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Short: Military Cloning Initiative (Part 19)

The following is an excerpt from classified document:

NMSC-1-7f-7d “MTALRES-188-34-11-C LOG”

RE: Group failures
To: MTALRES-188-34-11-C.CHALSER.A

Althea,

I don’t know if you heard the news yet. It’s about groups five and six.

Kad paged me down to the labs in section seven last night at 0230 because he had been dealing with an alarm in the gestators.

By the time I got to the lab, group five embryos had been confirmed as having ceased metabolism. All but one of group six was in the same condition.

I know you have been dealing with the first four groups as your expertise is in Novian genetics and not hybridization but when you get back to main hub, you are going to have to make a staff announcement.

Please read SRC 7-2-8a and MTALRES-14-3.

As ethics head, I am going to be holding us to these rules regarding the surviving group six specimen.

Althea, on a personal note, I have to confess, I am very upset right now. I am upset that we even tried doing this at all. I don’t know how it can be right that we are creating life like this, throwing darts at a board is what it feels like this was, and for what?

This poor thing is going to wake up into the world with a short timer ticking down from day one. Once she is off the gestator, I have no idea how long she will last, or if she will even make it. Kad said she would suffer from several degenerative neural disorders if she even survived to be born. This was the fist time I’ve ever seen the man cry, the very same person I almost had to censure a couple months ago.

After what happened at delta and what those people are going through and now this, I am questioning the ethical validity of the mission of MTALRES at all.

I want to talk to TOCO about this ASAP. They need to make the call. I cannot remain objective about this in my current state. As for us, I think if we all read the above mentioned material, there is no real question as to our obligations.

Dr. Marth Fendi
MTALRES-188-34-11-C Ethics Head:
@MTALRES-188-34-11-C.FENDI.M

World Building Master Concept: Culture (Part 1)

One of the most important parts of a good fictional narrative is that we feel characters and the worlds they inhabit are significant, grounded in their own logic. They need to have a context for what is done, and what is said.

Perhaps the strongest tool for providing this context is one that is all around us everyday, something that we are all participants in. Everyone on earth is influenced by and influences in turn, the culture in which they are immersed.

Today’s article will explore what role culture has to play in the art of world building and why it is so important. Once those claims are explored, we will then talk about how culture can shape the various styles of world building that we have previously explored in the World Building Basics series.

This master concept is somewhat long, so we will cover it in multiple parts. First, we will look at why culture is so important as a world building tool, and then, in the following article, we will explore examples of how to use it for world building.

Culture is a contextual cornerstone

One of the biggest reasons culture is such a powerful tool in writing fiction is that it is one way in which the context of actions by people is provided. This is because culture tends to provide a framework in which a person’s behavior is framed.

Some behaviors are shunned, some are encouraged. Some thought processes are more common, and some are not. Culture has an effect on everything in the life of an individual, from the the language they speak to the things they say within that language. It has an effect on the foods they choose to consume, the music they choose to listen to and the entertainment they find enjoyable. Nowhere is this simple truth more clear than on our own planet Earth.

Every human being is contextualized in part, by the culture in which they are immersed and because of this, the way they behave and think is put into context by their culture. People from different countries tend to hold different value systems and place emphasis on certain social or personal actions with a priority that strongly varies by the culture of those involved. This sort of dynamic world is something that tends to drive change, cause conflict or sometimes, spur cooperation.

Because of how dynamic culture makes humanity, so to, does it have a strong affect on the realities faced by our fictional worlds and the characters within them.

Because of how dynamic culture makes humanity, so to, does it have a strong affect on the realities faced by our fictional worlds and the characters within them. When we consider culture for fiction, we should consider it as a tool to add the same kind of believable, substantial context to our fiction, as it does to our daily lives.

Culture creates the context of life

As mentioned, culture creates a strong context for our actions. But why does it do this?

To me, culture changes some key things about us that strongly influence the way we live. It does so in at very least, three key ways. I distill culture’s impact into these three categories specifically for the ability to use these concepts in fiction. They are as follows: Thought Process, Societal Norms, Conflict Resolution.

Thought process

Through repeated action, humans tend to train our minds to learn patterns that allow us to more efficiently execute a task in the future. This learning process, over time, quite literally shapes the way we think. When our culture teaches us to value certain concepts over others, we tend to develop thought processes which prioritize those values as well.

This process goes beyond actions alone, but gets to the fundamental of who a person is. It shapes them from a deep level and modifies the way the world appears to them. Because of this change to the way someone’s thoughts are modified by culture, it becomes an extremely important tool for world building and storytelling at large.

Thought process is the most fundamental of the three concepts as it happens before all of the others.

Social norms

Another way that culture should affect a world or it’s people lies in the way that culture essentially determines what is and what is not normal or standard. Culture establishes this baseline, and while it may move or change over time, even the way it must be moved is directly impacted by the culture in question.

Because fiction tends to tell the interesting story about the situation that is beyond normal in some way, culture will therefore have something to say about what goes on or why.

It is not just plot, but character choices and interactions with each other that are largely determined by these norms. When one character performs an action it may produce wildly varying results based on what the cultures of the observers are. At a fundamental level these norms have a strong impact on how our world is built.

Societal norms arise from the way people think and, therefore, tend to act. Thus societal norms follow thought process.

Conflict Resolution

One of the key ways our culture influences us is that it has a direct impact on what we come into conflict with, and perhaps more importantly, how we choose to resolve those conflicts.

