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Author of queer, wry sci fi/fantasy books.
Showing posts with label ending. Show all posts
Showing posts with label ending. Show all posts

Monday, 17 July 2017

When to Say Goodbye: Finishing Things

Hello hello!

With recovery on the way and good changes starting to happen in my life, I managed to finish a draft of The Meaning Wars today (July 17th, as of the day I started working on this post). I'm sure some time will elapse before its publication, and the publication of the book, but it feels good to make forward momentum.

In my personal life, I recently finished a skirt pattern that's taken years - inspired by Katniss Everdeen's fire dress in The Hunger Games, making the triangular tiered fringe work was tricky as hell.




Of the Dungeons and Dragons and roleplay campaigns I'm currently playing, one is coming to a close, one is nearly done a major plot arc, with a character's death being very imminent, and yet another is about to begin.


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In the world of pop culture, the seventh season of Game of Thrones also started recently. I read spoilers, because George R.R. Martin seems to have no intention of finishing the books and I am curious about what happens to the characters. Meanwhile, The Doctor's 13th incarnation has been revealed as a Time Lady, and Ava DuVernay's vision of A Wrinkle in Time swept me off my feet. Just as importantly, The Adventure Zone podcast's final arc is in progress.

All of this is to say that I'm in a mood to finish things. With Instagram and fashion shoots putting me in a mood for summer adventures, I've been crafting and uploading beadwork for the first time in months and years.


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With that momentum, I had the courage to ask my readers how they felt about the change of monthly or biweekly blog posts rather than weekly blog posts (which haven't been happening, as astute readers may have noticed). I don't intend to end my blog, because I often have things to say and think about in public, but figuring out this admittedly more forgiving solution should make that easier.


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I am, however, thinking about new stories and new characters - which have only been alluded to in passing, and in private, with friends. Stories I have in my backburner files. My beadwork put me in a salvager mood, and made me want to work on my long-abandoned Nightmare Cycle. 


The Underlighters (The Nightmare Cycle Book 1) by [Browne, Michelle]


Now, I suppose there is a whole cycle of life thing one could go into here, but I'm still hoping that transhumanism will help me avoid having to die at all, so I'm going to dodge that particular topic. Regardless, a life has to be marked by periods of change and renewal, and it's impossible to get something new started without ending something else.

Maybe that means you, as a theoretical writer, gotta let go and write something inspired by a story rather than focused on the main characters of an arc. Maybe that means moving onto a new world and storyline altogether. But it's deeply important to let things end rather than sucking the joy and goodness out of them.

Even the deservedly maligned Supernatural is setting up a spin-off; the show is a living cautionary tale of how to ruin a story. While it can be scary to let go of characters, it's better than holding onto them forever, sucking out every drop of joy from them like a food dehydrator making meat into jerky, and wondering why the story is nothing but a dry, leathery husk of what it used to be.  It’s easy to hold onto a story past the completion of its plot arcs, resolutions, and conflicts, and introduce a million Complications and Plot McGuffins in order to stretch things out - but it’s easier still, in a way, to be honest and write ‘The End’ when the time comes.

So give yourself permission to finish that draft, writers. Give yourself permission to change something or re-schedule it if necessary, too. Don't worry about Making The Thing Good Enough. There are only so many revisions that can happen before a story goes from juicy grape to raisin of sadness. And the more you finish, the more you can do, and make, and be.

***

Thanks for returning to the nest. Leave a comment and say hi! I want to hear from you. Keep up with the new releases by getting on the mailing list. Buy my books on Amazon, and keep up with me on Twitter, Facebook, Tumblr, and the original blog. This is the one and only SciFiMagpie, over and out!



Monday, 25 June 2012

A Brief Comment About Mass Effect 3: The Extended Cut

Hello, everyone!

Well, it's virtually unavoidable: time to dig up a metaphorical dead horse and possibly beat it with a stick. You know what I'm talking about: the Mass Effect 3 ending fiasco.

Wait, what? You don't know what I'm talking about? Have you been on the internet since March? If you've avoided it, by intent or accident, this should help: my post about ME3. If that doesn't help explain some things, this post might: a reflection on why heroes die. Go read them and come back, if you're confused.

Okay, enough shameless self-plugging. At this point, our proverbial horse is basically a slowly fossilizing skeleton, already leaving immortal calcium deposits on the history of gaming. The mess Bioware got itself into by providing three very different endings with radically similar animation is now legendary, and will probably be the bete noire of gaming companies completing epic stories for years to come. After all, is there anything worse than slaving over a beloved game and pouring your heart into it, only to discover that fans resent your decisions and consider them an emotionally damaging pile of slapdash phuquerie?

