Short Fiction: CAPTIVE AUDIENCE

You may remember a couple months back, a teacher friend of mine asked if I would write a survival story aimed at Middle Grade readers. Of course, I said “YES” and the short fiction piece “Rest” was the result. Well, she came to me again with a request for a story about a historic place as described by a time-traveling archaeologist with no context for what it was that person was truly seeing. Again, I enthusiastically agreed. What I came up with a (hopefully) humorous look at Champaign local landmark, The Art Theater, titled “Captive Audience.”

Captive Audience

by Jason L Blair

Hello, my good fellows of Temporus et Anachronus Historical Respect Society. I am writing you today with some troubling news.

Per the assignment given to me by President Emeritus Tiberius J. Tubbs, I have arrived at the designated location, a bastion of civilization nestled in an expansive grain field called “Champaign Illinois” in the district our forebears once labeled Midamerica. While the travel backwards in time concluded without error, our expectation of what we were to find here is actually very far from fact. Where we expected a gentle and kind tribe, instead, is home to a collection of cruel and seemingly easily-amused savages.

If I am to believe what I have seen here, one of the greatest attractions in this ancient place is a small building that bears the name “The Art Theater.” A fitting name, perhaps, because this dreadful place is home to a most barbaric “art” form. The people of this time have mastered the ability to trap their peers inside some sort of two-dimensional plane called a “screen.” Once relocated, the captives are forced, by some unseen mechanism, to reenact cultural tales over and over again as entertainment for a cold and uncaring assembly.

I have seen many such tales, from a collective of sightseers forced to evade the razor-tipped claws of prehistoric lizards to the story of a young girl swept away to a world of crazed winged primates and a green-skinned witch to a most tragic showing of a man who, upon exposure to the light of Earth’s moon, is turned into a horrific beast covered in hair and sporting a large and deadly-looking set of pointed teeth.

To further add to the audience’s savagery, they often feed upon heated and salted kernels from the surrounding grain fields–destroying their environment as well as their humanity!

As further testament to the high regard to which this barbaric practice is held, the Art Theater itself is adorned with images taken from these vile displays. The names of the participants are listed on these “posters.” I heard multiple people in attendance say they enjoy the work of some of these prisoners–I wonder just how many terrible dramas these poor souls are forced to act out!

It is my recommendation that we never return to this place. We have, as a society, evolved well beyond such archaic and brutal practices. How I long to return to the year 3807 where I can once again enjoy more enlightened entertainment such as a robogator wrestling and flaming goat dancing.

Your humble archaeologically-minded fellow,

Bodomir Jevins III

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Out Now: ENTER THE DOMINATRIX

The first story/mission DLC pack for Saints Row IV is out today! (In most territories anyway. Tomorrow for the UK!) Introducing Enter the Dominatrix.

I was one of the writers on this pack and it was a blast. In addition to more crazy Saints Row antics, some old characters come back as well which gave me the opportunity to work with some voice actors I was eager to see in action.

I don’t want to say too much because there is some true madness on display here. But I will paste up the official blurb:

Enter the Dominatrix reveals the wild hijinx of the original vision of the canceled SR3 expansion. Steelport has been taken over by the Dominatrix and only the Saints can stop her from trapping everyone in a virtual prison! Includes behind-the-scenes commentary and the return of some fan-favorite characters.

So there you go. It’s out now for PC, Xbox 360, and PS3 for $6.99.

Oh, and in case it’s not evident, it’s rated M for Mature.

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Interview at Geek’s Dream Girl

I recently sat down with the wonderful Lillian Cohen-Moore over at Geek’s Dream Girl to discuss the origin of Little Fears and how the publishing scene has changed since I released the original game back in 2001.

For those interested in getting their hands on a copy of the original Little Fears, I sell the anniversary edition (titled Happy Birthday, Little Fears) directly or you can look for it in the secondary market (though it sometimes runs a pretty penny) or game specialty stores like Noble Knight. To learn a bit more about the editions, check out About Little Fears.

