed. Usually the Nixie isn’t too egregious and we never promise something on the cover that is not delivered upon in the book–we just change things around a little bit sometimes. For the House of Bloodstein, there is one minor Nixie in the artwork, but nobody other than Carol or me knows what it is–and I’m not telling.
Depending on her workload, it takes Carol about three or four months to finish the cover–all of it painted digitally one little element at a time. Since Book 2 (The Hazards of the Old Ones) we’ve opted for a wrap-style cover, meaning the artwork goes all the way around to the back cover, including the spine. Having a larger canvas to paint on allows Carol more freedom create a knock-out piece of work, though she has to be careful to place the key bits of artwork on the front part of the painting (the right side) and a bit less on the left side (the back) allowing for the rear-cover text. You can tell on the finished work above the left side of the composition has a lot more free space than the right. Carol also likes to put a little surprise on the spine. Can you see what the surprise is??
GOING LOOPY FOR LETTERING
Having the finished piece of artwork is just the first part, now we’ve got to letter it, and that’s a great deal tougher than you might first think. It takes talent to thoughtfully, and tastefully, letter the cover. You want the lettering to pop out, to be easily readable from a distance, or, more importantly, from a tiny thumbnail on a website. As The House of Bloodstein is a somewhat gothic tale, I wanted something in that tone, and I imagined the lettering in a twisting block layout. After some mixing and matching, we decided on the above, it’s got the gothic theme I was looking for, I like how the letters fit together and the purple matches the artwork well.
Now, comes the painful part–how to add the lettering without covering too much of the artwork. That is always a struggle–what to sacrifice without losing the spirit of the composition. In this case, we couldn’t find a good spot to put the lettering, either going high or low, it ruined the artwork. We decided on the old trick of dimensioning down the general size of the artwork, creating a significant void space where the lettering can freely go. We’ve done that before, way back on the revised cover to Book 2, we scrunched the entire piece onto the front creating a void space on the top and the bottom. Here Carol uses a gothic pattern stained a handsome shade of red and black to fill in the void.
The back cover is full-sized and covered with around 250 words of back-cover text strategically placed around the characters.
The over-all effect is great. You get the impact of the large-sized lettering without having to cover up too much of the artwork–we still get to witness Lord Kabyl of Blanchefort locked in a mortal struggle with a horrific giant-sized space guy in the cool green passes of the Telmus Grove. Cool stuff.
MATCHING TONE WITH CONTENT:
One final word of note. Unless you’re aiming for some sort of sick satire, you want the tone of your cover to match the tone of your story. If you’ve written a twisted tale of the macabre, you really don’t want a lot of sunshine and lollipops on the cover, otherwise you’ll confuse your readers. The House of Bloodstein is an imaginative action thriller, so we opted for an action scene. Had the book been more focused on romance, we would have selected the cover mock-up on the left, which gives the impression of loads of romance, conflict and general male/female drama to come.
The House of Bloodstein: Perlamum, will be released in late 2015 from Loconeal Publishng
copyright 2015, Ren Garcia and Carol Phillips
July 22, 2015
Riding fast on the heels of Book 9, Stenibelle is Book 10: The House of Bloodstein. It is comprised of two volumes: the first being Perlamum, and the second Mentralysis.
ZOMBIES AND DRAGONS AND GODS, OH MY …
I wrote the Bloodstein books to be fun, to be exciting. I tormented my imagination until truly weird and amazing things popped out of my head. Using the previously introduced House of Blanchefort characters, we embark on a journey across the League and beyond.
In the past, I’ve tried to avoid monsters that have been covered by other authors–vampires, witches, werewolves, etc. I was also going to avoid zombies--too over-done, too formulaic. But then I had a bright idea–I figured out a way to use zombies that hasn’t been tried before, so you’ll find the zombies in The House of Bloodstein as breath of fresh air–dead air.
I also decided to tackle everybody’s favorite fantasy monster: dragons. Again–I never do the expected and well-trodden, if I’m going to have a dragon, it’s going to be a weird dragon. ‘Nuff said.
Here’s the current blurb for Volume 1:
THE HOUSE OF BLOODSTEIN: PERLAMUM
Mysterious and elusive, Lady Chrysania of Bloodstein calls from the ruins of her castle. She dwells in the dark, hiding her face, ravaged by an ancient curse. The only way to break the curse is to win a game called Perlamum. If she loses, she dies. She looks to her Vith kin in the west, begging for help acquiring the all-important pieces she needs to play the game.
Lord Kabyl of Blanchefort, his Ne-Countess Sammidoran, and his cousins answer her call. However, collecting the Perlamum pieces for Lady Bloodstein is a deadly game. They must face a host of perils:
-The terrible Black Hat in the city of Waam, who knows their every move.
