Showing posts with label The Darkside Codex. Show all posts
Showing posts with label The Darkside Codex. Show all posts

Thursday, February 12, 2015

An Excerpt from The Southwatch Register

A Morning Spent in Commerce at Street Level
- by Tarek al-Baz, writing for The Southwatch Register


Can you spare a little?” asks of me the man with a noticeably irregular gait and shoulders made lumpen by the self-made crutch beneath one arm, the other hand (twisted, a knot of fingers about the cup of a palm) outstretched in hope of a coin; yet who, it must also be noted, appears well able to negotiate his way through the tightly-packed throng at this intersection of Brick- and Bakerstown.

I shoo him away, and he tugs at a slovenly cap in apologetic deference as I pass—but the coin purse on my belt is faintly tugged. Anticipating just such a move, I see that once malformed hand slip with clever dexterity into the pucker of stringed leather, strong fingers spreading it open and darting in, leaving it just ever so lighter as the beggar hobbles on, back turned, seeking a more kindly donor. One might hardly have noticed.

Hoy!” I call, and magically his crutch lifts, shoulders straighten, and on fleet steps he vanishes into the crowd like a fish slipping between reeds.

A quick check of my purse reveals it three and one half shillings down. I could have baited the hook with pebbles, of course, but I considered myself to be making a purchase: of experience. I did not begrudge him his prize, it was a lesson bought cheap; and, as the cunning “beggar” ably demonstrated via his escape, Competent Negotiation is an essential when one sets foot within the Arastro street market.

In any case, the terms of my agreement with The Register dictated eight competent men in plain dress be within sight of my person at all times. One of them would be sure to collar the thief, and hand him off to an officer of the law to settle his account.

---

It is a difficult thing to trade with a man whose face you cannot see. Difficult to trade fairly, that is, not always your fellow man’s goal. At street level, where the poorer side of Bakerstown’s commercial district fades into some of the less insalubrious twists of the Bricktown slums—and, of course, beneath the smother of the Dark Cloud—bare-faced trustworthiness would seem unlikely in the extreme. However, one would be surprised.

These clogged and over-shadowed arteries at the foot of towering giants are, for half a day, sheltered. Not just stalls are set up: first, strong cables are drawn tight through the air down the length of each street; then, each enterprising rival collaborates with his peers as long tarpaulins of tarred and treated canvas are flung across the line. Secured against the walls to either side, a peaked roof is formed like the long tents of a military field barracks, defence against any residues descending from the city’s sole blight.

Lamps and braziers are hung from the cables to light the gloom; stalls are at last erected, laden down with goods of many a kind and many a quality; thus, protected just enough from the open air, open trade takes place. Hawkers and hucksters and browsers and bargainers put aside their ever-present masks and meet eye to eye, and the man on the street is free to evaluate the worth of not just the produce, but its producer.

---

And what producers, what produce! Every brand of person in the world line the routes, their calls a chaos of accents and entreaties, their dress a riot of distracting, enticing colours—and Southwatch’s native under-classes are present too, as mundane to the eye as are their wares. At first glance, it seems anything is there to be had, though with no rhyme or reason in the moment.

Along Fourth Baron’s Way, I pass: self-made clothiers, offering every material and aping every style; a chrome ornamentor, making obviously discarded goods shiny and “new”; a used-book seller (I pause here a good ten minutes, jostled and cursed by the crawling crowds, and depart with one of my own early pseudonymous works: the dangerous Philip Amberville, Barren of Southwatch, tatty but rare, mine for pennies); and more.

Paste jewellers, whose “rare trinkets” are replaced from beneath their stalls by identically imperfect siblings as fast as they can be sold; a metalmonger—twin of the ornamentor, but touting more honestly second-hand pots and kettles; crystal charmers, selling good health in a glittering stone, or protectives against everything from the likes of my thieving beggar to the fallout from the Dark Cloud itself (though no doubt far less effective than the sheets strung overhead); and more.

And more; and more.

---

I am far from the finest-dressed Sunsider here, chancing his luck shoulder-to-shoulder with more common citizenry (perhaps because I am wiser). I see others descended from Society, drifting like swans amidst fowl, preening at the attention they receive from all sides—little thinking of themselves as targets at a shoot, rich meat for the taking. Yet there is more to the Arastro than trivial things for tourists and those who would prey on them.

Ordinary people buy and sell ordinary things, livelihoods are made, and the pressing needs of small but modest lives are satisfied. Some lament that precious value be recycled this way, instead of added to the limitless coffers of factorymen or lining the pockets of more respectable shopkeeps. It “diminishes industry” they say (I have heard them say it).

I disagree. I say the Arastro is more the pulse of healthy commerce, evidence that the heart still beats, the beast still lives. The difference is only in who rides the beast, and whom is ridden down by it.