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Short Fiction: REST

A teacher friend of mine asked if I’d be willing to help out with an assignment she’s giving her class. She needed some short fiction (4-5 paragraphs), aimed at 11-13 year olds, with a survivalist theme (her students had just read Gary Paulsen’s classic novel Hatchet). Any excuse to exercise my Middle Grade writing muscles is a good one so I eagerly agreed. Here’s what I came up with:

Rest

by Jason L Blair

The cold bit into Nathan’s hands as he climbed the hill. His bare fingers were nearly frozen. His whole body ached and protested every movement. Stop, it pleaded. Give up. Rest. The boy’s brain fought back, something deep and primal within him, No. I must go on. Each time he closed his palm on another piece of ice, he wanted to scream. A sudden burst of wind whipped around him, showering his face with fine grains of bitter snow. It felt like his face had been splashed with fire. His lips were brittle and breaking. The saltiness of his own blood coated his tongue. Above him, the sun—bright and mocking—beat down on him. All light and no heat.

As the boy crested the ridge, he saw the remains of the plane smoldering in the distance. Thick plumes of gray smoke billowed from the wreck. It was the beacon he had followed, the signal that guided him. When the craft went down, Nate and his family were in the last row. That part broke off first. He closed his eyes and could feel his seat spinning. His hands clutching the armrest. His mom, leaning close to him, whispering, “I love you, Nate. I love you.” Tears welled and almost immediately froze to his cheeks.

He heaved himself over the edge of the hill. A small crowd gathered by the remains of the cabin. The captain, whose name the boy had heard as Burley, warmed himself by a makeshift fire. The bearded man’s leg rested on an overturned service tray. Someone had knotted a bright blue blanket over his thigh. A flight attendant was packing snow into containers while a dozen other people milled about. Aside from the captain, who had given the boy a small pin—a pair of golden wings—Nate didn’t recognize any of them. He wondered if they knew each other. Or had they all been strangers filling seats. The boy fought back any thoughts about the people he did know.

The attendant stood and seemed to stare right at him. The boy tried to raise a hand, to call out, but his voice only managed a faint “help.” Even that was too much. The effort unsettled something in his throat and he started to cough. Faint, at first, but it got worse and worse. Each hacking gasp shook his body. Shivers rippled through his spine. His feet kicked out from under him and he started to slide. He scrambled for the top of the cliff but his fingers refused. His hands, locked into fists, beat uselessly against the shifting snow. He saw the crest slide farther and farther away. His legs slithered against the surface of the hill but to no avail. He wanted to cry, to scream, but he was tired. Too tired. Stop, his body said. Rest. His body landed in a heap at the bottom of the hill. Nate could feel his heartbeat slowing, his breathing was low and hypnotic. He was suddenly warm, comfortable. Rest. Rest.

His eyes fluttered open. No. No rest. Nate forced his body to move, to bend, to lift, to plant its feet and stretch, to extend, to grasp, to climb, to scream. “Help!” He yelled it every time his hand clutched an icy mound of dirt. “Help!” He hoped the words weren’t just in his head. “Help!” The hill didn’t seem so tall. He fixed his eyes on the twisting pillar of smoke. Overhead, the sun laughed—all light and no heat—but the boy didn’t listen. He continued to climb. He heaved his body over the top and started to slide the right way, quickly, like he was being pulled. He looked up and saw the smiling face of the flight attendant. A man’s face too. He had a beard too but not like Burley’s. A pair of broken glasses sat sideways on his stubby nose. “Another one!” a third person, a girl about his age, yelled. “We’ve got another one!” Nate looked up at the sun and laughed back.

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Out Today: SAINTS ROW IV

Happy birthday, Saints Row IV! Congratulations to everyone at Volition. The hard work, long hours, numerous headaches, and putting up with the writing department really paid off!

Click here to buy!

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Out Tuesday: SAINTS ROW IV

Saints Row IV comes out on PC, PS3 and 360 Tuesday, August 20th (Friday, August 23rd in Europe) and I cannot wait for you all to play it. It’s been a labor of love at Volition. We’ve poured our hearts and souls into this game to give you the best open-world playground we could. I know that all sounds like I’m shilling but I am speaking not only as a writer on the game but a huge fan as well.