-A hated rival on the planet Xandarr and the bewildering labyrinth of Gods Temple.
-The man from Shook who cannot be killed.
-A family of vile bravos from the south, and, worst of all, the Dead Men of Mare, nigh invincible creatures straight from an insane nightmare.
To even the odds, Kay and Sam turn to a forgotten graveyard deep in the Telmus Grove, and the great eminence resting there.
Can Lady Chrysania of Bloodstein be helped, or, for that matter …
… can she be trusted?
The House of Bloodstein. Perlamum will be out September 2015 from Loconeal Publishing.
copyright 2015 Ren Garcia and Carol Phillips
April 8, 2015
Melazarr of Caroline is a frequent character in the various Shadow tech Goddess books. Her character varies wildly from one book to the next. She almost always dies in the books.
25th DAUGHTER OF WILHELMINA
In all of the books, Melazarr’s lineage and general appearance are the same. She is an heiress of the Xaphan House of Caroline, born in the vast halls of Wilhelmina Castle. She is the 25th daughter of the current line. She has one father and ten mothers–the Carolines often indulge in the practice of gene-splicing to produce the most desirable of children. One genetic flag the Carolines always opt for is the potential for Arcane-Interface.
As familial giantism is common in the Carolines, Melazarr is a gigantic woman, standing 7’1 and weighing over 300 pounds of soild bone and muscle. She is typically very lank and skinny, hiding her impressive weight. Her hair is a fawnish-blonde color, though she often paints it green or blue.
She is a Tropist, skilled in creating sexual pleasure merely by touching non-erogenous parts of the body.
Melazarr is also always an Extra-Planar Entity known as a Merten. A Merten is a person who, for unknown reasons, carries important messages from the Universe. A Merten is never aware of carrying these messages, and, extracting them is most often fatal to the Merten. When in the presence of a person known as the Kaidar Gemain, a Merten will fall into a trance speak, sing, or draw out the message they carry. Others seeking the messages would have to extract them via sex, burning, torture or drowning. Mertens often die divulging the information they carry.
Melazarr’s mannerisms vary greatly from universe to universe.
In some, she is incredibly shy and insecure in the Court of Wilhelmina amid all her rival sisters, hiding the fact by painting herself in make-up and wearing bolabungs designed to make her fierce and confident. All “bunged Up”, Melazarr presents herself as an outrageous and rather debauched woman, reveling in Xaphan society. Often finding herself in dangerous situation, the VERY MARY, a garter belt that teleports a Caroline maiden back to the ancient Ruins of Caroline on Kana when she finds herself in mortal peril. Melazarr has turned up in the Ruins a record 57 times.
A Bound Tropist
In others, she is a bound servant of the notorious Xaphan Warlord Rodrigo of Burgon. Rodrigo often keeps her drugged into a trance-like stupor and bound to his side by a Chastity Key that has been branded into her neck. With the Chastity Key in place, she cannot venture more than fifty feet from his side. Rodrigo sometimes treats her with kindness, despite keeping her drugged and insensate.
Melazarr, no matter her situation, is often killed, either by those attempting to extract the information she carries within, or by accident, misadventure and poor circumstance.
copyright 2015, Ren Garcia, Carol Phillips and Kayla Woodside
March 16, 2015
Lady Poe of Blanchefort had quite a dilemma on her hands. A Silver tech female of growing regard, Lady Poe had become famous in Vithland for her Silver tech familiars, that she could create from thin air in a matter of moments.
She had a vast collection of them: Bark the hound dog that could act as a tireless extension of one’s eyes and ears, able to detect even cloaked persons. There was Shadow the cat that could uncover and destroy Shadow tech, Fins the fish that healed wounds and Whisper, the over-sized lady bug that could cloak one sight and sound.
Most popular of all was Tweeter, the little bird that could get one to where one needed to go without fail.
Lady Poe was always happy to create a familiar when one was needed, however, the demand for them became more than she could keep up with. She was a mother and busy tutor of the Blanchefort children after all, but she was the type of person who never wanted to let anybody down.
She tried creating a great number of her familiars to have on-hand for use in case one was wanted, however, the familiars only last for a week before they fade away into nothing and she’d have to start all over again.
She needed a method to keep her familiars functioning for an indefinite period of time, that way she could always have a small flock of her creations around for any who needed one. She eventually came up with a very clever and seemingly harmless answer to the problem.