Often times it is the reaction and response to a conflict that is the greater driving force in how its consequences are felt, than the original conflict itself.

Often times it is the reaction and response to a conflict that is the greater driving force in how its consequences are felt, than the original conflict itself. Because culture has such a strong influence over these attributes of any given individual, it has a massive impact on the way stories are told and the way plots are shaped. It should be obvious then, that culture’s effects on conflict resolution have a very important role to play in fiction.

Conflict resolution is listed last here as the conflicts generally arise in response to thought process. Macroscopic conflicts often result from conflicting societal norms. Thus, a culture’s method of conflict resolution is tested.

Think, Feel, Act

The above trio of concepts is a set of things that I shorten to ‘Think, Feel, Act’

Thought process corresponds to the way people Think, Societal or Social norms, influence how people Feel about any given thing that they see, and how people Act to resolve conflict rounds out the trio.

Whether we are world building in a character or conflict centered capacity, or even in a world centric way, we need to understand the impact of this trio of concepts on every individual that is going to be shaping our world build.

Exceptions which are rules, are not exceptions

One of the important parts of culture when writing is that when we make choices about a culture and the way it influences people, we remain consistent. As I emphasized in the world building basics series we have to try and keep consistency when world building or our setting and narrative start to weaken considerably.

Further, when developing characters, consistent and believable adherence to the world we create in our world building, can be the difference between an annoying character who stands out for the wrong reasons, and a compelling addition to the narrative.

If one has a culture of violent warriors for example, a character who resolves their conflicts peacefully, or does not want to fight is immediately out of the ordinary.

It would not be a stretch to say that such a character would likely face some severe discrimination or dissatisfaction from members of their own culture for such stances or behaviors. This brings us to an important rules for writing when it comes to culture:

  • Do not create a culture whose norms you are not willing to uphold in your work.
  • If you make a ubiquitous exception for a rule, it is not a rule anymore.
  • Every exception to a cultural rule has consequences, no matter how small.

If you constantly break the norms that your cultures establish in your own fiction, you will actively damage the work as a whole.

The culture of a large, unstoppable empire who enslaves its enemies is imposing when one considers how scary being attacked by this empire would be for those who cannot escape. It is far less imposing if every member of the empire whom the creator reveals to the reader is actually someone who plans to liberate all the captive slaves that their family owns and treats them with love, respect and compassion.

That is not to say that there cannot be propaganda or misinformation that has shaped the surrounding people’s views of this empire, but remember that you, the writer, define what is the true nature of the imperial culture. If you define it as brutal and slave holding, you cannot also make it made of sympathizers too. In that case the sympathizers are the culture instead, and the narrative about brutal slaveholders being the prevailing culture no longer seems realistic or believable.

If you are making a culture that has strong views about sexual or gender roles for example, you cannot simply have the main character be outside of the norms for these roles without some kind of consequence to the way the story is shaped or the way the surrounding culture perceives them.

If you feel completely averse to a particular cultural concept or idea, it is best to use the tried and true world building methods we have outlined previously, to find an alternative: Ask Questions and explore the implications of their answers.

Creating a world build does not mean you are immersed in the beliefs held by individuals you are writing about anymore than a historian who studies history is a follower of whomever they are studying.

If however, you find a concept or idea too difficult to adhere to when creating a culture because it makes you uncomfortable, the answer is simple: Do not include it. Find a different way to solve the problem.

Culture Creation

In the next article on the culture master concept, we will take what we have explored here and try to see how it can shape our various world building techniques. By doing so, it is my hope that you will be empowered to leverage rich cultural histories in your world building.

While building a culture inside our world builds follows most of the same question and answer concepts we are familiar with, the collections of ideas that go into a particular culture have lasting and strong impacts on any build and we owe it to ourselves as creators to better understand how to apply culture to our fiction.

Stay tuned for the next article in the series!

Star of Ashor Amazon Ebook Release Pending!

Well, it has been a long road, one I am ready to hit a milestone in but one I am extremely nervous about. There are so many hoops to jump through with setting up your stuff for electronic sale that sometimes it feels like there is no light at the end of the tunnel.

Today I am hopeful to announce that my Amazon Kindle edition of Star of Ashor is under review for digital distribution on Amazon.com. I know that this is something almost anyone with some time and will power can accomplish these days, but for me it feels like a milestone is in the making anyway.

To celebrate, I decided to put the cover art that will grace the digital edition of Star of Ashor here on the blog so you can take a look at it.

I am excited and nervous for the next steps moving forward, I have had a hard time with staying motivated through all of these extra parts.

I hope as many people as can, will be able to discover this story. I know that I am an independent author, but I have real faith in this story and its characters. I am confident that those who read it will enjoy it almost as much as I did writing it!

Once we get some of this under way, the rest of the gears should start turning again. What does that mean for you? Well simply put, it means the Codex will start running again, and the Writing Blog entries will resume as well. Stay tuned for more updates and links to the Star of Ashor Amazon listing.

-T

Setting up with online merchants

Update today,

I’ve been working hard on getting all of the behind the scenes stuff going to set up the first of the merchant accounts I need to make. There is a lot of extra work in setting up for the sale of e-books that must be done in order to make it all possible.

To be honest, this part is harder for me than actually writing books. I am much more interested in the writing part personally.

This extra stuff however, is necessary so it is something that I will be taking care of. Some of it just takes time and if I try to take all of it on at once it gets a bit overwhelming.

I will be starting up again with the codex entries again soon, but the writing blogs themselves will still be waiting till all of this is worked out.