From reviews:

“Saints Row IV is a fantastic game, keeping up the series’ tradition of giving players a wide open world and the tools to go absolutely bonkers within it. It’s hilarious, it’s action-packed, and most of all, its fun to play.” — The Escapist – 5/5

“I highly recommend it – Volition’s latest is a non-stop cavalcade of self-aware meta-humor and surprising, bombastic gameplay decisions from stem to stern, and to enter the experience with even the slightest knowledge of what’s coming would be doing yourself a major disservice.” — Joystiq – 5/5

“I honestly haven’t enjoyed a game quite so thoroughly as Saints Row IV, nor laughed as hard at one. On that note, Saints Row IV has my vote of emphatic approval for doing what it does so well: making us laugh until we cry.” — Neoseeker – 10/10

“I declare Saints Row IV perhaps one of the best open world sandbox games you could ever hope to play, and practically a culmination of everything the genre’s worked toward this generation.” — Destructoid – 9.5/10

“Saints Row IV made me feel superhuman — and that’s what this kind of game is all about.” — Polygon 9/10

“Volition did something it seems few developers are brave enough to do at this point: They were willing to reinvent the Saints Row series instead of just reiterating on it. The result is a game that I had an absolute blast with from beginning to end, but also one that—due to the escalation it exhibits—left me dumbfounded on what they’ll offer as a follow-up.” — EGMNow – 9/10

And that’s just a sampling.

A huge thank you to everyone out there supporting Volition and Saints Row, and an enormous congratulations to everyone at Volition, my adopted home, for putting out such an amazing game. I am incredibly proud of what we put together.

(For those on the fence about pre-ordering, trust me when I saw the free Commander-in-Chief upgrade is totally worth it. You haven’t flown until you’ve taken control of the American Eagle Jet.)

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Pre-Order Hillfolk Now!

To say I was floored that Robin Laws would want me to contribute anything to a book of his is a vast understatement but I’ve had a couple chances now to work with him and it’s been a treat every time. The most recent release is Hillfolk, the introductory book to his brilliant DramaSystem roleplaying gaem. Much like how his Gumshoe system was designed to emulate procedural dramas, DramaSystem gives players the tools to craft stories with personal conflict at their heart.

The base setting, Hillfolk, centers on the drama of the Iron Age people. From the official website:

In an arid badlands, the hill people hunger. Your neighbors have grain, cattle, gold. You have horses and spears, courage and ambition. Together with those you love and hate, you will remake history—or die.

As you build your story, you mold and shape the Hillfolk setting to fit its needs. Do you entangle yourself with the seductions of your wealthy cousins to the north? Do you do battle with the fearsome sea people to the west? Or do you conquer the scattered badlands tribes to forge a new empire of your own?

It’s really good stuff. For those who wish to expand beyond the base setting, Robin recruited a who’s who of gaming folks to contribute series pitches that apply the DramaSystem rules to new settings and genres. Check out this list:

Jason Morningstar, Michelle Nephew, Kenneth Hite, Matt Forbeck, T.S. Luikart, Jason L. Blair, Chris Pramas, Emily Care Boss, Rob Wieland, Steven S. Long, Eddy Webb, Jesse Bullington, Gene Ha & Art Lyon, James Wallis, Chris Lackey, John Scott Tynes, Ryan Macklin, Graeme Davis, Dave Gross, Allen Varney, Meguey Baker, Sarah Newton, Kevin Kulp, Mac Sample, Jason Pitre, Wolfgang Baur, Keith Baker, Will Hindmarch, Rob Heinsoo, Ed Greenwood

I can’t believe I’m in such company. My own series pitch, Inhuman Desires, brings paranormal romance to the DramaSystem. You’ll play as vampires, werewolves, fair folk, ghosts, and the enigmatic elders as they vie for control and influence of their shared resource: humans.

