The Book of Jewels by Matthew Marchitto

Illustration by Monica G. Cabral | twitter | tumblr | Instagram |

Illustration by Monica G. Cabral | twitter | tumblr | Instagram |

I wrote this short story a little over a year ago. Then, I didn't really have any intentions on what to do with it. All I knew was that I had come up with this fantasy world and I wanted to write something in it. Enter Hrusk, the half-orc half-gnome ass kicker. (I also have a rough novella with her has the protagonist.) 

This world, at the moment referred to as Aftania, is my own version of orcs, gnomes, and elves. I came around to this late, I think most fantasy writers probably start with the elves, get it out of their system, and then transition to more creative stuff. I did the reverse, writing weird shit before I decided "fuck it," I wanted to write about orcs. Some of the worldbuilding elements have changed since I wrote The Book of Jewels, but I've decided to upload it warts and all. Hopefully, you'll see more of Hrusk in the future.

****

The orc punched Hrusk in the face.

Roll with the punch.

“Half-breed’s got nothing clever to say now?” He jabbed her in the gut.

Groan, make them think it hurts.

The orcs tossed her against the wall, and the biggest most tattooed of them leaned forward and said, “we don’t want to see you around here again. Ever.”

Avert your eyes, make them think you’re scared.

They sauntered off, seeming real proud of themselves.

Hrusk spat blood onto the alleyway’s cobbles. She pulled her hair back into a ponytail, and then felt her ribs. Nothing was broken. She rolled her tongue around her tusks, both still there. Hrusk crouched near the opposite wall and searched the grime crusted cobbles. There it is. A key, covered in small markings, which she managed to swipe from one of the orcs. They hadn’t even noticed as she tossed it to the side.       

This better be worth it.

She walked into the street and pulled up her hood. The people here were packed shoulder to shoulder. She sidestepped a bushy bearded gnome, and shouldered past a giant beetle who warbled a complaint at her. She averted her gaze from a pack of orcs, muscular and hairless with black pupilless eyes, and ducked under a floating cart. Its levitation sigils warm on her skin. She came face-to-face with an armastoat, who snorted snot onto her and then licked it off. A moment later its handler cracked a whip and the stoat lumbered on hauling the cart at its back.

Hrusk squeezed her way to a side street that led to the Teal district. It stunk of rotted meat. She checked the dagger at her waist and laid a hand on the pommel of her sword. This was one of the places in the city of Aftan that few wanted to be in. The tenements were made of rotted wood and cracked bricks. She rounded a corner and found herself walking in the space between two tenements, barely wide enough for her to fit. There were a lot of shadowed corners someone could disappear into. One bad job for the wrong kind of people and Hrusk would find herself in one of those nooks. She didn’t like the Teal district.    

A man with a golden beard and long matted hair slumped against a wall with a canteen in his hand. Even in that position Hrusk could tell he was tall and lanky, and the pointed ears added to the effect.

Hrusk kicked him, and he looked up at her, his face angular, his nose hawkish, and his eyes a vibrant blue.

“Hello Ellbrim, I got what you wanted.” Hrusk tossed the key into his lap.

Ellbrim rolled it between his fingers, took a swig from his canteen, and said, “well, shit. I didn’t think you could do it.”

“I’ve been dealing with orc gangs ever since I can remember. I barely broke a sweat.” One of her bruises radiated a dull ache.

 Ellbrim rose from his place, making sure to secure his canteen on a loop at his belt, and began to lead Hrusk deeper into the Teal district. All five feet of her had to look upward to see his face. It was hard to believe that this ragged elf had once been a renowned incanter. His faded red waistcoat with dangling threads made him look like a vagabond.

Ellbrim kept taking swigs from his canteen. He staggered once, leaned against a wall, and then regained himself. She’d done jobs for him before, and when he promised a payout he was good for it. Even if the job ended in a maelstrom of spectral fire.

Ellbrim stopped before a dilapidated tenement missing four of its walls and all of its roof. Ellbrim stepped over the rubble into the building. Hrusk chuckled as she walked through the only standing door.

“You needed a key for this place?” Hrusk said.

Ellbrim held the key pointed downward between his forefinger and thumb. “The key is sigiled, though I doubt the orcs knew that.” The key moved slightly as Ellbrim paced through the tenement. “The best place to hide a secret is where no one will look for it.”

Brilliant.

“Here,” the key in Ellbrim’s hand vibrated from an unseen force. “Tear up these floorboards. Now.”

Hrusk sauntered forward, “take it easy with the commands and the ‘now.’” Hrusk jammed her dagger between the floorboards and pried them up. She looked into the opening to see solid steel. “Well shit. There is something here.” She pulled up the rest of the floorboards to reveal a steel door. It was covered in sigils similar to those on the key, and had no hinges or keyholes. “And how does this thing open up?”

Ellbrim let go of the key and it hovered above the steel plate. With a few whispered words, a motion of his hands, and a spark of blue light, it began to lower. Jagged sigils glowed when it touched the steel plate, and the key melted into the steel. There was a grinding noise, and the plate dissipated. A cloud of gray-blue mist rose around them. Hrusk batted her hand in front of her face.

Ellbrim bowed, “after you.”

“What’s down there?”

“An ancient temple to a forgotten god.”

That was never good. “What exactly is it you’re looking for?”

