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Callan S.

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About Callan S.

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  1. Callan S.

    Boarders Writing a Novel Part 15

    Working on the third draft of my urban fantasy (tweenish? For around age 10 or higher) novel 'Balorrate'. A kind of fantasy mirror of the real world rather than the real world + supernatural elements. Ie the city of Ballarat but in a fantasy frame. Which is an Australian rural city so that might be a bit obscure here - maybe I should have written a fantasy mirror version of Melbourne, since that's a little tiny bit more on the radar. By mirror an example of what I mean is instead of having cars, what fills the street are spectral horses pulling carts, their essence drawn from the great equine wells and carted across the landscape to fuel the commerce these long dead horses now empower. A fantasy echo of the real world rather than the real world with supernatural added in. The story is of a boy whose parents are abducted by the titular Balor, and he must find out where they have been taken and against all odds, rescue them!
  2. Callan S.

    Bakker LIV - Soul Sphincter

    Looks menacing
  3. Callan S.

    Don’t pirate books, just don’t

    But in a way I think just writing pure fantasy entertainment partially concedes the problem. Like, why not write in a way that basically brings in loathsome characters into a story - ala a traditional part of fantasy is there being an enemy. Get the reader on board for hating them. Then slowly reveal in part that they steal from bards. It's a crude way to outline it here - I'm rushing the idea for the sake of brevity. But for pirate readers, make them hate an enemy in the stories until they finally realise the enemy they hate are themselves. No happy little escapism for them, for them the ground is salted.
  4. Callan S.

    Don’t pirate books, just don’t

    Well that sounds like science.
  5. Callan S.

    Bakker LIV - Soul Sphincter

    I think maybe Mimara looking at the god thing through the chorae with the judging eye (the thing 'drowsy with compassion') created the perception loop for the god to become conscious at that point. So the god finally sees itself and wakes up at that point, instead of dreaming. After all, magic is basically an exploitation of the gods dreaming (anarcane ground is where the god has walked the ground/dreamed lucid) I have to wonder if the god in the setting isn't a nasty spider thing like Kellhus describes it, but instead is just blissfully unaware of how fucked things are and instead actually thought everything was going really well as it slumbered. Like a benign god, but clueless to what had been left to happen.
  6. Callan S.

    Bakker LIV - Soul Sphincter

    And if the writer did not reference it then it is not of the shortest path Or, u know, we could arc a little
  7. Callan S.

    Bakker LIV - Soul Sphincter

    Ah, but if you know how to destroy a soul, would you not also know how to destroy a god? Maybe? Anyway I think a theme is that the threat of eternal torture is just absolutely abstract - nobody gets it really. Unless you have an inverse fire you have no idea. The theme is, I think, that having really hard penalties doesn't really do anything about crime - it translates to real world incarceration systems quite well. Anyway, the schools of sorcery are complacent. The mandate even has the fact of it in their catchphrase and yet they just kind of ignore it. I'm pretty sure the Mop is a storage area for knock off damnation avoidance - each skeleton in each tree is a Mangecca (sp?) member put into a kind of cryogenic slumber.
  8. Callan S.

    Bakker LIV - Soul Sphincter

    Actually it draws an interesting link - anarcane ground is where the gods have walked the earth and so dream lucidly, not allowing the semantic cracks that sorcerers use to invoke/provoke effects in less lucidly dreamed locations. And Mimara contacted with something, some kind of divine being, through a chorae. Do chorae in some way summon gods? They are called tears of god, as well.
  9. Callan S.

    Bakker LIV - Soul Sphincter

    It depends on the style of the book - for example, Mimara seeing through the chorae and seeing some sort of being 'drowzy with compassion'. I mean, what was that being? You can have a style of book where if people in it just put the pieces together then things wouldn't turn out so bad - that's basically tragedy.
  10. Callan S.

    Bakker LIV - Soul Sphincter

    Well, you said something like 'isn't imitating meaning pretty much what meaning is?'. Isn't that fairly scathing to the idea of meaning? Or what were you trying to convey with what I had quoted of you?
  11. Callan S.

