Worldbuilding Wizardry

Total Page:16

File Type:pdf, Size:1020Kb

Worldbuilding Wizardry Worldbuilding Wizardry By Pat Hauldren www.pathauldren.net [email protected] (This booklet assumes worldbuilders are of the Paranormal-to-Speculative Fiction genres. If you are not, please do not be offended. This booklet began as an online class for Paranormal and Speculative Fiction authors and has grown and now hopes to help all genre writers understand the basics of worldbuilding.) Copyright 2015 Pat Hauldren LESSON 1: WHAT IS WORLDBUILDING? Worldbuilding WizardryWorldbuilding Wizardry/ 1 LESSON 1: WHAT IS WORLDBUILDING? ........................................................................................................ 3 What is worldbuilding? ............................................................................................................................. 3 Genre? ....................................................................................................................................................... 3 Discussion 1 – Class genre chart ............................................................................................................... 4 Venn Diagram........................................................................................................................................ 5 More on genre fiction ............................................................................................................................... 6 DISCUSSION 2 – Define Worldbuilding ..................................................................................................... 7 EXTRA CREDIT -- LESSON 1 ............................................................................................................................ 8 TOPIC: BOOKSTORE GENRE CATEGORIES ................................................................................................. 8 A. TOPIC: CURRENT BESTSELLING GENRES ........................................................................................... 9 LESSON 2: GENRE CONVENTIONS ............................................................................................................... 10 Big or little? ............................................................................................................................................. 10 What is “little worldbuilding?” ........................................................................................................... 10 What is “big worldbuilding?” .............................................................................................................. 10 Genre elements....................................................................................................................................... 11 1. Science Fiction & Fantasy ............................................................................................................ 11 2. Fantasy ........................................................................................................................................ 13 3. Romance ..................................................................................................................................... 14 4. Paranormal Romance .................................................................................................................. 17 Young Adult ............................................................................................................................................. 18 Young Adult fantasy ............................................................................................................................ 18 DISCUSSION Lesson 2 .............................................................................................................................. 20 LESSON 3: SETTING ..................................................................................................................................... 21 What is setting? ...................................................................................................................................... 22 Why is setting important?....................................................................................................................... 22 How do we create setting? ..................................................................................................................... 23 Is your setting on Earth or off Earth? ..................................................................................................... 24 On Earth .............................................................................................................................................. 24 Off Earth .............................................................................................................................................. 25 Planet size ........................................................................................................................................... 25 Contemporary or not contemporary? ................................................................................................ 27 Top down or bottom up? ........................................................................................................................ 28 Top down ............................................................................................................................................ 28 WORLDBUILDING WIZARDRY© with Pat Hauldren LESSON 1: WHAT IS WORLDBUILDING? Worldbuilding WizardryWorldbuilding Wizardry/ 2 Bottom Up ........................................................................................................................................... 