---

A footnote: on my departure, I was impressed to learn that the cunning thief eluded all eight of my hired watchmen. Two were led on quite a merry chase and returned from it battered and bruised, having been set upon by my teacher’s allies around the corner of an alley. See the Arastro: barter, deal, risk making a loss; but should you enter into the negotiation of backstreets, always do so knowing what price you are willing to pay.

Andrew Leon Hudson is the author of The Glass Sealing, third book in The Darkside Codex.

Tuesday, February 10, 2015

Steampunk Musings Pt. 5: The Steampunk Buddha

There has never been a better time to love steampunk than right now.


The internet as a whole and particularly Etsy have made it possible for anyone with the passion and technical skills to build a career making steampunk art. Within a few hours of roaming the internet you'll find more steampunk stuff than you'll ever be able to afford, and if you're anything like me, you'll want everything you see.

Out of all the things I've seen during my journey through the land of steampunk, the one I want most is a steampunk teddy bear created by today's guest, The Steampunk Buddha. 

As you can imagine, I was thrilled when she agreed to do this interview.

Please give The Steampunk Buddha a warm welcome!

1. How did you discover steampunk?

My husband and I like a lot of Sci-Fi movies so we were never strangers to Steampunk really. A lot of horror movies have Steampunk under tones. Frankenstein, is an example of the mixture of horror and steampunk styles we create. I think between the two of us, we just sort of fell in love with the Steampunk look and style when we moved to the town that we live in now, and saw the full-size replica of the Ezekiel Airship.

2. Why do you think steampunk has grown so popular over the last few years?

I think as technology progresses, a lot of us want to see some of the older styles come back. Seeing the inner workings of a watch for instance, seems way more interesting than looking at a circuit board and wires.

3. What inspired you to start creating steampunk jewelry/art?

As I stated before, when we moved to our town and saw the Ezekiel Airship, we were very inspired. I have a very unique style and have a hard time finding jewelry that suits my preferences. I've always been creative and made my own items, and costumes.

4. How long does it typically take to create a piece?

I spend at least an hour on each design or picture. I double dome all of the necklaces with resin which takes 2 days. In all, each necklace takes around 3 days to make. The Teddy Bears and Hats take around 5 days to make.

5. Out of all the steampunk pieces you've created, which one is your favorite?


My favorite Steampunk necklace that I've made is the Steampunk Mermaid necklace that has gears floating up from here like bubbles. I also really like the little faux metal bookshelf hat.

6. Who's your favorite steampunk artist?

Each artist has their own personal style, so I can't put down one personal favorite, but I do really like the darker Steampunk styles.


7. Are you working on anything exciting right now?

We are currently working on adding steampunk lamps, light fixtures, and more to the shop.

Check out The Steampunk Buddha today!

Do you have a favorite steampunk artist you'd like to see featured here? Let me know about them in the comments below!

Thursday, February 05, 2015

A Lecture on the Morghanti

Professor Edmund Cowley is recognized throughout the Empire as a leading authority of the subject of fae psychology. His eight-volume Introduction to the Study of the Fae Mind is recognized as the definitive work on the subject written by a human, and is used even by some fae authorities.  These article is distilled from his remarks at a recent lecture at the Royal Academy


The first and most important thing to remember about the fae is that they are not human.

This seems obvious, given that they are by definition another species. But given the close physical resemblance between humans and fae, it is easy to forget that they are not merely unusually tall, unusually long-lived people.  They have climbed a different evolutionary ladder, developed under different pressures, and present a dramatically different constellation of strengths and weaknesses. To encounter a fae is not just to encounter a "strange human."  Rather, to encounter a fae is to encounter The Other in the most profound sense.

I propose that it is in the area of the mind in which humans and fae display their most dramatic differences. In addition to their well-known gifts for magic and illusion, the fae have a dramatically different set of cognitive processes and emotional responses. Given these differences, it is not surprising that they also present a dramatically different set of mental disorders.  It is one of those disorders which I've been asked to address tonight, the disorder that the fae refer to as the morghanti.

I must begin by acknowledging that when we speak of the morghanti, we are dealing with a very thin skein of data. The fae are reluctant to speak of it, even among themselves.  This is especially true for the dark fae, for whom any sign of weakness is socially dangerous.

I was fortunate in my studies in being able to obtain the cooperation of a few fae healers, who shared details of a few cases with me under conditions of strict anonymity, in hopes that I could offer some insight to heal their patients. In a very small number of cases, I was consulted by the suffering fae directly. Unfortunately, as I shall relate, we were unable to do anything for any of our patients.

Loosely speaking, the morghanti is an obsession.  The object of the obsession may be a place, another fae, a project, a physical object or in extremely rare cases, a human. However, regardless of the object, the effect on the afflicted fae is single-minded focus on the relationship with the object. An afflicted fae will abandon all other goals and relationships to support this morghanic bond. In this respect, it is much like human addiction to alcohol or certain drugs. However, the morghanti is not satisfied by anything as simple as consumption of a substance.  The bound fae feels compelled to focus all their efforts on the object.

