Complications, spies, and androids

Congratulations, Ashley, Mona, and Lauryn! They’re the winners of the giveaway of the previous post.

The revision process has been slow. I’m depressed enough that I don’t have the energy and focus to tackle what’s next: the really big problems that span several scenes. I need to do a lot of reordering and cutting, and some new writing. Unfortunately I don’t really have the brain for that right now, since I use it on my day job. I’m under the care of several health professionals and can complete job functions, but that’s my productivity limit.

When I’m not staring at the wall listlessly, I play video games, or if I have the energy, read. Reading is the most difficult of these three to do these days, but I did read a spy novel by John Le Carre. I wanted to see how he conveys complicated plotlines through conversation. He makes the game of who knows what when seem simple, and that’s what I need to do with all my information streams.

As far as video games, I don’t have a Nintendo Switch, but I like what I’ve seen of it: one of my officemates brought his in. He loves the new Zelda game. It requires far better reflexes and reaction time than I have, so I’ll watch John play it when we inevitably obtain it.

John ordered Horizon Zero Dawn, which seems to feature using a bow and arrow against robot dinosaurs. It’s post-apocalyptic and involves AI, so I’m game. We’ll see whether he gets to it before I do, as he recently finished NieR and is working on Advanced Puppy Simulator 2016– I mean The Last Guardian. If you’ve played it you will understand the care and detail that went into simulating a puppy. Who is also a gryphon.

I, meanwhile, am awaiting NieR: Automata, which is at home in my mailbox. I’m a huge fan of the game’s director, who’s also done Drakengard, Drakengard 3, and NieR. The games are unashamedly weird, with the stories being awful in a complicated and compelling way. Anyway, Automata features as your team a bunch of killer robots who have to fight other killer robots for existential reasons. The demo music is fantastic, and there’s a bloody easy mode for people without reflexes.

The director for NieR, Yoko Taro, said something interesting about story writing and a technique that I like using: work backwards. Think of a scene or situation in the story, and figure out what had to happen and what has to be true to make the scene work. The first scene to tackle in any story is the emotional climax, he says. He visualizes it since he works with game scripts. I’m not great at visual details, but writing down what is going on in that moment and why lets me expand and build the story’s spine.