Ellbrim shrugged. “There will be gems and jewels, enough to pay you what I promised twice over.”

Hrusk was getting that festering feeling in the pit of her stomach. An ambiguous incanter and an ancient temple never went well together. But temples were notorious for being lavish. She inclined her head toward the opening, “pointy ears first.”

Ellbrim extended his hands as if to say “as you wish” and descended the stair. Hrusk followed. The stair led far beneath Aftan. It spiraled around a thick column. The stair led into a long hall with unused lanterns hanging from the walls. Ellbrim snapped his fingers as they passed these and each one burst to life with green fire. They came to a grand chamber, and her eyes widened. Gems. A lot of fucking gems. They lined the walls, embedded in the stone to make murals and frescoes. Even the pillars were covered in rubies and sapphires. Jewel encrusted serpents spiraled up the pillars. 

Ellbrim marched into the chamber.

“Wait, what are you doing?”

He spun on a heel and raised his hands to take in the whole chamber. “What’s it matter, look at all this. Start taking as much as you can carry. It’s your reward.” And he turned his back to her.

Hrusk drew her dagger and started popping jewels out of the walls. She stuffed as many as she could into her satchel, all the while keeping an eye on Ellbrim. There was so much here, her gaze travelled along the walls and ceilings. If no one else knew of this place, she could live like a king, coming back to harvest it all. But Ellbrim knew of it. She didn’t even like elves.

Hrusk shook those thoughts from her mind. Don’t go to that dark place. You’re better than that.

Hrusk made for the door. She glanced over her shoulder. In the center of the far wall was a massive serpent statue coiled in on itself. It was covered in crimson and amber jewels, and its maw was closed. Ellbrim raised his hands above his head, and spoke in a language Hrusk didn’t recognize. The air around him went muddy, and the serpent’s head rose. It brought its great head back, opened its maw, and slammed down on Ellbrim. Its maw closed over the elf, and then it returned to its resting position. Ellbrim was gone. No blood, no fabric, not even scuff marks on the tiled floor.

Hrusk knew enough about incanters and gods to turn her back on the temple. A small part of her was curious as to what she had just witnessed, but she buried that part, along with the entrance to the temple. She heaped broken beams and mounds of bricks over the entranceway to make sure no one else found it. Maybe she’d come back later for more gemstone. For now, she was going to get out of the Teal district.

***

Hrusk spent her gems all over the city of Aftan. She had gone from tavern to tavern gulping as much ale as she could and getting thrown into the street for being too rowdy. She was half asleep, her face pressed against slimy cobbles, when two bugmen approached her.

“You the half-orc half-gnome?” One of them warbled at her through its face mandibles.

When Hrusk gave a groan for an answer the second one, which looked like a hunched over beetle, said, “what else would she be? Look at her.”

The bugman’s tone roused Hrusk, and she stumbled to her feet. “Whadya sez?” She fumbled at the hilt of her sword but couldn’t get it free.

Each bugman grabbed one of her arms and started dragging her through the back alleys of Aftan. By the time Hrusk was regaining herself she was against a dead end wall facing three figures. Two were the ant and beetle bugmen, and the third was a man in a thick cloak with his hood drawn. She could see a tangled white beard spilling out of the hood. Symbols around his eye emanated a muted glow. Sigils?.  

“You are Hrusk?” The man said.

She nodded.

“I need to ask you about the Teal District.”

She didn’t answer.

“Rumor is a half-orc half-gnome was seen with an elf named Ellbrim. Do you know who that is?”

“No.”

The man raised a hand from within his cloak and snapped his fingers. A circle of red lightning surrounded Hrusk. “Wrong answer. What did Ellbrim show you in the Teal district?”

“Nothing.”

He snapped his fingers again and the circle of lightning tightened. She could feel its heat on her legs, and the crackling made her ears ring.  

Two four-armed bugmen and an incanter, the odds weren’t in her favor. Bide my time.

“Temple,” Hrusk submitted. “A temple.”

“Good. What kind of temple?”

“I don’t know,” she lied. Let him think her ignorant. The circle of lightened edged closer. “There were jewels everywhere, and snakes. That’s all I saw.”    

A smile played on the man’s lips. “Good, good. Now, you’re going to show me where it is. And remember, if you try anything clever, I’ll end you.”

She nodded.

The lightning faded, and Hrusk remembered to breath. I’ll run you through, old man. A set of insectoid hands took the sword and dagger at her hip, and then pushed her forward.

“Walk,” the ant one said.

Hrusk decided to take the long way to the Teal District.      

She came to learn that the ant was named Kank and the beetle was named Bamb. The old man said nothing other than “keep walking.”

Hrusk figured she could take down one of the bugs, maybe both if she managed to pry her weapons from them, but the old man at her back was a problem.

Carbun Avenue came into sight, dense with Aftan citizens. Hrusk led them as near as she dared. Her foot struck out, and Bamb’s knee twisted at an awkward angle. The beetle let out a warbled cry of pain. Hrusk tore her arm free of Kank’s grasp and darted into the crowd of Carbun Avenue.

She shouldered past a gnome, who went toppling into a human, who knocked down three other people. Bamb and Kank warbled at her, and a quick glance showed them charging into the crowd. They stumbled and shoved the confused onlookers out of their way. Hrusk ducked under a floating cart, pressed her hands to its bottom, and heaved. The levitation sigils groaned as the cart tipped. They couldn’t support the cart at a lopsided angle, and it fell with a crash, spilling cabbages and grains into the street.