If the object is a place, they must live there. This is normally the most benign of morghanic attachments, and the one most likely to go unnoticed by others. However, in one case I studied, the victim was living on a slowly-collapsing limestone stack in the Ipateus Sea.  Once, it had been an outcropping along the coast, but over the long years of the fae's life, the shoreline had retreated, leaving the isolated and shrinking rock formation. Despite this, the fae was only able to leave the place for a few weeks at most. I visited this particular sufferer, and found myself stranded on the rock for ten days because rough seas made it impossible for a boat to hold a safe position off the rock.

If the object is another fae, they must be together and the afflicted fae must share in every aspect of the object's life. The afflicted one will take on the goals of what I like to refer to as their morghanic partner as their own. And they will do almost anything to assure the success and safety of this partner.

If the object is a project or quest, they will put in years, decades or even centuries of focused effort in attaining their goal. In the course of my researches, I once discovered a fae who remained focused on an obscure problem of alchemy for over 175 years, a fact I verified by spending twenty straight months searching original source archives by hand.

Humans are more problematic. Sometimes, the mere presence of the human object is enough. It is believed that the stories of the fae kidnapping humans and keeping them in the Seelie or Unseelie courts may represent this kind of binding. In other cases, the bond with a human manifests much like that with another fae, as an intense need to share in and support the life and projects of the object.

If a fae is prevented from the fulfilling their bond, the consequences are devastating. The earliest symptoms of separation from the object of the morghanti are listlessness and something like depression. A fae with magical aptitude will often find that their powers begin to fade, as the magic, and indeed their entire personality, seems to be turning inward. Symptoms include lassitude, lack of appetite, and numerous aches and pains. They may also descend into madness, experiencing hallucinations, paranoid fantasies, and extreme anxiety. In the final throes, some become violent, lashing out at those around them with renewed power and focus before their death.

These final throes can be terrible to witness. I remember one such maddened fae, whose morghanic partner had perished, despite his best efforts. In the advanced stages of withdrawal, he became delusional, was pursuing the healer and I though the Thorn Forest, wielding a magic-infused blade and intent on murdering us both. And yet, even in that advanced state, I believed is was possible to cure the poor unfortunate’s condition, and I was still attempting concoct such a remedy as I ran. 

The origins of the morghanti are mysterious. Current theory holds that like human mental illnesses, the morghanti is an unhealthy exaggeration of an important or even necessary mental state.  Among humans, a necessary realism can become depression, concern for safety can become anxiety or even paranoia. With creatures as long-lived as the fae, the mental focus necessary for pursuing long-term goals can become morghanti. What is not understood is how this normal, healthy focus can become the mental illness that consumes the lives of many fae.

There is still no reliable cure. For centuries, fae healers have tried various combinations of natural cures and intricate spells, to no avail. A few have even tried various synthetic treatments, either alone or in combination with more traditional means, but these have failed as well.

It was because of the promise shown by one of my compounds that I was able to set up a relationship with several fae healers, under conditions of strictest anonymity. Unfortunately, I was able to offer only minor relief, and that proved temporary. Within less than six months, with all my pateints, the morghanti had resumed its course with the same or greater force.

Sometimes, of course, the morghanti lifts of its own accord, vanishing from the life of the sufferer as suddenly and as mysteriously as it came. It's in the hope of this that the families of the afflicted offer prayers and sacrifice, often for hundreds of years, usually to no avail. And yet, the hope remains.

And so my hope remains as well, for a reliable and replicable cure for those who suffer from this illness.  They have inspired me with their tenacity and their ability to adapt to whatever circumstances they are driven. That is, perhaps, why I feel so compelled to continue the work of finding a cure, despite numerous setbacks and disappointments. I feel that I would be abandoning something of myself if I abandoned my attempts to find a cure for the morghanti.

Eric James Spannerman has been a farmer's son, a US Air Force officer, a technical writer, a computer support specialist and a business analyst, as well as being a writer of speculative fiction. He currently lives near Des Moines, Iowa with his wife and daughter. Applied Natural Magic is his first book.  

Purchase your copy of Applied Natural Magic today.

Tuesday, February 03, 2015

Steampunk Musings Pt.4: Steam City Treasures

Are you prepared to meet another fantastic steampunk artist? If you're anything like me, your mind says YES and your wallet says NO. Personally, I've taken to hiding my wallet--or at least the credit card--because I just can't stop exploring these amazing websites.

Today's guest is the creator of a lovely shop called Steam City Treasures, Rachael Layne. Please give her a warm welcome!


1. How did you discover steampunk?

For many years, I loved Steampunk fashion but never knew exactly what it was. I discovered it online while browsing different types of fashions. I fell in love with the style and starting doing as much research as I could and finding out everything I could about. Of course, I still do this daily.