Hillfolk is out next month, and you can pre-order it (and the new edition of the excellent Esoterrorists) over at the Pelgrane Press website.

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SAINTS ROW IV – “War for Humanity” Trailer

Hot on the heels of the cover reveal comes the latest trailer for Saints Row IV. There’s really no preamble that will do this justice so I’ll just put this here:

(Caution: Language, Pixelated Nudity)

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Saints Row IV Cover Art

Saints Row IV is only a handful of months away and I can’t wait for you all to get your hands on it. Until then, though, check out the newly-released cover art for the standard and Commander-in-Chief editions of the game. (All you need to do to get the C-in-C edition is pre-order the game. If you do, it comes with some pretty sweet extras.)

Here’s the cover to the standard edition (click for larger):

And here’s the Commander-in-Chief edition (click for larger):

The game is out on PS3, Xbox 360, and PC on August 20th!

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I Want to Do More. I Want to Do Better.

I spent last week at the largest gathering of video game developers in the world: the Game Developers Conference in San Francisco, California.

It was amazing. It was five intense days of lectures, networking, and learning. I met a wide array of folks in the business from journalists to fellow game writers. I had a blast, and more than any other time in my life I realized that square in the video games industry is exactly where I want to be.

I was inspired, not only to push my own contribution to games but to push games in general.

I want to do more. I want to do better.

I listened to Walt D. Williams, Lead Writer at 2K Games, talk about constructing Sgt. Walker’s arc in Spec Ops: The Line. He spoke about crafting player dialogue and NPC responses to the place in the story, about the difference between actions justified by circumstance and actions rationalized by characters.

I listened to Jay Posey, from Red Storm, talk about real experiences versus authentic experiences, how perception deceives us and how gamemakers must play toward that, even when it veers away from reality, to deliver a more convincing experience.

I listened to Harvey Smith and Raphael Colantonio, from the studio behind Dishonored, talk about abstracting causality into interrelated systems rather than scripted events.

I listened to Tom Abernathy from Microsoft talk about wanting games in which his biracial daughter can see herself as the hero of the story.

I listed to Elizabeth Sampat, Brenda Romero, Leigh Alexander, and other women from within and around the games industry talk about their experiences getting into and working in the industry, how women are portrayed in games and the show floor, and what they want for future generations of women at the #1ReasonToBe panel.

I listened to all these amazing people, and more, and came away inspired as never before.

I want to do more. I want to do better.

I want to work on games that have something to say beyond “Press RT to Shoot.”

I want to write for characters other than the blandly handsome 30-year old white guy that marketing approved.

I want to explore motivations beyond revenge.

I want to explore emotions beyond anger.

I want to play AAA video games where more time is spent on creating authentic characters than crafting realistic gun sounds.

I want to spend time exploring the vast array of stories that relate to all of us as well as those that shine light into areas I would have otherwise never seen.

I want to do more than justify murder for a living.

Because, as a game writer, that’s what I do.

“Here’s why it’s okay for you to go here and kill these people.”

“Here’s why it’s okay for you to go here and kill these people.”

“Here’s why it’s okay for you to go here and kill these other people.”

It’s lazy. And it’s shallow.

And, yes, it can be fun. But surely we as an industry have more to say than “Nazis/aliens/robots/zombies/thugs are bad.”

I want to do more. I want to do better.

We will always have our summer blockbusters. But we need games that address more. Backed with solid mechanics, yes. Backed with engaging gameplay, yes. Presenting a challenge for the core gamer, yes. That takes advantage of the current social media paradigm, yes. We can have all those things and still do more than tell Major John Dragonwolf to Press RT to Shoot all the Bad Guys. All of this already exists in the indie scene, in the downloadable scene, in the tablet scene, but the Face of Video Games—the midnight openings, the eight-figure marketing budgets, the exclusive magazine covers—are almost entirely the same old thing.

We are an industry of incredibly smart people, each with a unique history and perspective. We’re puzzlemakers. And this is our challenge: Do more. Do better.

We can. If enough of us want to.

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