32 Remember .............................................................................................................................................. 33 READING 3: Geographical Mythology ......................................................................................................... 36 DISCUSSION Reading 3 ............................................................................................................................ 36 DISCUSSION Lesson 3 .............................................................................................................................. 37 READING 4 OTHER WORLDBUILDING TECHNOLOGICAL ELEMENTS TO CONSIDER ................................... 39 LESSON 4 MAKING IT WORK ....................................................................................................................... 42 PRE-PLANNING WORLDBUILDING .......................................................................................................... 42 Maps and World Pre-Plan Sheet A .......................................................................................................... 44 Maps and World Pre-Plan B .................................................................................................................... 45 RESOURCES ................................................................................................................................................. 46 Links on the web ..................................................................................................................................... 46 Books ....................................................................................................................................................... 46 ABOUT THE AUTHOR ................................................................................................................................... 47 WORLDBUILDING WIZARDRY© with Pat Hauldren LESSON 1: WHAT IS WORLDBUILDING? Worldbuilding WizardryWorldbuilding Wizardry/ 3 What is worldbuilding? The question almost answers itself, doesn’t it? Worldbuilding is building worlds. Sounds so simple. And in a way it is, simple, but easy? Well, that’s where this class comes in. What do you think worldbuilding is? That answer will probably depend on what you are currently working on and what genre you are writing in. If you are writing a Western, for instance, our world probably consists of the “wild west” or at least, it is west of the Mississippi. But a western-styled mixed genre story doesn’t have to stop there. There are Westerns in space, Westerns in other countries, Westerns can be anywhere because -- what makes a story a Western or Western-styled story? Aye, there’s the rub. What makes a story a Western? Or a Romance, Science Fiction, Fantasy, Paranormal, Mystery, Detective/Crime, Christian Fiction, Horror, and so on? That list is a list of genres and to worldbuild, we need to understand our genre. So now is the time to ask, Genre? In what genre do you write? (Notice, I purposely worded the question so there was no dangling participle. I get kudos for this because, as a native Texan, we glorify not only in long, multi-syllable words, but dangling anything with a drawl just tickles our pickle. ) There are a few things that even I can deduce just because you are taking this class or reading this book. For instance, I can deduce that 1. You are a writer. Tadaaa! LOL and 2. You are writing in a genre that requires some kind of worldbuilding. Tadaa daaa! And 3. You’re not an expert at worldbuilding. Tadaa daa daa! (Unless, of course, you are either 1. A workshop addict like me or 2. You sadistically show off your talents in which case, I will get the $$ for teaching this class while I sit back and let you ramble .) By the way, I’m no expert either. However, I’ve done a lot of worldbuilding over the years (we won’t say how many, except that I played D&D in the days
Recommended publications
  • A Very Short History of Cyberpunk
    A Very Short History of Cyberpunk Marcus Janni Pivato Many people seem to think that William Gibson invented The cyberpunk genre in 1984, but in fact the cyberpunk aesthetic was alive well before Neuromancer (1984). For example, in my opinion, Ridley Scott's 1982 movie, Blade Runner, captures the quintessence of the cyberpunk aesthetic: a juxtaposition of high technology with social decay as a troubling allegory of the relationship between humanity and machines ---in particular, artificially intelligent machines. I believe the aesthetic of the movie originates from Scott's own vision, because I didn't really find it in the Philip K. Dick's novel, Do Androids Dream of Electric Sheep (1968), upon which the movie is (very loosely) based. Neuromancer made a big splash not because it was the "first" cyberpunk novel, but rather, because it perfectly captured the Zeitgeist of anxiety and wonder that prevailed at the dawning of the present era of globalized economics, digital telecommunications, and exponential technological progress --things which we now take for granted but which, in the early 1980s were still new and frightening. For example, Gibson's novels exhibit a fascination with the "Japanification" of Western culture --then a major concern, but now a forgotten and laughable anxiety. This is also visible in the futuristic Los Angeles of Scott’s Blade Runner. Another early cyberpunk author is K.W. Jeter, whose imaginative and disturbing novels Dr. Adder (1984) and The Glass Hammer (1985) exemplify the dark underside of the genre. Some people also identify Rudy Rucker and Bruce Sterling as progenitors of cyberpunk.
    [Show full text]
  • Eng 256- Literature of Science Fiction (3 Cr.)