Everyone in the street stared at the overturned cart and the two bugmen that clambered over it. Two orcs drew Hrusk’s eye. One had a myriad of tattoos across his body, it was the orc she’d stolen the key from. Hrusk dashed toward him, the bugmen on her heels. Too late the orc saw her fist streaking toward his face. The impact resounded with a meaty thud. Hrusk managed a quick “fucker” before sidestepping the stunned orc and barreling into the crowd. The bugmen collided with the orcs and they all tumbled into a heap of flailing limbs.

Hrusk darted into an alley. The tumult of the crowd faded as she dashed away. The alley opened onto a narrow street. Just as she rounded a corner, something grasped her leg. Off balance, she stumbled to the ground. The pressure writhed up her legs and to her abdomen. Her arms were pinned to her sides, and something hissed, its tongue licking her ear.

A red scaled snake coiled around her. The old man loomed over her. He spoke a strange language, and the snake tightened.  

“Now,” the old man said through clenched teeth, “you’re not going to do that again.” With a word the snake raised Hrusk to her feet.  “We’re going to the Teal District, and you’re showing me to that doorway. Or—“ the snake tightened and twisted as he spoke that strange tongue. “Do you understand?”

Hrusk nodded.

Bamb and Kank came stumbling into the street.

“Bind her hands, and make sure she doesn’t get away this time,” the old man said.

The bugmen tied her hands and then each grabbed one of her arms. The old man exhaled, and the red serpent dissipated.    

***

The Teal district, cracked and crumbling. Hrusk led the way to the fallen temple. She cursed Ellbrim, wherever he was.

When they found the dilapidated building, Hrusk took a step back and pointed her chin to the mound of rubble. “Under there,” she said.

Bamb pushed her aside and began hefting shattered stone and splintered wood to reveal the passage below.

The old man’s eyes were fixed on the dimly lit stair. Without looking at Hrusk, he said, “kill her.”

The abruptness of it made her heart leap. Kank drew his four blades and marched toward her. Hrusk backed away, arms bound and her weapons at the bugman’s hip. Kank leaped at her. Hrusk sidestepped the blow. Kank reeled on her and unleashed a flurry of whirling limbs. Hrusk ducked and dodged as best she could. So many damn arms. Kank thrust, Hrusk sidestepped it and clamped her jaws down hard on his wrist. She twisted her head and tasted bitter ichor. Kank let out a warbled cry as she spat out his hand. Hrusk lunged, pulling her sword free from Kank’s hip. Kank reeled, and she thrust with her blade, burying it deep into Kank’s chest. Green ichor pulsed from the wound, and Kank fell to the ground convulsing.

The old man and Bamb were gone. They’d underestimated her. She’d never have a better time to get away. But Ellbrim could be down there. She shooed away the thought. Let them shit fire on each other. Not my problem. She took a step away from the doorway. He’s probably drunk off his ass. A flicker of light came from the passage, it shone a faint green. It’s two against one. Ellbrim was supposed to be powerful. Drunk and out of practice. Hrusk turned toward the passage. She told herself this was to get revenge on the old man, not because she was worried about the elf. She grabbed her dagger from Kank’s corpse and made her way down the passage.

The lanterns Ellbrim had lit still shone, and she could see Bamb the beetle and the old man entering the jeweled chamber. She kept near the shadows as she moved closer. Take out the old man first, and then the beetle will be easy.

The old man and Bamb were standing before the great jeweled serpent. Hrusk pressed her body close to one of the grand hall’s pillars. The old man raised his hands and spoke in that unfamiliar language. The jeweled serpent came to life, opened its great maw, struck forward, and swallowed them both.

Hrusk waited a few moments and watched the jeweled serpent. The hall was quiet, and the statue made no further movements. Hrusk walked up to the jeweled serpent, sword and dagger in hand, and stared at it for a time. It didn’t move nor did it show any signs of life. She tapped her pommel against the statue’s body. Nothing.

She climbed it, hauling herself over the thick coils of its body until she was beside its head. She tried to pry the mouth open, but it wouldn’t move. She tapped her pommel along its neck, and it resounded with a hollow ringing. Using the pommel of her sword she struck at the serpent’s neck. Jewels fell to the ground and a crack formed where she had struck it. Again and again she slammed the steel of her pommel into the statue until chunks began to fall away and she could feel the soft caress of air on her skin. She pulled and pried at the hole, kicking pieces inward and forcing it wider and wider until she could fit through it. She climbed into the serpent’s gullet and had to crouch low to keep her head from striking the smooth stone above her.

She tripped and went tumbling down the tunnel. She careened down a spiraling tunnel, deeper and deeper, until tumbled onto stone.

What she saw was a palace. With domed spires and sprawling walls, it was a massive complex hidden in a large cavern. Green flame shimmered in lanterns. The palace was covered in jewels, but at the center of palisades, arching bridges, and huge towers were gem stones the size of horses. Hrusk had never seen anything like it.

She stood in the palace courtyard bathed in spectral green light. This first courtyard led to another wall, likely made to keep ancient armies out, and as she passed through the gate she froze in place. Lying on the tiles of an inner courtyard was Bamb’s body littered with arrows.