2. Why do you think steampunk has grown so popular over the last few years?

I believe as more people discover it, they share it with others, and then those people share it, and so on. I believe Conventions have also played a major role in helping people discover as well as share their love of all things Steampunk. Another reason I believe is that it creates another world for people to be free and creative in without being judged and to socialize with others that share in the same interests.

3. What inspired you to start creating steampunk jewelry/art?

I previously owned a store where I made and sold bead jewelry and art only. After a few years, I realized that it didn’t peak my interests or my creativity. It was around the same time I had stumbled onto Steampunk, and I decided that I should sell the type of things that I had much more interest in. I found that once I started creating Steampunk items, I was able to create a much better product to sell as I was much more passionate about the Genre and the Culture.

4. How long does it typically take to create a piece?

It depends on the size and the detail of the piece. Some can take an hour or two, while other pieces can take anywhere from a few days, a week or even a month. It also depends on my amount of free time to work on pieces. I’m a mother to a 4 year old, a wife, a full-time college student and I own and run 2 of my own businesses.


5. Out of all the steampunk pieces you've created, which one is your favorite?



Hands down, it would have to be my “Octo Buddies”, the little Octopus Figures that I create. Each one has its own personality, even when I create two that are of the same style, they each still have something unique to them.


6. Who's your favorite steampunk artist?


There are actually two artists that I greatly admire. As far as traditional art, my favorite artist is Brian Kesinger. His “Tea Girls” portraits have always been favorites of mine. When it comes to non-traditional art, Thomas Willeford creates some of the most beautiful and amazing pieces out of leather that I have ever seen, which makes him one of my favorite artists as well.


7. Are you working on anything exciting right now?


Always! I’m constantly scouring the internet and other sources for inspiration and new ideas to play off of. I enjoy coming up with and trying out ideas of new things to create on a daily basis. As of right now, there’s mostly jewelry and “Octo Buddies” in my shop. However, I am in the process of expanding my little store here in Ashland, KY. Some of the new items I have coming soon are muffs, bustles, goggles, top hats, masks, new jewelry and so much more! I’m extremely excited to create these new items and to put them in the store.

You can find Rachael at Steam City Treasures.

What do you think about Rachael's work? Let me know in the comments below!

Monday, February 02, 2015

Congratulations to our fantastic winners!

It's official! The contest is closed and our winners are well on their way to reading great steampunk!

In third place:

Jana Leah, who takes home two of The Darkside Codex books

In Second Place:

Alex  Delrae, who will be taking home three of The Darkside Codex books

 

 

And our big winner:

Cynthia Borgmeyer Clubbs, winner of a $10.00 Musa gift card & three TDC books.


Expect to see more giveaways here in the future!

Thursday, January 29, 2015

Why Charles Dickens Isn't The Father of Steampunk

Dianna Gunn approached me with the idea of writing a few blog posts about steampunk. I enjoy this genre both as a writer and as a reader. I am happy to share ideas about this type of speculative fiction with a caveat: these blog articles are not ultimate, end-all-be-all definitions of the genre. Steampunk is still a work-in-progress. It is still evolving. There are new stories to be told and new writers to be discovered that will add their distinctive voices to the mix. I am simply one author among many talking about how to create a story world in a genre I enjoy. I welcome comments and observations from others who enjoy steampunk and all types of speculative fiction.

For me, steampunk is a genre of speculation, whether it is set in an alternative version of Victorian England, in an alternative American West, in a future where steam power rather than electrical current runs the world, or in a fantasy setting where steam power is in mainstream use. The technology in steampunk novels and short stories has been called “retro-futuristic” by some enthusiasts; this is a way to describe modern technology and inventions as people in the 19th century might have envisioned them using the technology of their time. It owes a debt of gratitude for its creation to such authors as Jules Vern, Mary Shelly, and H.G. Wells: Their works are speculative, and some critics refer to them as writers of steampunk novels. (This can be debated—and has been on many a steampunk blog forum.) In terms of world-building, though, the genre owes an even larger debt to Charles Dickens and his depiction of Victorian England.

In the Encyclopedia of Science Fiction, John Clute (2014) writes:
It is as if, for a handful of sf writers, Victorian London has come to stand for one of those turning points in history where things can go one way or the other, a turning point peculiarly relevant to sf itself. It was a city of industry, science and technology where the modern world was being born, and a claustrophobic city of nightmare where the cost of this growth was registered in filth and squalor . . . These recall not so much the actual nineteenth-century as a nineteenth century seen through the creatively distorting lens of Charles Dickens, whose congested, pullulating nineteenth-century landscapes . . . were the foul rag-and-bone shop of history from which the technological world, and hence the world of sf, originally sprang. Somewhere behind most steampunk visions are filthy coal heaps or driving pistons (http://www.sf-encyclopedia.com/entry/steampunk).