    Revised 5/2008 NOVA COLLEGE-WIDE COURSE CONTENT SUMMARY ENG 256- LITERATURE OF SCIENCE FICTION (3 CR.) Course Description Examines the literary and social aspects of science fiction, emphasizing development of ideas and techniques through the history of the genre. Involves critical reading and writing. Lecture 3 hours per week General Course Purpose The purpose of this course is to survey the development of science fiction literature Course Prerequisites/Co-requisites Prerequisite: English 112 or ENG 125 or equivalent or division approval. Course Objectives GOAL ONE: Trace the literary history and evolution of science fiction literature Students will be able to: Recognize the connection between science fiction and other forms of literature Recognize the relationship of historical events, social evolution, and scientific facts that led to the development of science fiction literature Recognize the role of science in science fiction literature GOAL TWO: Identify the unique literary characteristics and conventions of science fiction literature Students will be able to: Distinguish science fiction from other “mainstream” literature, as well as other fantastic literatures Recognize the use of speculation, extrapolation, and cognitive estrangement in selected works Identify the scientific premise of selected works GOAL THREE: Recognize and interpret important themes in science fiction literature. Students will be able to: Examine and analyze the use of important science fiction themes in selected works Critique the role of science in
    [Show full text]
  • Fudge Space Opera
    Fudge Space Opera Version 0.3.0 2006-August-11 by Omar http://www.pobox.com/~rknop/Omar/fudge/spop Coprights, Trademarks, and Licences Fudge Space Opera is licenced under the Open Gaming Licence, version 1.0a; see Appendex A. Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc. Fudge System Reference Document Copyright 2005, Grey Ghost Press, Inc.; Authors Steffan O’Sullivan, Ann Dupuis, with additional material by other authors as indicated within the text. Available for use under the Open Game License (see Appendix I) Fudge Space Opera Copyright 2005, Robert A. Knop Jr. Open Gaming Content Designation of Product Identity: Nothing herein is designated as Product Identity as outlined in section 1(e) of the Open Gaming License. Designation of Open Gaming Content: Everything herein is designated as Open Game Content as outlined in seciton 1(d) of the Open Gaming License. Fudge Space Opera -ii- Fudge Space Opera CONTENTS Contents 1 Introduction 1 1.1 Why “Space Opera”? . ......... 1 1.2 WhatisHere ........................................ .......... 2 1.3 TheMostImportantThing .............................. ............ 2 2 Character Creation 3 2.1 GeneralNotes........................................ .......... 3 2.2 5-PointFudge....................................... ........... 3 3 Combat 7 3.1 Default Combat Options . .......... 7 3.2 Basic Armor and Weapon Mechanics . ........... 7 3.3 Cross-WeaponScaleAttacks. .............. 8 3.4 Suggested Weapon Scales . ........ 9 3.5 DamagetoPassengers ................................. ............ 9 3.6 GiantSpaceBeasts.................................... ........... 9 3.7 When To Use Fudge Scale .......................................... 10 3.8 RangedWeapons....................................... ......... 11 3.9 Explosions........................................ ............ 12 3.10 Missiles and Point Defense . .............. 12 -iii- Fudge Space Opera CONTENTS 3.11 Doing Too Many Things at Once .
    [Show full text]
  • The Other in Science Fiction As a Problem for Social Theory 1
    doi: 10.17323/1728-192x-2020-4-61-81 The Other in Science Fiction as a Problem for Social Theory 1 Vladimir Bystrov Doctor of Philosophical Sciences, Professor, Saint Petersburg University Address: Universitetskaya Nabereznaya, 7/9, Saint Petersburg, Russian Federation 199034 E-mail: [email protected] Vladimir Kamnev Doctor of Philosophical Sciences, Professor, Saint Petersburg University Address: Universitetskaya Nabereznaya, 7/9, Saint Petersburg, Russian Federation 199034 E-mail: [email protected] The paper discusses science fiction literature in its relation to some aspects of the socio- anthropological problem, such as the representation of the Other. Given the diversity of sci-fi genres, a researcher always deals either with the direct representation of the Other (a crea- ture different from an existing human being), or with its indirect, mediated form when the Other, in the original sense of this term, is revealed to the reader or viewer through the optics of some Other World. The article describes two modes of representing the Other by sci-fi literature, conventionally designated as scientist and anti-anthropic. Thescientist representa- tion constructs exclusively-rational premises for the relationship with the Other. Edmund Husserl’s concept of truth, which is the same for humans, non-humans, angels, and gods, can be considered as its historical and philosophical correlate. The anti-anthropic representa- tion, which is more attractive to sci-fi authors, has its origins in the experience of the “dis- enchantment” of the world characteristic of modern man, especially in the tragic feeling of incommensurability of a finite human existence and the infinity of the cosmic abysses.