She pressed close to the doorway with her sword drawn and scanned the surrounding parapets and towers. She couldn’t see anyone.

She found her way through the first courtyard and up a stair to the parapets, from there a door led into a tower, up a stair, and to the top that was connected to an arching bridge that led from tower to tower.

A stooped humanoid figure stood motionless on the bridge, bow in hand. Hrusk stepped forward. The statue’s head whipped around to face her, symbols carved into it shone to life, and an arrow shattered on the wall beside Hrusk’s head. She barreled forward. The thing knocked an arrow and fired again, nicking her shoulder. Before it could knock a third Hrusk was on it and swung, gripping her sword two-handed, and shattered its chest like porcelain. It made a sound like grinding stone, and the myriad of symbols lost their glow.

Automatons. Artificial creatures brought to life with complex sigils. They could “live” for centuries requiring no food or rest. How ever ancient this palace was, it was still protected.

Ellbrim, what were you looking for here? She had a vision of the ragged elf proliferated with arrows. She shook the image from her mind. His body wasn’t in the courtyard with Bamb, which meant he may still be alive.

An arrow sailed past her head nearly clipping her ear. Her gaze found its source, an automaton knocking another arrow on the opposite bridge. She ran for the tower before her, and a dozen arrows clattered to the tiles around her. Automatons appeared in windows and from behind railings. One emerged from the doorway in front of her and let its arrow fly. Hrusk charged.  

It dropped its bow and drew a long rusted sword. Hrusk parried a thrust, sending orange mist into the air. She struck with her dagger. The automaton’s clay chest shattered, gears of tin and copper clanging to the ground as its sigils faded.

Hollow footsteps sounded from the stairs, more were coming for her.

She ran out onto the bridge where four automatons stood shoulder to shoulder, and a quick look over her shoulder showed more crowding the tower stairs. Hrusk wondered if it was too late to start praying to Balael.

Hrusk charged the four in front of her. Her sword swung, and the automaton’s rusted swords bent and shattered from the force. She ducked under a swing and tackled the attacker. With a heave strengthened by her momentum she sent one of the automatons over the bridge’s railing. She whirled in time to catch a broken rusty sword with her dagger, and cleaved through its head with her sword. The broken sigils popped, sizzled, and lost their glow. The automaton collapsed. The final two lumbered forward.  

The others had made their way up the stair and were crowding the bridge. Hrusk was about to turn and run when one of the automatons burst into flame, its porcelain flesh melting away. Another and another caught fire and the flames burned green.

“Well, what are you waiting for?” A voice called from behind her.

Hrusk turned to see an elf with a ragged beard and frayed red overcoat. With a flick of his wrist another automaton burst into flame.

Ellbrim!”

“Good eye, now hurry up.”

 “Are you going to explain what’s happening?”

“Automatons.”

“Right.”

Ellbrim led her from the tower and they bolted down a spiraling stair to an inner hall. Ellbrim swung the door shut and lowered a heavy iron bar over it.

“Now,” Hrusk said between breaths, “what is going on?”

Ellbrim mopped the sweat from his brow with his coat sleeve. “This is the palace of Orga.”

“You mean the palace?”

“One of her palaces. I came here looking for the Book of Jewels.”

“And that old man?”

“He wants the book.”

“Figures. Who is he?”

“His name is—“

A thunderclap shook the palace. Hrusk glared out a window to a large tower in the palace’s center. Red lightning sparkled in its windows.

“I’m guessing that’s where the book is,” Hrusk said.

“Most likely,” Elbrim brushed his beard. “There are a lot of automatons in there.”

“How much is a lot?”

“A small army kind-of-a-lot.”

“So, we just sit back and let them take care of the old man.”

Another thunderclap and an arc of lightning shot through one of the central tower’s windows. An automaton went spiraling to the ground, shattering into pieces.

Ellbrim was up and running. “We can’t let him get the book!”

Hrusk spat a curse and was sprinting beside Ellbrim a moment later.    

The courtyard was littered with the shattered remnants of automatons.

Hrusk picked up a piece of porcelain, its edges smoking. ”How strong is this guy?”

“Very.”

They bounded up a spiral stair crushing shards of porcelain beneath their boots. He’ll be tired when we get to him.

Two large double doors stood slanted on their hinges. Beyond was a grand hall of jeweled serpentine pillars and marble tiles. In the center stood the old man, hood back revealing his tattooed pate and glimmering eyes. Blood red lightning crackled around his hands. An eight foot tall automaton, nearly half as wide, loomed over the old man. It raised a rusty cleaver, and before it could swing it burst full of lightning. The cleaver fell to the ground as its hand melted, and the automaton turned to a pile of slop.

Ellbrim charged forward, his own hands engulfed in green flames. Hrusk watched as a cascade of green fire and red lightning exploded into the air. Each’s blasts seemed to resound off invisible barriers.

Hrusk made her way around the two. Each of their blows boomed like a thunderclap and shook the palace’s foundations. Jewels clanged to the floor, and tiles cracked from the force.

Within the serpent’s maw sat the Book of Jewels. The serpent statue’s ruby eyes glinted from the reflected light of spectral fire. There’s probably a pressure plate. She flexed her fists, her eyes darting to Ellbrim with each thunderous strike. Or it might breathe fire, spit acid. Ellbrim stumbled, and an arc of lightning singed his overcoat. Balael’s ass.