I will probably make a post or two on the “extras” i had to do past the writing stage because it could be useful information to people planning to write their own stuff.

-T

Book Artwork

HI all,

Temporarily not doing writing blog because I’m focusing on doing the cover art for Star of Ashor! I will be posting the update of the cover art image soon so keep your eyes peeled.

The next writing blog entries will probably start once I get Star of Ashor onto some digital storefronts. I estimate this could take a couple weeks to accomplish. Until then, the regular writing blog and codex might be more sparse.

-T

The Tier 4 Jump: Up-tiering (Part 3)

Welcome to the final part of this character creation and up-tiering workshop. Last time we discussed the idea of the character personality and the importance of finding a way to give life to the characters we create. We went over some of the ways in which we put effort into the character growth process to improve our character to Tier 3 from Tier 2.

Leveraging the Interview style of character building, we were able to take our existing character and start to add depth and personality to them. While the interview style is not the only way to bring a character toward Tier 3 from the previous, it is an effective one.

One part of our process that we have kept in our heads for most of the time we’ve been building, is the idea of using an existing world. This is something we discussed most heavily in part 1 of this workshop series.

When we use an existing world we give ourselves a big advantage in many ways, for building characters that feel grounded and believable, but it is important to note that just because we are putting those characters into a more fleshed out setting, we are not gaining an uninhibited superpower of creation.

Quite the contrary, when building in an existing world we are actually constraining ourselves more than we are freeing ourselves. At first this sounds counter-intuitive, but in this article I will explain why this is so very important for raising our character’s tier beyond Tier 3, and also, why it is that we want this constraint.

Context Matters

When a character is created we tend to view them as a blank slate, and as we build them up, they start to take the form that we, the creator are choosing. However, one thing that differs for us versus our creations are the simple and unavoidable realities of life.

As human beings our unique experiences and challenges shape the way we view the world and they impact who we are, how we think and what we decide to do with the time we have been given to live.

When we talk about characters however, we tend to envision them with a timelessness that allows them to be whatever we dream them to be.

If we examine our own lives, this is actually counter to how we experience life and the events around us. When we approach our characters in this vacuum of timelessness, they tend to feel like they may lack depth and nuance. This does not mean that they are bad characters per se, but it can speak to the fact that they may have need of more growth in order to provide the strength to be a narrative focus in the future. This is one of the things that separates Tier 3 characters from Tier 4 characters.

So how do we avoid putting characters into a vacuum of timelessness? How do we make them feel like they are living breathing parts of a narrative?

Simple, we let them live life in the world that’s been created.

Context provides strength under plot scrutiny

The concept of a character living life may sound odd to the uninitiated, but bare with me. As I mentioned in the character tiers article, there comes a point where character’s need to start having the context of a world to feel strong in a narrative. This key concept was called ‘Plot scrutiny’

When a character is resilient under plot scrutiny, they do not generate disjointed reactions from an audience where a lesser character likely would. When they are strong under plot scrutiny, they tend to carry the importance of a narrative with them and the gravity of events within that narrative feels stronger to the reader than it otherwise would.

A character who is strong under plot scrutiny is not only strong themselves, but makes the entire narrative stronger too, providing much needed glue to established world building.

A character who is strong under plot scrutiny is not only strong themselves, but makes the entire narrative stronger too, providing much needed glue to established world building.

Conversely a character who is weak under plot scrutiny tends to act as a solvent on the glue of an otherwise coherent story or world. They cause cracks to appear and they make other, stronger characters and their world, look weaker than they are.

This concept can sometimes be seen in media. If you have ever watched a show, read a book or played a game, there’s a chance you’ve seen or met one character who just felt ‘off’ for some reason in the context of everything else. While it is hard to objectively define what makes a character fail plot scrutiny, when we notice it, it’s almost impossible to ignore.

Generating characters who pass plot scrutiny is therefore, one of the key cornerstones of character building and indeed, is one of the steps which is required for a Tier 3 character to be classed as Tier 4.

Let’s take our created character, Kelem ‘Black Viper’ Shae’Lun from the previous two articles in this series and explore how we ensure that his character has a context to allow this growth and help him pass plot scrutiny

Apply the world to the character

In order to let our character have life and feel believable, it is important to understand what form that life is going to take. With every character design it may take a different form. For today’s article we are going to focus on the process of creating a ‘backstory’ that allows us to integrate knowledge of our existing world into the design choices we have thus far made.

As I mentioned in prior articles there are sometimes points at which our design choices such as a personality trait or physical characteristic, conflict with a backstory. Resolving these conflicts is essential and we will discuss how to do so after we come up with a backstory at all.

The creation of a good backstory can be one of the hardest parts of the character creation process, but also provides a much needed insight.

It is made easier, when we have existing information about our character and the Tier 2 and Tier 3 steps of our building have provided some much needed pointers to that end.

I am going to re-iterate both the Tier 2 and Tier 3 lists of qualities and traits we came up with below, and after that we will see how these are actually useful signposts in creating a backstory.