Lady Poe created a Silver tech device she called the Autopyle. As she wanted to use an abandoned bell tower in the western face of Castle Blanchefort to keep her familiars, she formed her Autopyle into the shape of a massive bell. The Autopyle transmitted vast amounts of energy, and, with it in place, her familiars would last indefinitely. She decorated the bell tower, sanding and staining the floors, painting the walls, adding artwork, bookcases, draperies and couches, all done up in her provincial taste. In the rafters she added bird houses for her Tweeters and branches for the Whispers to climb on. When somebody needed a familiar, all they needed do was come to the room and sign one out on her ledger so she would know what needed to be replenished. The room became very popular. It was considered very relaxing to go into the nicely decorated room and play with all the animals.
RUTHINKILN OF WAAM:
Lady Poe had little idea the trouble her Autopyle creation would cause. Word eventually got out of the wondrous Silver tech creation Lay Poe had invented. Its news made it all the way into Xaphan space and into the ears of Ruthinkiln of Waam, a foul Black Hat and sister of the long lost Ethylrelda of Waam. With such a wondrous device, Ruthinkiln could create Shadow tech monsters the League had never seen before, and, on no less than ten separate occasions, she attempted to infiltrate Castle Blanchefort with her Spectre henchmen, the Drunes. Their intent was to steal the Autopyle and take it back to Xaphan space where its secrets could be unveiled.
Fortunately, all of Ruthinkiln’s infiltration efforts were detected and quashed. Lady Poe’s daughter, Millie, and Sebastian, son of Magistrate Kilos, made protecting the Autopyle room their personal quest as they grew into adults.
copyright 2015, Ren Garcia, Ewelina Dolzycka and Carol Phillips
September 9, 2014
I tend to get a lot of hits on my blog from France. Visitors originating in France rank second only to my home country of the United States in quantity of hits, with Germany being third. Germany makes sense, as I work with a number of immensely talented German artists. But France?? I often wonder if these hits are actual people looking at the artwork, or if the hits are simply products of spam.
I’d like to hope something of my work has touched somebody in France.
So please, if you’re from France, or anywhere else in the world, and you’re a real, living person, I invite you to leave a comment. Say “Hey” or “Bonjour” or whatever else comes to your mind.
November 8, 2013
As League sects go, none have more power or authority than the Sisterhood of Light. They come and go as they please, they take what they want, they have their own police force and their own fleet, and they dictate the course of the League. The Sisters are the de-facto rulers of the League.
There is, however, one very outspoken group that mocks and challenges virtually everything the Sisters do: The Hertogs.
The Hertogs are a loose band of disaffected scholars, chefs, tailors, craftsmen and scientists whose ongoing mission is to bring down the Sisters. They operate in secret, their origins and membership are unknown.They first came to general attention in 003120AX when they published a book in the city of Jacarta called: The Real History of the League and of the Elders in Particular written by, mysteriously enough, “The Hertogs”. The book challenged a number of key points in ancient League history as told by the Sisters and presented a much darker history, especially regarding the old, departed Elders. Essentially, the book claimed the League is enslaved to the Sisters, claimed they are bizarre and demented, and called for an end to their reign. Predictably, the Sisters reacted badly to the publication, censuring the publisher and calling for an “open debate” with the Hertogs to cover the key points made in the book.
The Hertogs were a no-show to the debates. Instead, they circulated a number of pamphlets claiming the Sisters intended to smoke them out into the open, capture and most probably torture them to death.
Since then the Sisters have gone on a quiet, but persistent, campaign to discover the identity of the Hertog membership. Unfortunately, the Hertogs appear to be adept at avoiding the Sisters’ vaunted Stare as, so far, they have yet to uncover a single one. They suspected Grand Dame Hannah-Ben Shurlamp, EVoR of the University of Dee as being a key member, but they could not prove her involvement. Their search continues.The Hertogs are seldom quiet. They publish frequent comments and critiques, usually blasting the latest Sisterhood proclamations. They once, famously, shot holes in a simple article written by a Sister proclaiming her fondness for the lunch menu at the Empire Hotel in St. Edmunds. Such childish antics, their tendency toward paranoia and hyperbole, and their unwillingness to come out into the open tends to lessen their impact and gives the general League populace pause. They are considered to be an interesting, if not entirely credible, voice in the regular postings not to be taken too seriously.
There is word that the Hertogs produced a groundbreaking work called The Splendor of the Vith detailing the considerable power the Vith peoples of Northern Kana once possessed and how the Sisters waged a successful bloodless war to rid them of it. This book, if true, would be particularly damning and could lead to the downfall of the Sisters. So far, the existence of the book is a mere rumor and no copies are publically available to be read.
copyright 2013, Ren Garcia, Carol Phillips and Eve Ventrue