Hrusk leaped for the book, clutching it as she dove through the serpent's maw. The palace shook, and the sound of grinding stone echoed throughout the chamber. A screeching hiss sent Hrusk reeling. The serpent statue came to life. It slithered to the person in its field of vision, the old man.

He didn’t see what was rising behind him, even as Ellbrim began to back away.

It was at the last moment that he looked over his shoulder, and a primal fear twisted his features. The serpent statue struck with the speed of a viper, cleaving him in two.

The old man’s entrails spilled onto the marble tiles and seeped into cracks and crevasses as the serpent statue shook its head back and forth.

Ellbrim slumped against a pillar, sweat beading his brow and breathing heavy. Hrusk made an involuntary “whoop.” And the serpent’s head snapped around to regard her.

Shit.

Clutching the Book of Jewels close to her, Hrusk ran. Ellbrim staggered after her, struggling to keep up. The serpent statue snaked around pillars, and its bulk scraped and marred the walls of the spiral stairs. It followed them through the courtyard, crashing through walls and crushing still living automatons beneath it. All the while its ruby eyes intent on Hrusk and the Book of Jewels.

“The book,” Ellbrim wheezed. “Give it to me.”

Hrusk tossed him the book, which the elf nearly fumbled. The serpent had caught itself on a narrow corridor, and it was writhing to shake away the wall. Stone fell away from its sides as the corridor distended.

Ellbrim flipped through the books brass pages. Each was inlaid with small sigiled jewels and gemstones that glowed as Ellbrim passed his fingers over them. Hrusk was clutching her sword in both hands.

“Ellbrim, hurry.”

Ellbrim raised his hand, spoke in the language he’d used to enter the palace, and flicked his wrist at Hrusk. Her sword began to glow with white light.

The serpent darted forward in a storm of dust and shattered stone.

“Strike it!” Ellbrim called.

Hrusk raised her sword over her head, and as the serpent descended on her she swung. Sparks flew from where she hit, and chunks of stone fell away from the serpentine statue. Beneath its shattered flesh were slimy red scales. It reared up to strike again. Hrusk cast a glance at Ellbrim, but the elf was half-lidded, fighting to remain conscious.

The serpent struck. Hrusk leaped out of the way, its snout colliding into her side with such force that she went tumbling. Her blade still glowed. The serpent rushed forward. Still on the ground, Hrusk swung a warding blow. The blade’s tip sliced the serpent’s snout, and a series of cracks spider webbed outward. Hrusk scrambled to her feet.

 Ruby eyes glinted, and behind them blinked membranous eyes. It slithered forward, the foundations quaking from its movements, its tongue flicking outward. It lunged, Hrusk dodged to the side. Fangs racked marble. A ruby eye loomed before her. She thrust her sword, ephemeral light pierced through the gemstone to the flesh beneath. The grand serpent reared, maw wide with a silent roar. It thrashed, smashing its head against pillars and walls. The serpent fell, its body stilled, and the light from Hrusk’s sword faded.

She stared for a time before slumping to the ground. A few moments later Ellbrim staggered to her side.

They sat together, regarding the wreckage in silence. She traced the curve or the serpent, and noted the blood pooling beneath its head.

“That book,” Hrusk said. “It’s powerful.”

Ellbrim nodded.

“You could do a lot with that.”

“A lot of bad things.”

“Or good things.”

Ellbrim flipped through the pages, passing his fingers over the jewels. Each glowed as he did so, the sigils carved into them shimmering. He lingered on one longer than all the rest. He threw the book into the air, spoke a few words in that mysterious language, and snapped his fingers. The Book of Jewels was engulfed in flame. Its ashes scattered in the air before it touched the ground.

“Now,” Ellbrim said, “we don’t have to worry about it.”

Meaty Ka-Chunks and Overwatch's Reload Animations by Matthew Marchitto

I’ve been playing a lot of Overwatch lately. It’s a great game, with a lot of clever design, and a team devoted to constant updates/tweaks. But one aspect that Blizzard always nails is their presentation. Their games always have that extra sheen of polish that makes them feel better, whether the game is actually better or not.

In Overwatch, the reload animations stand out. They’re meaty, filled with scraping metal and pulsing energy. Hitting reload makes Winston’s charging Tesla cannon feel heavy, or Roadhog’s scrapgun brunt and messy. Each one is damn satisfying.

On paper, I wouldn’t have thought reload animations added much to the game. But after playing some Space Hulk: Deathwing, I couldn’t help but notice the absence of those extra little details. In Deathwing (which is pretty neat, I’m not knocking it) the reloading is a sad lowering of the gun followed by a click-hiss that is oh-so unsatisfying. Especially when you’re playing as a big, bulky character like one of the Warhammer marines.

Presentation is something that’s become more and more important in gaming. The mechanics of gameplay will fall flat without the right sound effects and visual cues to make the player either feel rewarded or powerful. It’s why, in order to make a cannon feel good to shoot, it has to boom and shake the camera. All to make the player feel like their shooting some heavy ass artillery. The numbers and damage output aren’t enough.

It’s one of those sticky issues when talking about games. A lot of folks, generally myself included, think gameplay is king. And that’s true, but so much of what makes good gameplay is layered under good presentation. Good presentation is what makes the gameplay shine.

There are a lot of other good things about Overwatch, but this one finer detail helps bring the whole package together.  