  • Physical / Aesthetic
    • Hil’Raigh, Male
    • Looks unassuming for a Hil’Raigh military role
    • Longer hair
    • Light red/orange hair
    • Facial hair
    • Often seen wearing a hat of some kind
  • Personality & Background
    • Formerly part of a national (Akal’Maru) naval special operations division
    • Single, unmarried
    • Loves to barbecue
    • Likes zero gravity sports
    • Likes oil painting
    • Cynical
    • Macabre sense of humor
    • Largely Calm, aggressive when provoked
    • Goes by his “code name” with most people
  • Knowledge & Skill
    • Trained in many hand to hand combat styles
    • Knows how to use weaponry from all over the galaxy
    • Expert marksman
    • Knows how to operate many types of vehicles.
    • Licensed pilot
  • Mental Traits
    • Has an obvious feeling of brotherhood with other members of the Federation military.
    • Has seen some things he does not like to relive and that affects his outlook.
    • Is a bit closed off to strangers, despite being cordial to them.
    • A driven person who chases his goals.
    • Has some strong opinions on the way the Federation uses its military and force as a whole
    • Sympathetic to the Hil’Raigh colonies and the challenges they face.
    • Is largely un-phased by cultural norms
    • Problem Solver
    • Leader
    • Doesn’t like Corsairs and other pirates
    • A bit blunt
  • Weaknesses
    • Prone to self isolation
    • Dealing with some past traumas from combat experiences
    • Sometimes chases his own goals to the exclusion of others needs and desires
    • Sometimes bluntness causes trouble in his world
    • Has a hard time making new friends outside of military focused individuals
    • Dismissive of some people’s struggles or problems

Now that we have our character’s traits and abilities spelled out for us, we can start to take a look at some of the things we need to cover in this character’s backstory. Starting at a high level, we weave these lists into a narrative tapestry. Because we conducted an interview with our character already, I will also refer to that section for helping direction in the outline of our backstory.

Before I start blocking out any backstory though, I want to look at some key things that should happen in the backstory for Kelem. This step can take some time, don’t let it feel daunting. Anytime you come up with a new idea for ‘something that should happen’ you can put it down as a bullet point. It is good to order these chronologically if you can. After some close inspection of the lists, and the interview questions, I came up with the following important plot points. These should be the biggest takeaways from the backstory.

  • Kelem is an Akal’Maru Citizen
  • Kelem joined the special forces of his national military when he was younger
  • Kelem has had a number of combat encounters with pirates in his service life
  • Kelem founds Shae’Lun as a Private military corporation
  • Shae’Lun fights with more pirates and helps with frontier law and order
  • Shae’Lun fights in war with NovaCore
  • Kelem keeps an active role in his company dealing with the aftermath of the NovaCore armistice

These plot points make up the bulk of what we want to accomplish, but as you can note here, there is more that we have established about our character than has been put into these plot points.

Using the above as a guide, let’s refine that outline and give it depth. Below is the result of me combining more of the above information about Kelem, with the simple list I just created.

For our mutual benefit, I will include which list section that each of these sub-points was drawn from. This should help give you an idea of how I am engaging this process.

Important to note is that I also will tag some information with “World Knowledge”. World knowledge is information that is gained through knowing and understanding the world as it already exists. Use it to your advantage when telling backstories too.

  • Kelem is an Akal’Maru Citizen
    • When he was younger, Kelem was reasonably athletic, but especially loved zero gravity sports (Personality & Background) because they did not rely on a massive physique (Physical &Aesthetic)
    • Having an outlet for his energy when he was at a more volatile age, helped him develop a calmer more collected personality under stresses (P & B)
  • Kelem joined the special forces of his national military when he was younger
    • He was able to join the special forces because his driven goal chasing attitude (Mental Traits), combined with his problem solving nature, helped him stand out (Mental Traits).
    • Kelem showed exceptional promise as a marksman through his training (Knowledge & Skill)
    • Because of the nature of his secretive work life, Kelem never really found the desire to seek for romance (P & B) and his goal oriented attitude and focus on work made him have difficulty during the few times he tried (Weaknesses)
  • Kelem has had a number of combat encounters with pirates in his service life and eventually leaves military service
    • Seeing combat action tended to make Kelem more macabre in his humor (P & B)
    • Earns the moniker ‘Black Viper’ on early combat mission (P & B) and starts to develop a strong respect for colonial militias and their membership. He becomes an advocate for colonial protection (MT)
    • Kelem is eventually promoted to leadership (MT) for his role in combating pirates, whom he grew to hate (MT) and problems on the Hil’Raigh Frontier (Interview)
    • Kelem is involved in difficult combat operations that, over time, give him a somewhat cynical outlook on the life he’s asked to lead (P & B), this is exacerbated by a particularly rough campaign in which he loses some comrades (Weaknesses)
    • Kelem learns more combative hand to hand styles to prevent previous tragedy from striking again (P & B) and takes up oil painting as a theraputic method (P & B) but the scars remain and he remains somewhat isolated (W)
    • Kelem certifies with a very large number of weapons and undergoes pilot training for many types of non combat vehicles for deployment, landing and transport (K & S)
    • Quits the service eventually (P & B) (MT)
  • Kelem founds Shae’Lun as a Private military corporation
    • Driven to found Shae’Lun after several years because of his expertise, some connections and the brotherhood he has with military minded former service members (W)
    • Gives Shae’Lun goals in line with righting some of what he believed were wrongs with the military command structure he was a part of before (MT) but he is a blunt leader and that causes trouble sometimes (MT) (W)
  • Shae’Lun fights with more pirates and helps with frontier law and order
    • Kelem’s hatred of pirates draws him into a leading role with Shae’Luns campaigns on the frontier for a long time (Improvised)
  • Shae’Lun fights in war with NovaCore
    • Shae’Lun eventually fights with the NovaCore (Interview) as a strong supplement to Akal’Maru naval forces (World Knowledge)
  • Kelem keeps an active role in his company dealing with the aftermath of the NovaCore armistice
    • The rise of the corsairs and Shae’Lun’s dealings with them (IVW) shoves the Shae’Lun corporation to the forefront of public consciousness for quite a while (WK)
    • Losses faced by Shae’Lun weigh heavily on Kelem’s heart (MT), he decides to bring Shae’Lun into the arms business to provide customized solutions for the unique problems facing Shae’Lun’s operators (IVW)
    • Meeting a large variety of operators from various backgrounds and cultures helps temper Kelem’s cynicism and he starts to focus it more on large political and cultural establishments (MT)
    • Kelem decides to bring back the barbecue tradition (P & B) of his deceased military superiors used to like doing for his team and establishes local chapter barbecues as a regular event for Shae’Lun employees and operators (Improvised new idea)