To Clute’s definition I would add an emphasis on the idea of the “turning point.” Victorian literature is filled with examples of a culture on the verge of reinventing itself. In the 19th century, Britain had moved from a primarily agricultural system to one based in manufacturing. Technological change was a way to improve the standard of life for all citizens. The lower class were abandoning the farms and moving to the cities in droves in search of a better life. The country was in the throes of the first industrial revolution in world history. The smokestacks from the mills and engineering works pumped noxious chemicals into the air. The buildings were covered with soot, pitted, and eroded by fumes. In this situation, is it no wonder that some people looked to the past and life in the small towns and countryside as a panacea? Yet those who would abandon the overcrowded cities and new technology seemed to forget the poverty and starvation of those who had previously lived the pastoral life. It was a culture being pulled in two opposite directions and this was reflected in the literature of the time.

In the Victorian Era the nostalgia and idealization of the past mixed with the ideas that industry and innovation were the only ways to improve the human condition. Modern day steampunk works have the same diametric opposition that the Victorians explored, especially those who look to the novels of Charles Dickens as inspiration for world building. For example, the city of Southwatch, from the Darkside Codex, is bisected by a toxic stew of chemicals and pollution called the Dark Cloud. In the lower parts of the city, the Steamworks and other industries emit the chemicals that make up the cloud. In the areas above the Dark Cloud—called sunside—the air is pure and pollution free. The “claustrophobic city of nightmare where the cost of . . . growth was registered in filth and squalor” first described in the novels of Charles Dickens forms part of the inspiration for Southwatch; above is all light, clean, and healthy, while darkside everything is dark, gloomy, and dangerous. Those who are wealthy live sunside while the poorest citizens live down below. And the fae magic that keeps the Dark Cloud centered in Southwatch protects the nearby pastoral countryside from the toxic pollution—for now.

Yet the poor people do not abandon Southwatch. For all its grime and toxic air, it is where they can earn a living. It is quite a choice for the darksiders: leave the city and have no means to support themselves and their families or stay and slowly be poisoned. This is part of the reason for the high level of unrest in the city.

Those who live sunside have issues as well. They are constantly fighting for money and prestige. One misstep can plunge a family into poverty. To lose position in the city could mean banishment below the Dark Cloud and an exposure to the toxic atmosphere. What are they willing to do—to sacrifice—to stay in the light?

As a writer, this type of tension leads to multiple story inspirations. To miss-quote another English author: From this city of nightmares, what dreams may come?

Steampunk writers (and readers) owe a debt of gratitude to Charles Dickens for his vivid descriptions of London and other cities during the Victorian Era. More than any writer listed in this article, he helped to create the background setting for the genre. Yet it is important to remember that his works have only influenced the genre; he did not write any steampunk novels (unless I am completely miss-remembering Bleak House and Little Dorrit.) Thus—as I stated in the title—Charles Dickens cannot be called the father of steampunk. Perhaps he could be its great uncle?

Chris Pavesic lives in the Midwestern United States and loves Kona coffee, fairy tales, and all types of speculative fiction. Her stories, “Going Home” and “The World In Front of Me,” have been published in Penumbra EMag. Her first novel with Musa, The Caelimane Operation, will be published in January, 2015. Between writing projects, Chris can most often be found reading, gaming, gardening, working on an endless list of DIY household projects, or hanging out with friends.

Learn more about
Chris Pavesic on her blog. Stay connected on Facebook and Twitter.

Thursday, January 15, 2015

Meet Eric James Spannerman, Author of TDC #4: Applied Natural Magic

1. What aspects of Southwatch are you exploring in TDC 4: Applied Natural Magic?

I’m interested in how the city works. My main character, Charles Woodridge, starts out with conventional ideas about his world and how to succeed in it. The reality he encounters turns out to be far removed from what he expected. The story deals with what he does about that.


2. What about the Darkside Codex world made you want to write Applied Natural Magic? 

I was intrigued by a place where the contrast between rich and poor is as stark as it is in Southwatch. I was also interested in the “mashup” aspects of a world where robots exist side-by-side with fae, and science and magic are both taken for granted as normal parts of reality.


3. Is it easier or harder to write in a shared world?

On the whole, I find a shared world easier to write in. By making certain aspects of the world “fixed,” the shared world gives me a solid jumping-off point for the story I do want to tell. I also enjoy interacting with the other authors and talking about the world – especially the parts that are still under construction.



4. Who's your favorite character? And why?

Like most of my readers, my favorite character is Charles’ lab assistant, Mira Trevarias. I admire her resourcefulness, her utterly realistic view of the world, and her never-say-die determination. Especially when they’re contrasted with her pain and loneliness. She’s a complicated stew, and that’s what makes her interesting.

5. What is your background as a writer?

I was originally trained as a journalist, and I’ve written professionally for most of my working life. I was a Public Affairs Officer in the US Air Force, and a technical writer for several companies after that. My foray into fiction is only a few years old, and Applied Natural Magic is my first book.