Are there any other little details in a game that you felt added a lot?

Orconomics: A Satire by Matthew Marchitto

Orconomics: A Satire, by J. Zachary Pike, is a riff on fantasy gaming and its conventions. Taking place in a world of orcs, dwarves, elves, and a whole manner of other creatures, it tips the expected status quo on its head. In the world of Arth professional heroics is exactly that, a profession, with investors and stocks and a ranking system. The goal is to kill the baddies, take their loot, and divvy it up among the heroes and investors.

Death is not only expected, but encouraged. Heroes either get the loot, die in the dungeon, or get hanged as deserters.

But it’s not glamourous, it’s a taciturn job, where causalities are hand waved away as long as the investors get their loot. It’s anything but heroic.

Gorm Ingerson, a fiery hearted dwarf warrior, is a disgraced hero. Once called Pyrebeard, known to all the land, he now drinks himself senseless in backwater gutters. Gorm is given a second chance by a priest of a mad god, and he takes it (with a little nudge from a blackmailing mercenary). Along with a cast of characters that comprises the party, they set out on what is expected to be a doomed quest.

Orconomics strongest assets are its characters. They’re all fleshed out and fun to read. They bicker, make peace, and bicker again. As the story unfolds there is a real sense of comradery that develops between them, but one that doesn’t overshadow the interpersonal conflicts.

If you’ve ever played a fantasy game, either a video game or pen and paper RPG, there’s a lot in here for you. Like how each hero has a class (warrior, mage, thief, ranger, etc.) which will sound familiar to most gamers. And each hero has to accrue points from killing enemies to gain “ranks” (level up). There are a whole lot of other little nods and jabs at conventional gaming, but even if you’re only casually familiar with fantasy games there’ll still be something in here for you.

One of the main aspects of the story are NPCs and their role in the world. An NPC is a shadowkin (orc, knoll, goblin, etc.) who have been granted their non-combatant papers. This means they can work and live among lightlings (humans, dwarves, elves, etc.), but that doesn’t mean their treated the same. And early on we get a clear picture that they’re living on the bottom rungs of society. As Gorm and his party get further into their quest, we get to see even more of how professional heroics interact with the shadowkin and NPCs. It flips the dungeon crawl on its head, making the shadowkin fleshed out characters that occupy a gray area.

The first quarter of the book meandered a bit. It was front loaded with exposition and set-up, but once the party got together and started the quest, I was all in. The interpersonal relationships are the crux of the story, and they are all fascinating and enjoyable to read. By the end, this rag-tag team of washed up heroes really felt like a team—even if they don’t all get along.

I’d definitely recommend this to fans of fantasy, but especially to fantasy gamers.

Check it out on Amazon and Goodreads

Milkmaid of the Milky Way by Matthew Marchitto

Milkmaid of the Milky is a 90s style point-and-click adventure, where you play as a milkmaid on a journey to save her cows. Developed by Mattis Folkestad of Machineboy (essentially a one man team), Milkmaid of the Milky Way is a labour of love. And I think it shows. It has evocative visuals, amazing music, and is written entirely in rhyming verse. Passion was poured into this game, and it’s better for it.

Milkmaid of the Milky Way is both whimsical and melancholy. A story about being alone and coming together. The protagonist, Ruth, lives alone on a small farm. Her only companions are cows, but she is devoted to them. When a spaceship shows up and abducts her bovine friends, she vows to go save them. Here is where the story takes off, and I don’t want to say anymore for fear of spoiling it, but things get much more complicated as the story twists and turns.  

The dialogue is written in rhyme, and coupled with the hand drawn backgrounds, the game has a storybook feel.

Despite the spaceships and cows, the story is about moving on, fighting loneliness, and asking when your responsibilities are infringing on your life and happiness. It’ll leave you wondering if you’ll have any regrets when you’re older, and maybe put a fear of stagnation in you.

On PC the game controls like most point-and-clicks. You move by clicking on an area of the world, and you can double click to run. This is a nice feature that keeps you from lumbering back and forth as you traverse the environments, especially when you have to do some backtracking. You also click to examine or interact with an object (including items in your inventory), and dragging items from your inventory onto an environmental object will let you use it on the object.

The cursor also helps identify interactable elements by pulsating when you hover over them.

The puzzles are straightforward and not too difficult to figure out. Whenever I was stuck, I found myself backtracking a little more than I would have liked, but the run feature went far in alleviating that minor stressor.

The components of the puzzles fit nicely into the world. When Ruth uses a wooden spoon to reach something, or her knowledge gained from farm work to solve a problem, it’s believable. The puzzles never felt abstruse or out of place.

Milkmaid of the Milky Way is a beautiful game. Its characters are all endearing, and it manages to communicate personality through visual cues and terse dialogue. It’s a tightly made package, with a strong story, evocative music, and gorgeous visuals.

I highly enjoyed it and would recommend anyone looking for a point-and-click adventure to check it out. 

Buy Milkmaid of the Milky Way on Steam for PC and Mac, or on iTunes for iOS.

You can find Mattis Folkestad on twitter, at Machineboy.com, or visit Milkmaid of the Milky Way’s official site.

 

I was provided with a free copy for review.

Technobabylon by Matthew Marchitto

Technobabylon is a cyberpunk point-and-click adventure with retro style graphics. Wadjet Eye Games, the studio behind the Blackwell series and Resonance, bring this sci-fi romp to life alongside developer Technocrat Games.