For the sake of brevity, today’s article will not feature a written backstory for Kelem, (That will probably come later as a codex entry, maybe in the short form) but it should be reasonably clear from the above that not only is our character stronger having gone through this process, he feels like an involved part of the world we’ve created while simultaneously becoming more fleshed out and well understood.

Even going through the process thus far has helped me, the creator come up with an understanding of this character that I previously lacked, and almost all of it was from knowledge and understanding placed into our character up till now.

I also hope it is clear that the above benefited greatly from the fact that we kept our character grounded from the earliest days of creation. This design choice helped ensure that our character retains world continuity even now but that is not always the case. In some settings we may not have control over all of the world and it may drive character and world into conflict. If this occurs, you must either world build, or change your character.

Respecting creation

When you cannot reconcile your characters design or backstory with the existing world, it is tempting to homebrew an exception to the norm. While this works in the short term sometimes, it almost always causes challenges later.

If you are working with a group of friends or a smaller insular community that agrees upon the changes, then it might fly, but if you are integrating into someone else’s largely understood intellectual property with say, a fan character or a character for a role playing game, then you are going to have a harder time convincing everyone you deal with to accept those changes.

Even when you are working with your own world, be very careful to consider the impact that creating an exception for this character could have.

Even when you are working with your own world, be very careful to consider the impact that creating an exception for this character could have. Ask yourself if it will undermine some key point of your world or destroy the credibility of a story you plan to tell later, or perhaps, have already told.

Respect for your own world and the creation you have built up is just as important as respect for the work which others have made. (Respect does not mean unfounded or baseless pride and immunity to criticism however) Do not make changes to your world lightly for the sake of a single character.

When you gain more experience with design and narrative, you will find chances to make these exceptions in a more organic and sensible way that enhances rather than detracts from plot, world continuity and story telling. When used sparingly, these exceptions can be powerful boosts to a character and story, but do not overdo it.

Onward to greater heights, if you want

With the strengthening of Kelem’s character through putting narrative weight behind him, and adding real world context to him, we can safely put him on the path to Tier 4 now. allowing him to move forward and expand as a character.

From this point forward, most of the growth for Kelem’s character is going to have to come from active story telling. The creator of any character has to spend the time to walk in their shoes and bring them through their challenges and triumphs in order to create the emotional gravitas that is required to move beyond.

Tier 4 is both a starting point and for some characters, a position of station keeping where they can effectively contribute and help a story move along without damaging the narrative integrity to which they are contributing. Keep in mind that not every character must be reaching higher tiers but the options is always there at Tier 4.

Now that we have explored the creation of a character in an existing world, and showed how to use and apply the Character Tier system to them, we are going to pivot back to some more world building articles going forward. We will explore concepts that help enhance the world builds we do by exploring “World Building Master concepts”.

In that series we will cover more detailed topics like how to use religions or spirituality and faith in world building, How to better understand international and internal politics facing our fantastical worlds and how to utilize and build cultures which interact with and influence all of the above. I hope you enjoyed this series and I hope you are looking forward to more character design in the future!

Short: Military Cloning Initiative (Part 18)

The following is an excerpt from classified document:

NMSC-1-7f-7d “MTALRES-188-34-11-C LOG”

RE: MTALRES Restructure
To: MTALRES-188-34-11-C.Staff

Staff,

After some presentations by Team 3 and some meetings with the senior staff, we have decided to move forward with the hybridization project. This means we will be commencing the cloning of viable Novian genetic combinations and also genetic hybrids.

The Novian genetic combinations will serve as our primary phase group, while the hybrids will serve as the secondary phase group. The control group will be unmodified genetic sets from randomly selected donor pools in the population at large, from which the traits for the combination group will be drawn.

It is important to note that with the sanction to proceed to organism cloning, we have demonstrated our ability to fulfill ethics requirements. From this point forward SRC guidelines and MTALRES guidelines require application of the universal rights code. All genetic sets are to be verified in a seven step process of review before any viable embryo is placed into the growth system. You can consult your manuals for details.

This project is not to be a mass production system. We are not going to be creating vats of clone soldiers. This is a research project with the intent to provide for our own genetic competitiveness with the engineering capabilities of our neighbors and nothing more. The rules of this project’s new mandate are outlined  clearly in the upcoming release which you can find a preliminary copy of here.

Remember that anything we do or say from this point forward in the project is required by disclosure law, to be made public in the future. Take the charge of your position seriously. Make ours a legacy of honest knowledge and seeking of truth with your words, deeds and actions.

As a note, all staff will be required to attend child development courses taught by MTALRES instructors when they arrive. There is a sign up sheet available here.