    [Show full text]
  • Writing Western Women
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2006 Place of invention| Writing western women Rachel Toor The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Toor, Rachel, "Place of invention| Writing western women" (2006). Graduate Student Theses, Dissertations, & Professional Papers. 3229. https://scholarworks.umt.edu/etd/3229 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature ** Yes, I grant permission No, I do not grant permission ______ Author's Signature: f J \ ^ Date Any copying for commercial purposes or financial gain may he undertaken only with the author's explicit consent. A PLACE OF INVENTION: WRITING WESTERN WOMEN by Rachel Toor B.A. Yale University, 1984 presented in partial fulfillment of the requirements for the degree of M asters of Fine Arts The University of Montana M ay 2006 Dean, Graduate School 5-2Cp-oc. Date UMI Number: EP35740 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Worldbuilding in Tolkien's Middle-Earth and Beyond
    KULT_online. Review Journal for the Study of Culture journals.ub.uni-giessen.de/kult-online (ISSN 1868-2855) Issue 61 (May 2020) Worldbuilding in Tolkien’s Middle-earth and Beyond Dennis Friedrichsen Justus-Liebig-Universität Gießen [email protected] Abstract: The field of worldbuilding in literary studies is experiencing a revitalization and it is therefore unsurprising that interest in Tolkien’s Middle-earth is renewed. Many aspects of Tolkien’s world have been analyzed and discussed, but it remains a relevant topic for both specific questions concerning Tolkien’s world and general questions concerning worldbuilding in literature. Sub-creating Arda , edited by Dimitra Fimi and Thomas Honegger, makes a valuable contribution that expands on both theoretical areas, applies theories of worldbuilding to Middle-earth, and draws interesting parallels to other fictional worlds. Because the field of worldbuilding is incredibly rich, Sub-creating Arda is not exhaustive, but nevertheless makes significant contributions to contemporary academic problematizations of the field and will undoubtedly inspire new arguments and new approaches within the field of worldbuilding. How to cite: Friedrichsen, Dennis: “Worldbuilding in Tolkien’s Middle-earth and Beyond [Review of: Fimi, Dimitra and Thomas Honegger (eds.): Sub-creating Arda. World-building in J.R.R. Tolkien’s Work, Its Precursors, and Its Legacies. Zurich: Walking Tree Publishers, 2019.]“. In: KULT_online 61 (202o). DOI: https://doi.org/10.22029/ko.2020.1034 Creative Commons Attribution 4.0 International KULT_online. Review Journal for the Study of Culture 61 / 2020 journals.ub.uni-giessen.de/kult-online Worldbuilding in Tolkien’s Middle-earth and Beyond Dennis Friedrichsen Justus-Liebig-Universität Gießen Fimi, Dimitra and Thomas Honegger (eds.).
    [Show full text]
  • The Genre STEM Switch Guide
    The Genre STEM Switch Guide Ellen KW Brennan & Dr. R. Keith Duncan INTRODUCING GENRE AS A CONCEPT The goal of this activity is to provide students with a concrete understanding of the concept of genre as it applies in the sciences, how it is related to communication modes, and how leveraging genre conventions can impact the efficacy of their message. To begin the exercise, we first need a definition of “genre.” As such, the introduction begins with the following discussion: 1. “We typically find the concept of genre applied in the arts, in categories such as literature, movies, and music. Let’s work together to complete this table. What are some examples of genres in each of those areas?” Complete table. ​ Category Example Genres Literature [Sci-fi, Mystery, Biography, Manga] Movies [Action, Comedy, Romance, Anime] Music [Country, Rap, Jazz, Ska] 2. “When we think about genre, what separates each of these from the others?” Here, we ​ are trying to drive students to a common understanding of genre, namely that there is a set of conventions that both the communicator/artist and the audience agree upon and provides a common ground for both parties to relate. It may be best to focus on a particular category and genre to unpack this fully. For example, using “science fiction books” as the focus here, some possible discussion points might include: It gives you an idea of the setting (i.e. outer space or far into the future); It tells you the values of the society (i.e. scientific progress and innovation); It includes common tropes (i.e.