    Bakker LIV - Soul Sphincter

    Ouch! Sick burn, man! It's...like...it's all just ink on dead tree pulp!
  12. Callan S.

    Bakker LIV - Soul Sphincter

    I think one point of the novels is to navigate Earwa without really having hard information - indeed it being an 'objective meaning' actually means less objective information is there to be had. So you have to navigate it in a theory bubble, merely hypothetically estimating what is going on and what is relevant and not a red herring and merely hoping the bubble is the same shape as the state of things in the world. Because objective information and objective meaning clash with each other - as seen in the outside of Earwa, where the state of things align more to what a powerful being in it feels than anything else. The eye in the heart of the pict (spelling?), for example, where hell seeped through. Maybe his name was Luce?
  13. Callan S.

    Bakker LIV - Soul Sphincter

    "Come to me, my child..." [coaxes the girl to jump to her death] God knows the riddle of steel
  14. Callan S.

    Bakker LIV - Soul Sphincter

    Because you guys can't seem to let it go as 'Well, you like that music but I don't'. Even if you were to say 'Well, it was a bait and switch - it seemed to be one type of music, but then it ending on another type that I don't like!' that'd be fair. But people seem to treat it as if it was wrong - not like someone liking dub step when you hate it, but the book was wrong and that can't be just let go as different tastes in music can. I mean the end of LOTRs is Frodo decides to keep the ring, but Golum tries to grab it but stumbles and falls in lava. Apart from it being a kind of success, it's not really an amazeballs ending. TUC has a similarly non amazeballs ending. Except Frodo falls in the lava. The last examination came down to a claim of inconsistency. I was holding off simply saying I can't see the difference between that and expectations of tropes being met. Consistency is just a trope. If it sucks to hear that, okay, but if it is the fact of the matter then live with the suck. It felt wrong to folk, then some reference to a technical reason is made up why it's not just feeling wrong but IS wrong. Just as much as depicting rape in a story is not technically wrong to do when taken from a broader perspective, there was nothing wrong about that ending in technical terms as much as there was nothing wrong with the ending of LOTR in technical terms. You're not being sure where to go from here isn't a quality of me, it's a quality of yourself - you're running out of technical complaints to make (up). The thing is I have no issue with someone being emotionally upset about the books. Hell, I have been and still are (and that, to a certain extent, I think, is the mark of actual literature as opposed to popcorn). But this whole urge to find a technical explanation, like it didn't do this or that thing that's oh so higher than tropes, it's just a lot of bullshit to hear. A lot of bullshit! Particularly by those who treat those who listen as showing some kind of weakness. It just seems a lot of mansplaining, avoiding emotional talk like I wouldn't want to say I was really sad watching the English patient. Oh, she died in a cave alone - this, uh, yes, it's technical faults in the movie, sure sure! Or how I picked at Coco after the movie, how photos didn't always exist rather than actually express my sadness from some of its elements. I know how to bullshit so I recognize it when I see it. Or whatever, let's all fortify ourselves from emotion and build little walls of technical complaints that really just dismantle down to the basic fact it was upsetting. We're all hip and cool and aloof and disaffectedly cool and other fantasies we drape about ourselves in forum or in real life. That or we're animals and our intellects are 95% subservient to our animal emotions - if we hate something, no matter how irrational the hate, intellect tries to make up something to sling at the the hated thing. It doesn't matter if it's a music you don't like but someone else does, hate is hate. And sure, hate, but spend the 5% you have free from that on something else because it's just boring otherwise. Just flowcharts.
  15. Callan S.

    Bakker LIV - Soul Sphincter

    Beyond just online disinhibition effect, not hearing what point? You've got the impression there's more to your 'I didn't like it' than just 'I didn't like it'. Page after page of 'I didn't like it' perfectly centered in the middle, getting bigger with each page, then at the end 'And then the no god just turned up and everyone died!'. The critique mirrors its own charge. What's at the center of your critique - just an apple core? "But you don't get my point, mannnn!" - pshh, makes you sound like Bakker himself to say that.
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