Cpt. Althea Chalser
MTALRES-188-34-11-C Head
@MTALRES-188-34-11-C.CHALSER.A

Short: Military Cloning Initiative (Part 17)

The following is an excerpt from classified document:

NMSC-1-7f-7d “MTALRES-188-34-11-C LOG”

RE:  Breakthrough!
To: MTALRES-188-34-11-C.CHALSER.A

Dearest Cpt. Chalser,

I appreciate your enthusiasm. I hope that my previous statements of intent to be a working part of the project here have been proven at this point.

I understand that you were interested to know why I came up with the technique I did with the Team 3 Head staff. Because of that interest I will be publishing my own detailed addendum to Cpt. Durnist’s own. I have yet to complete it however so I will have to request your understanding in the interim.

Essentially it boils down to the reality of the Kul’Raigh population. They are extremely odd from an evolutionary perspective, to the point where our bio computing technology was almost solely based on their brain scans for the better part of the last decade. It was only recently that native scans gave us an idea of how to move forward.

I performed my first doctorate research project on _____ genetic topology and programming, and when I saw what Cpt. Durnist was doing, I understood what he had to do from there to get where he wanted. To be clear, I am not an expert geneticist, I am more proficient in logic and control flow than I am in biology, but the genetic set is and always has been a particularly good bio computing platform.

The way that the genome is coded is such that the _____ and _____ stages are duplicated only when the proper protein markers are attached to _____. Without these there is little that can be done to modify the DNA. Attaching Novian genetic material inline then, requires that we assign _____ to the _____ sequence to open it for programming. (A similiar setup is well documented in genetic research in the Federation, I can cite it in my write up. The setup we need to use must be different or we won’t be able to combine the new base pairs.)

Our technique won’t be as clean because we are not crafting the gene entirely from nothing and we have to fit alien genetic material into the gaps. But based on your program’s expertise with that sort of mapping I think you can handle figuring out where each of the Novian genes needs to be placed.

I did notice that we have a cohesion degradation in our bio computing nodes when we modify those however; it decreases redundancy common to the Kul’Raigh DNA. (An entirely different topic of course but related and interesting)

If that degradation manifests it will probably kill any cultures because cell apoptosis sets in rather dramatically when that degradation occurs. I never figured out the solution to it.

Dr. Y. Mizari
MTALRES-188-34-11-C Team 4 Head
@MTALRES-188-34-11-C.MIZARI.Y

Crystalizing a Character: Up-tiering (Part 2)

Last week we went over the process of creating a character from scratch with the purpose of eventually growing them through the Character Tier’s system.

For that purpose we introduced the character Kelem ‘Black Viper’ Shae’Lun, the founder and owner of the notorious Shae’Lun private military company in the Hil’Raigh Federation. One of the key points we wanted to focus on, and still want to focus on in the coming parts of our creation process for this workshop, is the idea of using our existing world as a basis in which we are creating a new character.

Like last week, we are going to be diving into more of the Star of Ashor setting, and when appropriate I will share information about that world so that even those who are inexperienced with it, can use this article to keep building on the last.

Before we return to Kelem Shae’Lun and improving his character tier however, let’s review how the characters at Tier 2 differ from the characters at Tier 3.

Introducing the personality

A Tier 3 character as discussed in the tiers article, is an important step in the evolution of the character. I like to think that Tier 3 is really when the character starts to grow in the way of gaining a personality.

While a Tier 2 character is largely a list of traits that tends to be defined only within the context of the list, A Tier 3 tries to improve upon this by adding mannerisms and opinions, ideas, and weaknesses the mix.

While a Tier 2 character is largely a list of traits that tends to be defined only within the context of the list, A Tier 3 tries to improve upon this by adding mannerisms and opinions, ideas, and weaknesses the mix.

When a character inhabits Tier 3, they are starting to gain definite behavioral traits. While it might seem easy enough to lump these into the trait list from Tier 2, one should avoid that temptation because of the clear separation of the roles of these lists.

One can think of the Tier 2 trait list as a design guide. If you or someone else were to draw your character, these things would have an effect.

The Interview style

While our list of traits from the Tier 2 article DID include some basic information about potential personality traits in the form of some liked activities, it did not give us a direct sense of who our character is, not yet. While we have those traits in the list, we know they are there, but how they express themselves is another matter.

For example, the character of Kelem is listed as cynical. There are many cynical people or characters in the world, and even in the Star of Ashor setting. How then does this help us? In order to better understand how any of the specific ideas of personality or behavior that we form for our character, actually influence their day to day actions, we want to find a way to connect with them. One novel way to do this, is through the process of a virtual interview with the character.

In order to learn about the people of importance in their society, human beings often interview them. They ask them questions about a range or variety of topics, sometimes simply about their lives and experiences, and sometimes about more specific situations such as the production of a large scale, popular piece of entertainment or even politics.

Human beings like to know things about the world and asking questions to other people is one way we learn about them. We can replicate this very natural process with our new characters, and while it may seem silly at first, there is an undeniable benefit to the process because it requires us to think about things from two perspectives.

First and foremost, conducting an interview means that we, the interviewer, need to understand or figure out what we would like to know. The second is that the interview forces us, using our creator’s cap, to think from the perspective of the one we are intending to answer our questions.

The way someone responds to our questions in the real world is as important as the answer, we want to capture this when we think of using the interview process.