    [Show full text]
  • Generic Affinities, Posthumanisms and Science-Fictional Imaginings
    GENERIC AFFINITIES, POSTHUMANISMS, SCIENCE-FICTIONAL IMAGININGS SPECULATIVE MATTER: GENERIC AFFINITIES, POSTHUMANISMS AND SCIENCE-FICTIONAL IMAGININGS By LAURA M. WIEBE, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy McMaster University © Copyright by Laura Wiebe, October 2012 McMaster University DOCTOR OF PHILOSOPHY (2012) Hamilton, Ontario (English and Cultural Studies) TITLE: Speculative Matter: Generic Affinities, Posthumanisms and Science-Fictional Imaginings AUTHOR: Laura Wiebe, B.A. (University of Waterloo), M.A. (Brock University) SUPERVISOR: Professor Anne Savage NUMBER OF PAGES: vi, 277 ii ABSTRACT Amidst the technoscientific ubiquity of the contemporary West (or global North), science fiction has come to seem the most current of genres, the narrative form best equipped to comment on and work through the social, political and ethical quandaries of rapid technoscientific development and the ways in which this development challenges conventional understandings of human identity and rationality. By this framing, the continuing popularity of stories about paranormal phenomena and supernatural entities – on mainstream television, or in print genres such as urban fantasy and paranormal romance – may seem to be a regressive reaction against the authority of and experience of living in technoscientific modernity. Nevertheless, the boundaries of science fiction, as with any genre, are relational rather than fixed, and critical engagements with Western/Northern technoscientific knowledge and practice and modern human identity and being may be found not just in science fiction “proper,” or in the scholarly field of science and technology studies, but also in the related genres of fantasy and paranormal romance.
    [Show full text]
  • Discovering by Analysis: Harry Potter and Youth Fantasy
    DOCUMENT RESUME ED 459 865 IR 058 417 AUTHOR Center, Emily R. TITLE Discovering by Analysis: Harry Potter and Youth Fantasy. PUB DATE 2001-08-00 NOTE 38p.; Master of Library and Information Science Research Paper, Kent State University. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Adolescent Literature; *Childrens Literature; *Fantasy; Fiction; Literary Criticism; *Reading Material Selection; Tables (Data) IDENTIFIERS *Harry Potter; *Reading Lists ABSTRACT There has been a recent surge in the popularity of youth fantasy books; this can be partially attributed to the popularity of J.K. Rowling's Harry Potter series. Librarians and others who recommend books to youth are having a difficult time suggesting other fantasy books to those who have read the Harry Potter series and want to read other similar fantasy books, because they are not as familiar with the youth fantasy genre as with other genres. This study analyzed a list of youth fantasy books and compared them to the books in the Harry Potter series, through a breakdown of their fantasy elements (i.e., fantasy subgenres, main characters, secondary characters, plot elements, and miscellaneous elements) .Books chosen for the study were selected from lists of youth fantasy books recommended to fantasy readers and others that are currently in print. The study provides a resource for fantasy readers by quantifying the elements of the youth fantasy books, as well as creating a guide for those interested in the Harry Potter books. It also helps fill a gap in the research of youth fantasy. Appendices include a youth fantasy reading list, the coding sheet, data tables, and final annotated book list.(Contains 10 references and 9 tables.)(Author/MES) Reproductions supplied by EDRS are the best that can be made from the original document.