6. How do we find you online?


Right now, the best place is my Facebook page, Eric Spannerman. Sometime in January, I plan to start a blog.

7. Are you a Darksider or a Sunsider?

I’ve got a complicated relationship with both. On one hand, I admire the Sunside ideals of refinement, civilization, and gracious living. On the other, the implicit and overt violence used to maintain power is hard to stomach. And while I revel in the freedom afforded by the Darkside, there’s also no question the place terrifies me at times.

Purchase your copy of Applied Natural Magic today and enter the contest below to potentially win some of the other TDC books!

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Thursday, January 08, 2015

Meet Chris Pavesic, Author of TDC 5: The Caelimane Operation


1. What about the Darkside Codex world made you want to write The Caelimane Operation?


I was interested in the world because of its steampunk foundation.  After I read through the Darkside Codex, I was drawn to the following passage:

“The Caelimane's journey through history transformed a simple nature goddess into the preeminent deity of the kingdom—much to the disgust of the Seelie Court. . . Unlike the humans of Southwatch, the Seelie do not worship in golden temples. Instead, they worship Dione in the old, traditional fashion, using altars of rough stone slabs where they sing hymns to the goddess in gratitude for her life-giving warmth.”

This idea of cultural and religious appropriation seemed full of possibilities.


2. What aspects of Southwatch are you exploring in The Caelimane Operation?


One of my main characters, Catherine, is a member of the Caelimane Temple.  Through her, readers learn about the Temple bards who are sent out at regular intervals to spy on the populace.  There is a complicated system in Southwatch that includes a type of interdependence between the organizations that run the city.  A certain amount of corruption is inherent in the system as people maneuver for advancement within their respective organizations.  Yet balance must be maintained for the system to remain in place.  Thus the network of spies fulfills a vital role in trying to maintain the status quo.

Catherine’s investigations into multiple attacks on rural Caelimane Temples take her outside of the city, so readers will also learn more about the countryside surrounding Southwatch.  I introduced the idea of Travelers, who are groups that journey from town-to-town putting on performances for a living.  As a bard, traveling with one of these groups provides a perfect cover for Catherine.

In the novel, I also explore some of religious and cultural differences between the human denizens of Southwatch and the fae.  One of my main characters, Devyn Du Chein, is a retired investigator for the Seelie Court.  He is recruited by The Caelimanes to help probe the attacks on the rural Temples.  During his investigation, he attends a New Sunrise Celebration hosted by members of the Seelie Court who are trying to blend in with the aristocracy in Southwatch. 

A New Sunrise Celebration, while not religious, contains a tribute to the goddess.  Many of the fae celebrations contain aspects that honor Dione.  New Sunrise is celebrated during the last two weeks of the Twelfth month when the spring flowers bloom in all of their glory; its intent is to bring together extended families and friends.

Much like the humans have appropriated the worship of Dione and changed it to suit their own needs, they have started celebrating New Sunrise.  Their gatherings, however, have little to do with the fae and their ways.  The human aristocrats of Southwatch simply add enough “fae touches” to their parties to make them seem exotic. 

Finally, readers will have a chance to see how the undead impact a steampunk world.  Are they the result of dark fae sorcery, or something much worse? Readers will have to delve into the novel to find the answer.


3. Is it easier or harder to write in a shared world?


It is much harder to write in a shared world, but I enjoy the challenge.  When I come up with what I believe to be a “good idea” for my story, I have to consider whether or not it fits into the shared world.  When working on The Caelimane Operation, I would spend hours pouring over the Darkside Codex to see if what I wanted to do would contradict something else established by another author.  I think I almost had the bible memorized by the time I finished my first draft.  Of course, every novel published adds to the world of the Darkside Codex, so it is a never-ending cycle of new ideas and creativity.


4. Who's your favorite character? And why?


Without a doubt my favorite in the novel is Devyn Du Chein.  When I started writing, he was not going to be a main character.  By the time I reached the end of the chapter where he was introduced, I had to go back and re-write it from his point of view.  He was the most interesting character in the room.  I hope my readers feel the same.


5. What is your background as a writer?


I have been writing for years and publishing short stories and poems in non-professional and regional publications.  Last year I decided to pursue writing as a profession.  My first professional sale was to Penumbra eMagazine, where my story, “Going Home,” was the featured story.  The issue was a tribute to H.G. Wells, one of the authors who has influenced the steampunk genre.


6.  How do we find you online?


I occasionally blog at www.chrispavesic.com and Tweet @chrispavesic
You can also find me on Facebook at http://on.fb.me/1FGS3la

Don't forget to enter this great giveaway:

 
a Rafflecopter giveaway Find Chris Pavesic and the other Darkside Codex at the following locations throughout January: The Dabbler on Thursdays For Whom The Books Toll on a Musa Monday The Girl and the Clockwork Cat at regular intervals Sloane Taylor's Blog Cartesian Theatre and, last but not least, The Darkside Codex Blog all year round You'll find more chances to win great books at all of these locations!