The way someone responds to our questions in the real world is as important as the answer, we want to capture this when we think of using the interview process. For example, one may give an answer we like to hear, but the way their body language comes across may make us uncomfortable. They may say something we disagree with, but say it with such conviction or poise that we are forced to concede or rethink our position in response.

Your characters should have this same chance when you interview them but as was said before, the interviewer needs to know what they want to ask about before hand. With a fictional character in a fictional setting, how are we to know what to ask?

Use your existing world as an interview guide

The best way to ask the “right questions” to your character in an interview process is to use the world setting as a guide. This can be a real challenge if you have not got an established setting yet, however, in this workshop we are specifically looking at the Star of Ashor. This brings with it a wealth of information we can draw on. We can use the current events of this world to help us ask questions to the new character. Perhaps we can ask their opinion on a cultural trend or their opinion on a notable public figure. Perhaps we can ask them about the sports teams they enjoy or the culturally significant hobbies they undertake.

When we use an existing setting, we have the world around this new character to use for forming these questions and it helps us make sure that the questions better prepare our character for their eventual growth to Tier 4 as well.

Asking the right questions here will save us time later, making the process of improving our character more gradual, smooth and clean.

Asking the right questions here will save us time later, making the process of improving our character more gradual, smooth and clean. Let’s take a look at some Star of Ashor setting to give us an idea of what may be of interest to Kelem. Let’s take his status, job, background and traits into account and ask some types of questions. I sort of feel like there will me multiple categories of questions for him given his military background. Some interviewers might ask about his military history, others about his contemporary personal life and dealings. Others might ask about a specific thing he has done or said.

Let’s take the chance here to look at Kelem’s traits, and then come up with some questions to ask him from each of these theoretical interviewers.

  • Military Service Questions
    • Why did you join the Akal’Maru Navy?
    • Why the special forces?
    • What was your favorite part of miltiary service?
  • Shae’Lun Corporation Questions
    • Why did you start Shae’Lun?
    • How did Shae’Lun get into the arms manufacturing trade?
    • What is the goal of Shae’Lun in the modern era?
  • Contemporary Questions
    • Do you enjoy the single life?
    • Are you dating anyone right now?
    • I heard you like traditional painting, what got you into it?
    • Your sense of humor is called odd by some, what are they missing?
    • Do you like Kul’Raigh Kunir hats?

Once we have these questions, we should “ask them” by writing the question and the answer down. This interview can be as formally into role playing or as light and impersonal as you, the creator want. Just make sure you answer the questions in the way you feel your character would because this is the best point in their development for them to give free, easy answers to the questions you are asking.

Kelem’s interview

I decided to take Kelem’s interview in a semi serious tone. To set the context, I will be taking the interview from the perspective of a correspondent for a Hil’Raigh media firm, one who is doing a profile piece on Kelem Shae’Lun at the time of the interview. Current events at the time are set many years after the founding of the Shae’Lun corporation and a couple years after the Federation’s armistice with the neighboring NovaCore nation.

Interviewer: Thank you for sitting down with us Mr. Shae’Lun. I know you have a lot going on lately so we appreciate you taking the time for the interview.

Kelem Shae’Lun: Not a problem, sometimes this kind of thing can be useful anyway.

IWR: I wanted to start with some questions about your background in the military if I could. You enlisted in the Akal’Maru Royal Navy at the age of twenty, what brought you to that place in life? Why the Royal Navy?

KS: Well I guess I grew up on the holo dramas like a lot of my peers did, talking about the glorious naval service for the kingdom. That was probably the start of it.

IWR: You transitioned to the Naval Special Services Task Force soon after joining. Can you tell us about that?

KS: I’ve always been driven. After enlisting I found that my drive for that sort of thing was refined even further by the training. NSSTF became a no brainer at that point in my service. I felt like I could hang with the best, and I wanted to prove it.

IWR: Was that the highlight of your service? what would you say you enjoyed most about it? You are a pretty storied individual these days.

KS: I think the highlight of my service was helping to deal with the pre-corsair piracy on the rim. The colonies had a lot of trouble back then and we were all still getting our footing in rapid colonization so there were gaps. The corsairs changed that of course, but I think that the best part of our service was freeing people from that sort of hell formed out during the rush. We were the cleanup crew for it I guess.

IWR: Speaking of the piracy, a lot of Shae’Lun’s work these days purportedly revolves around the Corsairs on the front. It seems like you have a long history with piracy. Is that what you imagined Shae’Lun would be doing?

KS: Not really. I hoped that the pirate problems were going to get under control but when the armistice happened, we found ourselves in pretty much the same place, only the pirates had a banner to rally behind. When I started Shae’Lun I wanted something capable of doing jobs like I would do in the NSSTF, but on a more rapid response basis, and without the same kinds of beauracratic bullshit we always had to deal with.

IWR: Do you consider that mission to be ongoing success? where would you like to take Shae’Lun?

KS: Shae’Lun is doing what it was created for at this point, I am more confident in that now than I was after the armistice. Overall I’d say I’m happy with the direction.

IWR: Arms manufacturing is a good complement to that mission, what was the impetus for that?

KS: My people needed better gear than they were getting. Once we had the money, and I talked it over with the book keepers it was gonna happen either way. Sadly, too many of ours got lost before we got that far. I guess the upside is now everyone in the Federation has access to the better gear.

IWR: It’s been said you are a pretty private person, but I’ve got to ask, are you really single after all this time?

KS: Yes, that’s correct.

IWR: Ever thought about finding someone?