    [Show full text]
  • Gutierrez's Untitled Kung Fu Space Western
    Photo Credit ©2015 Reel FX REEL FX ANIMATION STUDIOS RE-TEAMS WITH THE BOOK OF LIFE FILMMAKER JORGE GUTIERREZ FOR MULTI-YEAR DEAL Gutierrez’s Untitled Kung Fu Space Western Will Join Studio’s Growing Development Slate (Dallas, Texas and Santa Monica, California – February 18, 2015) Reel FX Animation Studios, the company behind the Golden Globe-nominated The Book of Life, has entered into a multi-year, multi-picture deal with the film’s writer and director, Jorge R. Gutierrez. The first animated feature under the deal will be an Untitled Kung Fu Space Western, which Gutierrez will direct from a script he is writing with Douglas Langdale. Reel FX's Brad Booker will produce the film. Gutierrez and Chatrone LLC will also produce alongside Booker. Sandra Equihua will oversee the character design. Gutierrez has moved to Dallas to work on the project out of Reel FX’s studio. The Untitled Kung Fu Space Western joins Reel FX’s growing development slate, a few of which are: Monster on the Hill, based on the book by Rob Harrell, written by Matt Lieberman; Giant Girl, based on a pitch by Reel FX story leads Bob Logan and Paul Fisher; and WISH Police, based on a short story by Daniel Nayeri, written by Ethan Reiff and Cyrus Voris, with Headless Productions attached to direct. Steve O’Brien, CEO of Reel FX said: “At Reel FX, we are building a home for creative filmmakers to bring their ideas to life. We are excited to partner with Jorge once again as we build on our success with The Book of Life.” The Untitled Kung Fu Space Western centers on one of the galaxy’s most charming outlaws, the leader of a funny, ragtag crew of rebel bandits that are put on a collision course with a legendary villain to determine the fate of the galaxy.
    [Show full text]
  • Efficacy of Genres in Training Videos for Emergency First Responders
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Efficacy of genres in training videos for emergency first responders Kerry Jenkins Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Communication Commons Recommended Citation Jenkins, Kerry, "Efficacy of genres in training videos for emergency first responders" (2011). LSU Master's Theses. 2624. https://digitalcommons.lsu.edu/gradschool_theses/2624 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EFFICACY OF GENRES IN TRAINING VIDEOS FOR EMERGENCY FIRST RESPONDERS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Communication Studies by Kerry Jenkins B.S., Louisiana State University, 2004 May 2011 TABLE OF CONTENTS LIST OF TABLES……………………………………………………………………………….iii LIST OF FIGURES……………………………………………………………………………...iv ABSTRACT………………………………………………………………………………………v CHAPTER 1. INTRODUCTION………………………………………………………………...1 1.1 Why Study the Efficacy of Training Videos for First Responders?......................................1 1.2 Organization of Thesis……………………………………………………………………...5 CHAPTER 2. LITERATURE REVIEW……………………………………………………….…7 2.1 Pedagogy and Adult Education………………………………………………………….…..7 2.2 Documentary Film and the Use of Narrative Elements……………………………………..8 CHAPTER 3. METHODS……………………………………………………………………….14 3.1 Population………………………………………………………………………………….14 3.2 Pilot Study………………………………………………………………………………….16 3.3 Current Study………………………………………………………………………………25 3.3.1 Videos………………………………………………………………………………….25 3.3.2 Procedure………………………………………………………………………………33 CHAPTER 4.
    [Show full text]
  • The Steel Remains Ebook
    THE STEEL REMAINS PDF, EPUB, EBOOK Richard Morgan | 400 pages | 09 Jul 2009 | Orion Publishing Co | 9780575084810 | English | London, United Kingdom The Steel Remains PDF Book Books - the warm, leather-skinned weight of them in your hands, the way they smelled when you lifted them close to your face. Truthfully, when I first discovered The Steel Remains ages ago, I didn't realize it was the same author. First I had a buddy read set up with Moss, for which I ordered the paperback from the other side of the world. Was this review helpful to you? You can smell his breath, take his pulse and check his pupils to see if he's ingested anything nasty, or you can believe him. Morgan completists, fantasy haters. Clearly Morgan wants us to like his main characters - though he tries to make them hard to like by investing them with traits and peccadillos that I imagine he thinks will challenge some genre readers - but having them talk like hired goons from a Guy Ritchie movie utterly ruined it for me. Some speak in whispers of the return of the Aldrain, a race of widely feared, cruel yet beautiful demons. The "elves" also left behind a magical sword, wielded by war hero Gil. Writer: Josh Mendoza. I thought this was a brilliant fantasy "noir" novel that was never boring. For one, he is a hero of a past war, in which humanity had to defend itself against an invasion of a non-human lizard-like race. The Steel Remains Quotes Showing of Most of the markers were simple slabs hewn from the self- same stone as the mountain, reflecting the locals' phlegmatic attitude to the business of dying.
    [Show full text]