Friday, May 23, 2014

Meet Andrew Leon Hudson, Author of TDC 3: The Glass Sealing!

Available today!
1. What aspects of Southwatch are you exploring in TDC 3: The Glass Sealing? 

One of the things I love most in science fiction is the opportunity it presents to reflect facets of the real world, and at the risk of being too typically British I've zeroed in on issues of class--but I didn't want to present a superficial conflict between selfish rich fat cats and hard-working paupers. Although I was partly inspired by the Occupy Wall Street movement (where the participants sometimes feel like they fall into such extreme categories!), in normal life people's ethics and motivations are rarely so clearly defined.

Nobody sets out to be "evil", but when conflicts arise we can all become the villain of someone else's story. In The Glass Sealing I present people from across the social spectrum who each strive for something "good" according to their means--personal improvement, social equality, startling achievement--but who find those aspirations compromised and are changed by the experience, sometimes much for the worse. They may become enemies, but they remain heroes in their own minds. 

But from good intentions can come terrible people...


2. What about the Darkside Codex world made you want to write The Glass Sealing? 

I was already a fan of Steampunk, Weird Westerns and other Alternate History fiction before I encountered the Darkside Codex. I immediately liked the hook of the Dark Cloud, of Southwatch's citizens being starkly divided into the privileged and persecuted by a physical barrier, not just sociological ones. Although this is an original, created world setting rather than the usual pseudo-Victoriana of many Steampunk stories, it seemed to me that it still had a connection to historical England; the industrial revolution created new wealth, new poverty and shook up the established social order, while London's pea-souper fogs could kill anyone caught in them unprepared. Southwatch may be fantastical, but it isn't outright fantasy; there is precedent, echoes of the real world, and I think that gives the series weight.


3. Is it easier or harder to write in a shared world? 

It's tricky to do, certainly, but coming to a world that already existed was a real source of inspiration, and I would say I enjoyed writing The Glass Sealing every bit as much as anything I've written beforehand. Maybe the real question is whether it is easier or harder to edit in a shared world. There may be rules going in, but while you're spinning out the story itself you only have yourself to answer to--it's after you finish that you truly have to toe someone else's line!


4. Who's your favorite character? And why? 

I'm pleased with how both my main protagonists developed, but I have to pick two others as my favourites. I used a number of underworld characters from the Darkside canon and it was great fun making each one distinctive, but the gang leader Black Tom O'Connor stood out. Finding a balance between his being charismatic and amoral, and making him not merely a dangerous criminal but also believably fearful of greater dangers--all that was very satisfying.

My other favourite is one of my characters: Ben Shay, who clawed his way (part way, at least) out of the slums only to find himself in the employ of Black Tom, and is forced to use his knack for going unnoticed by working as an eavesdropper and informant. In The Glass Sealing Ben is given a glimpse of what a better kind of life might be like, and in future stories I'd like to show what happens as he goes looking for one of his own.


5. What is your background as a writer? 

My original dream was to write for the movies. I worked in the prosthetic make-up department of a big budget scifi production straight out of university, got the bug, and spent the next few years writing scripts. Very bad scripts. I then studied a Master's degree in screenwriting and wrote some better ones, until the real world caught up with me and forced me to get a paying job. 

I switched my focus to writing novels in my spare time, then turned to short fiction in order to actually finish something. That made a big difference: I'd had story structure drilled into me, but now my prose improved and I settled on a style that I enjoyed. I got a few stories published and was just starting to tackle longer pieces again when the Darkside Codex came along, so I dropped everything else to give it a go--and I'm glad I did.


6.  How do we find you online? 

I maintain two blogs (that I'm willing to admit to): one with my writing news and links, another where I review books, films and anything else that takes my fancy. I'm not a feverish social networker, but I can also be found on Goodreads and Twitter from time to time.


Twitter: @AndLeoHud


7. Are you a Darksider or a Sunsider? 

Darksider, no question. I burn in the sun but the shadows can't hurt me!

Wednesday, May 21, 2014

The Chronicles of Southwatch: An Article from The Daily Star on Transportation, Architecture, and History

ON CIVIC TRANSPORTATION, ARCHITECTURE AND HISTORY

An Invited Editorial by Tarek Al-Baz



Being a Criticism of the Hasty Revision of Our City’s Physical Heritage, a Celebration of its Unique and Invaluable Present Character, and a Statement of Support Regarding the Establishment of its Glorious Future Potential.

You pluck a thorn from the lion’s paw, you watch it grow from strength to strength.

In the year 2776, Baron Raoul Amberville burned the original city of Thorn from the world. In the years to follow, the great marvel we now know as Southwatch flourished in its place, increasing in a splendid style until she rivalled any other city of the empire, and far exceeding those outside it. Yet, for all her grandeur, this was not some divine gift bestowed from above, and Southwatch is no vision of a perfect creation.