KS: I think a lot of people who’ve worked in the NSSTF would be married by the time they are out, I guess I am the exception to that. As far as seeking partners, I don’t know that it’s for me. I really enjoy being able to focus on my work with the corporation and the people we employ. If someone I met could really support me in that, I’d consider them, but I haven’t met that person yet.

IWR: Your hobbies are varied as far as I have heard but one that stuck out to me, because it is pretty uncommon for someone in your position, is traditional painting. What got you into that?

KS: It started as a coping technique really. I started painting portraits of the guys we lost for their families. Something about the process of putting the brush to canvas helped me put things into perspective, gave me some closure. I still paint but I have branched out a bit.

IWR: You’ve got quite a unique sense of humor I hear, but it seems like some in the military culture really relate to it. Why do you think that gulf exists?

KS: When you face death all the time as part of your job, you learn to get callous about it. Humor can be a tool to help you harden, but it also helps you cope. Sometimes you say things that people don’t get but the people who’ve been in your shoes understand them right away. I’d say I have calmed my humor down though, it was a lot worse right after the founding.

IWR: Shae’Lun is one of the companies that has ties to the Federation government itself, as a result you are subject to some labor participation restrictions from the Kul’Raigh, despite that, we see a lot of Kunir hats on the Shae’Lun personnel. Care to explain?

KS: I think Kunir hats are nice, I like them. They remind me of old world military caps so I tend to think they fit well, but it sortof became part of our look. With patrol caps like that, people know you are Shae’Lun pretty fast and I think that has helped set us apart.

IWR: Do you own any?

KS: I own several.

Application of the Interview

Once we have conducted our character interview, we want to digest it. You can definately see a myriad information there, some of which we might not have an explanation or context for. In these cases you have two options.

In the case of Kelem Shae’Lun, I, the creator of the character and his world, have the context here, so the interview makes sense to me. I understand his answers because I created the context.

If however, you find that your character is not entirely meshed or has some holes in their answers at this stage, DO NOT worry.

A bit of a disconnect is likely in this phase, and it is something that we will keep an eye on because it is to be expected with most character builds.

A bit of a disconnect is likely in this phase, and it is something that we will keep an eye on because it is to be expected with most character builds. In the case that we really want to explain the discontinuity though, it is also a good chance to world build. If you are doing an existing setting, this might be hard, but if you are the creator of the setting, world building to give the background to the interview is the better of the two options available to you when you have this happen.

Regardless, we now have an idea of our new character. While we have not got him down perfectly, we can look at his answers and try to ask what those tells us about his personality and behavior. The way we write the character and how they respond to the interview tell us a lot about them. Even when we do not yet fully understand a character, we tend to develop a writing style for them fairly fast. We leverage this now, and extract some meaning. This part can be challenging, but take your time and look earnestly. When I looked at the question answer session above I learned a couple things about Kelem that I had not planned on. The below list is but a few of the personality and mental traits that I picked out.

  • Mental Traits
    • Has an obvious feeling of brotherhood with other members of the Federation military.
    • Has seen some things he does not like to relive and that affects his outlook.
    • Is a bit closed off to strangers, despite being cordial to them.
    • A driven person who chases his goals.
    • Has some strong opinions on the way the Federation uses its military and force as a whole
    • Sympathetic to the Hil’Raigh colonies and the challenges they face.
    • Is largely un-phased by cultural norms
    • Problem Solver
    • Leader
    • Doesn’t like Corsairs and other pirates
    • A bit blunt

Looking at the above, I hope it is clear that while we came up with some personality traits in part one, the traits we are seeing here are borne of the character’s answers and are much more about his thoughts and feelings. We can look at some of these and we might say they could show us a weakness that Kelem has. Remember, weaknesses are an important part of the Tier 3 character, just as much as opinions and ideas. Looking at the above list, I think I have some ideas as to what some possible weaknesses may be.

  • Weaknesses
    • Prone to self isolation
    • Dealing with some past traumas from combat experiences
    • Sometimes chases his own goals to the exclusion of others needs and desires
    • Sometimes bluntness causes trouble in his world
    • Has a hard time making new friends outside of military focused individuals
    • Dismissive of some people’s struggles or problems

While this list too, is not exhaustive, it gives us an idea of where our character sits. When we take a look at the weaknesses, it is also important to try and avoid the appearance of all of the things listed there being “humble brags” rather than actual weaknesses. Once we have done this, we have a much more exhaustive understanding of our new character

Standing at Tier 3

Now that we have compiled a list of Tier 3 mental traits (and combined some of our Tier 2 mental traits) and also explored some weaknesses, we have a much better understanding of our character. In addition, because we wrote down an interview with the character, we have a good source on how they are going to deal with others in a sort of inquisitive session. While we knew some things about our character thanks to Tier 2, we can get a picture of how they interact, now that we have performed this work.

Because of this, our character is ready to be classed as Tier 3. They have a design and appearance. How they look (Tier 2) is defined well enough and now, How they act (Tier 3) is layered on top of it. Next time, we will explore the final tier increase for this workshop, the Tier 4 jump.

In the Tier 4 jump we are going to need to make sure that all of our character’s strengths, interests, thoughts, feelings and opinions, have a logical place in the world they inhabit. In the case of Kelem Shae’Lun, that means we will be making sure that his character fits in the Star of Ashor setting. We will trim, edit and adjust the character as needed, but we may also perform some world building to tie off loose ends if we so desire.

Stay tuned for the next in the series and we will continue the journey of creating a robust character in an existing setting.