Wadjet Eye Games have been making quality point-and-click adventures for years, and it’s no secret that I’m a big fan. I always enjoy their games and Technobabylon does not disappoint.

Mandala, Latha Sesame's avatar, in the Trance.

Mandala, Latha Sesame's avatar, in the Trance.

You play as three characters in the city of Newton. Latha Sesame, an unemployed Trance addict. Charlie Regis, an old curmudgeon-y CEL agent (basically a detective). And Max Lao, Charlie’s fellow (and far more lighthearted) CEL agent. The story starts with the investigation of a string of murders. Each victim has been “mindjacked” meaning information has been brutally torn from their brains. As the story unfolds, its scope grows to encompass a larger conspiracy.

Newton exemplifies the “high tech low life” of cyberpunk. Newton’s wealthy residents live in opulent high rises and bear their wealth like a shield against the law. While the poor live in assigned housing, wear assigned blue overalls (which are recycled instead of cleaned), and eat from food machines that belch protein slop.

Then there is wetware. Wetware are nanomachines that allow individuals to mentally connect to the web, also known as the “Trance.” Wetware is not only common, but expected. Charlie is the odd man out for not having any. I don’t quite understand the specifics of wetware, but form what I can gather people use gelatinous forms of wetware to smear onto the surface of terminals and electronics. The nanomachines inside the jelly then build a connection from the terminal to the wiring inside the user’s head. This grants the user access to the connection with their mind, allowing for all sorts of hacking shenanigans. 

Newton is filled with a diverse cast of characters of varied race, culture, sexuality, and gender.

Newton is filled with a diverse cast of characters of varied race, culture, sexuality, and gender.

Central is the A.I. system that runs the city, and it’s also who CEL agents take their orders from. Central sees all, and can predict—to an extent—when a crime is going to take place. Its overall purpose is to make sure the city runs smoothly, including the citizens, even if that means Central has to withhold pertinent information.

Beneath the genre dressing is a story about grief, coping, and getting out of your comfort zone. A recurring theme of the story is its willingness to challenge the characters’ coping mechanisms. As with all good stories, the people are the heart of it, not the sci-fi tech.

There are twists and turns that bring into question the loyalty of allies, or the nature of an enemy’s animosity. But what really drove me forward were the characters, and all the little details that I learned through the dialogue and action. I won’t say much else because I don’t want to spoil the story, but ultimately I found it enthralling and never felt bored. By the end, I wanted to see more of these characters and the city of Newton. 

There's lots of pointing and clicking, as you’d expect from most point-and-click adventures. Technobabylon emphasises using your environments and picking up items to solve puzzles. This entails looking around and using the right-click to examine items and learn more about them. The left-click allows you to use, pick up, or move items and objects. There’s a good amount of trial and error, but the puzzles are all logic based. Everything you need to solve them is in the surrounding area, and you’ll never get stuck if you didn’t pick up something earlier in the game.

The first puzzle involves tricking a food machine's A.I. so it'll make an unauthorized item for you.

The first puzzle involves tricking a food machine's A.I. so it'll make an unauthorized item for you.

There’s a good amount of combining items to move the puzzles forward. Sometimes the solution is obvious, and sometimes it’s not. There were a few instances where I found myself doing the tried and true combine-everything-with-everything method. The main characters never have a huge amount of items in their inventory (like in some older point-and-clicks), so your options are never overwhelming.  

If you’re ever stuck on a puzzle, you’ll know that the solution is somewhere nearby.

Latha Sesame will have to pop back and forth from meatspace to the Trance to solve puzzles. The mechanics in the Trance are the same as in the physical world. Sesame navigates the Trance with an avatar, but instead of pushing tables and opening doors you’ll be uploading programs and making connections—all of which are represented visually as either avatars or new environments (like a living room or park).

There are some especially creative uses of the Trance and how it affects the physical world.    

Generally my default opinion would be to say that a point-and-click’s real value is in its story, and that’s true here to an extent, but the puzzles were so interesting and creative—not only in their implementation but in how they also acted as worldbuilding elements—that it would be a disservice to count them separately. The story enhances the puzzles and the puzzles enhance the story.

I’d wholeheartedly recommend Technobabylon to anyone yearning for a cyberpunk romp.

You can buy Technobabylon from Wadjet Eye’s site, Steam, or GOG

Wadjet Eye Games has a new adventure coming out soon called Unavowed. Check it out on their website, and keep an eye open for its release. From some of the screenshots Dave Gilbert has been sharing on his twitter, it looks flipping awesome.

Game Structure and Narrative by Matthew Marchitto

Recently I played Rise of the Tomb Raider, which was a lot of fun, but it got me thinking about narrative and game design. Namely, the idea that they don’t fit together well. A lot of games, Tomb Raider included, are broken into two parts: gameplay and story. They’re both pretty self-explanatory, but I want to talk a bit about how they interact.

The gameplay is the part where you run around and shoot the baddies, get the points/experience/whatever. Rinse and repeat. This is usually the part where the protagonist gets shot in the head and chomps on a turkey leg to regenerate health. The gameplay is always the meat of the experience. It’s what we spend the most time doing and why we play to begin with.

