So, now that the first three chapters of Ward/Worm II have been posted, I’ll give my impression. The impression is simple.
Typical Wildbow so far. You have the detailed, at least theoretically interesting setting, the dark tone, and the mediocre prose that feels kind of “infodumpy” and has trouble moving to different tones. That wasn’t surprising. (Neither is the argumentative discussion on Spacebattles, unfortunately).
The big question mark will be pacing. Pacing was one of the big weaknesses of the original Worm. It managed to be 1.6 million words long, or almost three times the length of War and Peace. Yet it also managed to escalate far too much. Even Wildbow’s shortest full web serial, Pact, is only slightly less than twice the length of that legendary thick book. For me, it’s at least easier to follow if I read from the start and read one chapter at a time (which is easy, I read fast), instead of binging on millions of words written clunkily.
So, I’m not exactly surprised by anything I’ve seen so far in Ward. The question as to whether it can recapture the magic of Worm in SBCRW also remains unanswered. To answer that will have to wait until the story develops more, and then to see how many fanfics use elements from Ward and Ward alone.
That’s Ward after three chapters. More or less what I expected, with all of Wildbow’s strengths and weaknesses. I hope it can improve, but given how it’s checked so many of the boxes already, I’m a little skeptical.
It may be implausible, but I love the concept of the tank army out of nowhere. I’ve seen it in a few cheap thrillers of dubious quality, and if the context allows it, I love it. It’s just a sign that the author simply does not care about those silly things like “logistics”, or “direct plausibility”.
Where I think I love the tank army out of nowhere (again, assuming the right context, which boils down to not taking things too seriously) has to do with my own hang-ups, where I’ve been too focused on “plausibility”. As a literary tool, seeing the tank army out of nowhere without any explanation save for a lame excuse (and sometimes not even that) makes me think “Ok, here’s tanks-this is going to be ridiculous, whether the author intends it or not.”
And I like ridiculousness in my fiction.
After nine teaser previews and much anticipation, the first chapter of Worm II (with the formal name Ward) has been posted.
I read it. It’s at least fresh, even if I still have issues with Wildbow’s prose and the excesses of the setting. One literary note is that the narrator’s name (Victoria Dallon) is somewhat clunkily inserted, and done at the very end of the chapter as a cliffhanger.
I’ve hopefully absorbed enough Worm knowledge through Spacebattles to get the general setting view. And speaking of Spacebattles, I’ll just say I’m glad there’s a seperate Worm forum in CRW.
Ok, some topics don’t appeal to me. This is a matter of personal taste, but still. I might as well give my opinion. I’ll start with the first, and one of the largest. Special Forces.
There’s multiple reasons why I dislike (and wouldn’t routinely use, at least for a main character) the trope of “special forces” or “elite warriors”. One of the biggest is a knowledge of the very real limitations of real special forces, the very different roles employed from the fantasy, the very different basic definitions of the term across different countries and times, and how all of them (in a setting with some degree of realism, at least), differ dramatically from the common fantasy. So that’s one piece of the pie.
But the second has nothing to do with practicality. It just feels off to have someone start the story at the top of the heap. It takes away from the sense of development and heroism, and (especially if used in a fictional fantastical role rather than a more plausibly limited one) smacks of wish fulfillment. It just seems better to have someone ordinary doing something extraordinary than someone extraordinary doing something ordinary-for them.
I authored the newest scenario in the Command LIVE series of DLCs, Black Gold Blitz.
You can see my full thoughts on Baloogan Campaign, but suffice to say I’m really, really excited.
The original Red and Blue versions are the only Pokemon games I’ve never beaten. Maybe it’s because I was too young to really play them well, then by the time I got a handle on things, Gold/Silver appeared and I fell in love with that, never looking back.
Gold/Silver is far and away my most fond generation of Pokemon games. It could very well be my rose-tinted glasses as I was growing just old enough to appreciate it, but everything, with a two-region game and day-night shifts, seemed so big and grand. Ruby/Sapphire was very good, but it and many of the later one-region games just feel a little cramped in comparison.
I’d say my least favorite (and this is definitely a relative term, the game was still very good) would probably be Black/White. Simply because its story went into a higher “narrative bracket” by trying to cast doubt on the journey-while quickly and totally yanking back to the “it’s totally ok” message. But the gameplay was still very good.
So it’s November.
It’s gonna be real busy for me, so blogging may be limited in both number of posts and their content, especially in comparison to last month’s blast of posts.
I set a personal new record for most posts in a month-and that’s not including this one.
See what posts I made in this month of heavy blogging here.
Sometimes I wonder what my life would have been like if I read “normal” books. And in some cases I do. But-I feel like I’d have missed something if I hadn’t read the undiscovered gems, the hilariously bad monsters, and even the bland potboilers I dig through to get the former two.
That’s just my taste to find the weird and different, I suppose.
Twilight 2000, the classic semi-postapocalyptic tabletop RPG, is a very contradictory game, one of the most so I’ve ever seen.
See, the plot is good enough. It’s more realistic than many WWIIIs in that the nukes fly, but manages to stay intact enough so that all the cool toys aren’t taken away. And whatever the many plausibility issues, it works for the sake of setting up an adventure.
The problem is in the dichotomy. The mechanics have a detailed, often-realistic unglamorous focus on the dirty work-logistics, disease, and the like. Characters are quite vulnerable. This mixed with the shattered, post-nuclear war-bandit setting means it should be poised for a low-tier, somber look, right?
Wrong. Sharing equally with the dirty-work mechanics are detailed stats of individual guns, tanks, and artillery pieces, starting dubious already but taken to excess in supplements. The post-apocalyptic setting is there to provoke challenges, but it’s also clearly there to take away the command post and those pesky orders. The target audience and themes are for the “bored soldier and military enthusiast” crowd, not exactly something somber. It’s like This War of Mine was jumbled together with Medal of Honor Warfighter and printed, to use later video games as analogies.
And then some of the later supplements got-weird. I’m talking “save Arkansas from evil airships” weird.
It’s still fascinating, both as a product of its time and for the “excesses” and contradictions it has.