As a writer and a casual artist, I have to sympathise, and say I can't imagine anything much worse than that. However, I'm also not part of a large corporation rushing me to finish something and forcing me to achieve consensus with dozens of other writers. And, for better or for worse, I don't have hundreds of thousands of fans breathing down my neck every time I make a decision they don't like (yet). At the risk of being a hypocrite, much as there are plot holes that the Normandy herself could pilot through with ease, I can see why they wouldn't want to change their own work.

However, I am a fan, and though I enjoyed at least one of the endings, the emotional dissatisfaction with similar animation and similar implications for all three was truly heartbreaking. There have been other games that caught my attention, and made my heart beat faster. There have been other games that made me truly care about the their protagonists, settings, and struggles. And yet, I have not seen a game as richly alive and as soul-captivating as the Mass Effect trilogy. The ending, which was nearly a cliff-hanger in its brevity, seemed to foreshorten the struggle. A whole world of possibilities opened for the ending, but we didn't see them. The only options given were a variety of failures, and nearly all involved possible or implied genocide of various flavours.


Source. Personally, I liked the green apple flavour! Or, as some would have it, the watermelon flavour. Strawberry was also okay, but phuque the blue raspberry flavour. Did anyone choose blue? Didn't think so.


This downloadable content should fix the problem of tying up plot threads and fixing the "oops, we didn't mean to kill the galaxy" issue, but it's not going to change the ending. Our hero will still make the ultimate sacrifice, or kill everyone else trying. This was Bioware's decision, from the sound of things. I won't pretend it's perfect, but when you work hard enough to get either that much-vaunted red or green ending, there is still a certain satisfaction about it. They got their controversy, all right, and then some.

So, final thoughts. Have I seen the DLC yet? No, of course not, though you can bet your shapely blue asses I'll be writing some thoughts up as soon as I do. Am I happy that saving the galaxy (?) will probably require Shepard's death? Not really, because I really was crossing my fingers for a happy ending, or at least something less clichéd. However, if it's a question of whether or not I respect the writers for having the guts to say they weren't going to make everyone happy, that's an easy answer. In spite of all the fire, the dissatisfaction, the endless threats, raging, trolling, and even lawsuits, they're going to be faithful to their own work. And that represents an ethic that deserves no argument.

*****

As always, I hope you enjoyed today's batch o' fresh thoughts. There will be more Humble Bundle, more writing updates, some missed-it reviews. Keep an eye on new releases by following on Twitter and on Tumblr. This is your SciFiMagpie, over and out!

Thursday, 22 March 2012

Mass Effect 3...Or How I learned to stop worrying and love Bioware

Hi Everyone! Sorry for the post lag. As you've all figured out,Mass Effect 3 ate me alive for a while. Andrey is a thorough gamer, much to my fortune, this is one piece of work that punishes the shit out of you for anything less than thoroughness. It really is a masterpiece, and today I will explain a little bit about why this game lives up to almost all expectations.

So, without further ado, here is my review so far of the writing in ME3. The ending and some of the philosophical questions brought up by the game will get their own airtime in posts to come; this is just a discussion of content until the finale. Since a) we are not finished and b) rumours of DLC abound, that has to be put off.

Bioware rarely disappoints and this game surpasses the usual standard. The atmosphere is great and dialogue is tight. Some of the dialogues about time spans are inordinate, as it has only been six months or so since the last game, and the power of the Reapers is touched on but not adequately explored. However, a lot of interaction between squad members was added, and between personal reflections and lots of humour, there is no lack of entertainment. Joker is revealed to have an insightful side and Ashley has a meltdown, and it is all compelling stuff. Background dialogues with NPCs are also far above par.

While the timed events for important character development and War Resources can sometimes be tricky and irritating, the elegant tie-ins starting from minor characters in the first game and continuing into thousands of subplots in the second game reward players who patiently ground through the first two. If you were kind to puppies and rescued kittens (or Asari) from trees, you will have endless rewarding details to enjoy. Every plot thread, from endlessly annoying Conrad Verner to Khalil Al Jihani, our favorite punching bag, gets a moment in the spotlight. The details are mindblowingly well-followed.

So, setting is fine. Great. What about character writing?, I hear you say. Well....I am not much of a marshmallow, but so far I have been in tears twice at least and we not done the game. Although our Paragon MaleShep has saved the krogans, Mordin's death as the price was awfully high. I liked the little guy a lot. He does get an epic death scene at least and that is comforting. Legion's death (or dissolution) also drove me to tears. Udina, not so much, but it was satisfying. This game does have a high body count though.

As for plot, the small details are great, but the ending so far feels as though it is coming unsteadily. My one complaint is that some things have been predictable, and that Cerberus is used as a forced McGuffin/Deus Ex Machina a bit too often. Shouting 'Cerberus did it!' after minor mishaps has become a meme in my household. Still, MaleShep has good voiceacting and I am dying to see how it all plays out. Well done Bioware!

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