If the gameplay is the meat, then what’s the story? Usually, it’s the framing (or the skeleton). The story is an excuse to bust in the tower door and decapitate the wizard. It gives us a reason and context for what is going on, why it’s going on, and how we’re going to shoot it in the face. The story is told in three to five minute cutscenes that break up the action (unless it’s MGS). Again, the gameplay is the meat so we don’t spend a lot of time in the cutscenes.*

*I know there are certain games and genres that buck this trend. I joke about Metal Gear Solid, but JRPGs are story heavy as well, though if you consider their 100hr length versus how much of that is actually story it might be a rough equivalent to the format mentioned above.

The story will always be regulated to a second tier, and that is why is loses some of its importance, its ability to unfold and pull the player in. But, on the opposite end, I’d rather play a game with good gameplay and a bleh story than one with an amazing story but bleh gameplay. Bad gameplay is much harder to tolerate than a bad story.

Rise of the Tomb Raider is a great game, with phenomenal gameplay and action sequences, but a bleh story. It’s only there to propel us on the adventure, and we never get to dig deep into the subjects presented. The game did its best to set up as much as it could, to try and communicate through subtext of conversation, but there’s only so much you can do in five minute intervals. It favoured the gameplay instead of the story. Even the cutscenes seemed eager to remind you of this. They had a tendency to end with gunfire, an explosion, or a threatening helicopter as if to say, “don’t worry, the gameplay is still here.”

No one takes notice of how messed up Lara’s become. She lights dudes on fire and stabs them in the head.

No one takes notice of how messed up Lara’s become. She lights dudes on fire and stabs them in the head.

Gameplay and story have always been disconnected, and we don’t see it anymore. In gameplay mode the protagonist takes a shotgun blast to the face, ducks behind cover, and puts a band-aid on in. In story mode, a bullet to the gut means they’re dead. And we just accept it, because we all know the game wouldn’t be fun if the player died from one or two bullets. That’s why I dislike this structure. We’re used to it, but that doesn’t mean it’s good.

The Last of Us melds the two together well, but still falls into some of the same traps. Joel’s combat sequences are more than just gameplay mechanics, they build his character. Joel isn’t a good guy, he’s a broken, selfish person, and each time he murders an enemy we get the sense that it’s affecting (or reinforcing) his mental state. The gameplay shows us what he is willing to do for self-preservation, and this is then supported by the story in the cutscenes. When it comes to the game’s final decision, we’re more likely to believe that Joel would make the selfish decision over the altruistic one. In this way the gameplay informs the narrative.

Story as a bookend is frustrating. It’s clear that it’s only there to set up some context, to be an excuse for the adventure. I like the adventure, I want to be on the thrill ride too, but I want the story to keep up. To be more than just set up for the next action sequence.

Of course, this isn’t all games and there are some that do both phenomenally (Witcher 3 comes to mind). Do you guys have any examples of games that you think intertwine story and gameplay in effective ways?

This was originally posted on Medium.

Gnomes, Big and Small by Matthew Marchitto

I’ve had multiple secondary worlds tumbling around inside my head. One of them is Aftania,* a world that is unashamedly inspired by things like Dungeons & Dragons and Warcraft. It features all manner of monstrous creature as well as the expected “races” like elf, human, orc, and gnome.

Absent from this world are Dwarves and Halflings. Anyone that knows me would think the absence of Dwarves was weird, fantasy dwarves are one of my favourite races (coming in close behind orcs). But I decided to condense them all into gnomes. So, gnomes, in the world of Aftania, can be small three-foot humanoids, slightly larger (halfling-size), or burly and wide shouldered with bushy beards like Dwarves. This makes gnomes more similar to humans in that they can be a whole variety of sizes and shapes as oppose to all being made out of the same mold.

It also gives me more freedom to make certain body types and features more common among certain gnomish cultures. Maybe the mountain gnomes to the north are the burly ones, while the gnomes with deep ancestral roots in urban areas are smaller. It allows for a lot more variance.

It bugs me when all of a race are the same. It doesn’t make sense that elves high in the mountains have the exact same culture as the completely disconnected elves on the other side of the continent. Same goes for physique, though I’m not sure if this is a remnant from Tolkien or the influence of video games/pen and paper RPGs.

I’m trying to keep all the things I love about this kind of high fantasy but with a few twists that make it uniquely mine.

*Aftania is actually the name of the largest territory, and is also where the majority of my current stories/characters reside. The planet is referred to as Mo’den (an orcish word), but particularly arrogant Aftanians insist on calling the planet “Aftania.”

 

NaNoWriMo 2016 was a Bust by Matthew Marchitto

National Novel Writing Month did not go well this year. I only wrote a pitiful 15k words, far below the goal of 50k. But I did draft three short stories in those words, so there’s something that I can work with and hopefully refine/rewrite into something decent. 

A few things threw me off balance this November, one of which being the election. Even though I’m not American, it still managed to occupy a lot of my time and thoughts. Another hurdle was my own disapproving brain meats. I’ve gotten to the point where nothing I put out into the world seems to stick, being it self-pubbed works, submitted stories, or even this blog. There’s been some serious soul-searching as to whether I should continue to pursue writing. Ultimately, I think I’ve decided to throw in the towel and focus on other things. I’ll still write and post short stories here (and maybe on Wattpad), but the idea of writing as a profession is probably going out the window. 

I hope you all had a better NaNoWriMo, and let me know your word count totals!