The truer comparison is to the power and beauty of untamed nature: the sunken ship that becomes the foundation for a great reef, vibrant colour and darting, flashing life disguising the rotten timber within; or the jungle, conquering the ancient temples of some forgotten tribe with towering trunks and constricting vines, the crumbling remains hidden forever beneath the distant canopy above. And just as the wreck or the temple leave their traces on what comes to take their place, so too does the reef or jungle consume and build upon itself in ways that a foresightful creator might think of as unlovely, detracting from the whole.

In this way, the inhabitants of each—the fish, the jungle beasts, the citizens of Southwatch—live alongside their own history, even if they do not appreciate it as they should. I hear it often said of the old—for example, of Downtown’s Three Ring Circus—that the best course is to erase these now clumsy-seeming remnants and replace them with exemplars of the new, but I disagree. There is value in preserving our awareness of the past, that we do not repeat its mistakes; but what seems a mistake now was perhaps not one then, and this too is a lesson worth learning, and remembering.

In its heyday, the Three Ring Circus was the beating heart of Southwatch. All six arterial roads came together in these linked roundabouts—where, within each of which respectively, canal boats, trains and trams also disgorged their passengers—the traffic of the day swirling and mixing and issuing forth to their destinations, very much the life’s blood of our youthful city. However, as she rose in stature so she rose above the earth to reach for the sky; what lay below was built upon by what followed; the nature of the surface changed, became the foundation, not the core. Yes, the city’s vitality lies elsewhere today, the Three Ring Circus is a tangled snarl at the feet of grand towers, the old arteries clogged and shrunk and, to briefly abandon metaphor for fact, overhung with walkways and bridges and skyways—but that older heart still pumps on, even if our more pampered citizens are to high above to hear it.

Does the rarefied reader never travel down to the surface from his ivory tower? Perhaps not. Perhaps, failing to visit the past we reside upon—or never deigning to set foot beyond home, club, and whatever private vehicle is used to convey him between the two—he also forgoes appreciation of the modern city’s unique means of public transportation. Take the Mandorean Pylon—not as an example; I charge you, travel upon it!—and the traveller sees Southwatch presented before him in all its challenging glory, and as it can not be otherwise be seen.

The Mandorean is the oldest of Southwatch’s vertical railways and, in the opinion of those who trouble themselves to learn about their home, the best. From the roof of the departure hall at Downtown’s eastern border, six pairs of saw-toothed tracks rise clear to the Aerie, connecting with twelve major promenades along the way. Between pairs of pairs of tracks crawl three unique vehicles, with passenger carriages mounted one atop the other and, to each side, modified locomotive engines set on end, dragging them upward on toothed wheels.

At each aerial promenade awaits an elegantly off-set station, reminiscent in design of the head of the traditional instrument that lends the pylon its name. And where the strings, you say? They are arrayed around the pylon itself, twenty-four cables that hum in the breeze—and with the vibrating movement of the gyrocabs, which race up and down them with all the speed the upright locomotives lack. These grant the means to reach the utmost heights of the city—or to descend and rediscover her old secrets, should one be inclined—in less time than it takes to stroll along South Beach, and in all the comfort of one’s own private carriage.

We citizens should take equal pride in all the aspects of our city, her diamonds, her rough, her functionality as well. There is an importance to Southwatch, a significance to her past and a vigour to her present, an unrivalled brightness to her future. And it is for all these reasons that we should embrace the grand project even now being considered at the highest levels of civic governance, and discussed in both cries and whispers seemingly everywhere else.

Miss Jocelyn Duville’s astounding proposal promises to change the face of Southwatch as it has never been before. Should it receive the baron’s blessing, we should not merely welcome it, but rejoice.

Published in the Daily Mail,
12th Day, Tenth Month, 2958

Editor's Note: Andrew Leon Hudson's novel The Glass Sealing will be released as the third Darkside Codex story on May 23, 2014

Wednesday, May 14, 2014

The Chronicle of Southwatch: Aristos, Airships, and the Aerie

Editor's note: We will publish sections of Herink Lesward's The Chronicle of Southwatch upon occasion to provide our readers with an alternate point of view regarding important events in Southwatch. While the majority of historians cast doubt upon Herink's credibility and his obvious anti-sunside bias, we feel that this maligned diarist can give someone unfamiliar with Southwatch a different perspective on what happened. 


The dichotomy between the sunside and darkside of Southwatch is nowhere more emphasized than in the excesses of the Aerie. After all, what other city in the world has literally elevated the upper class to the point that it floats above the rest of the populace? The upper level of the Aerie is comprised of nothing but scores of airships, tethered to the tops of the buildings of Southwatch and each other through walkways and plazas. Their only link to the city below is the network of private lifts that carries the well-to-do from the Aerie into Midtown and the transportation hubs there. 

The best way to view the Aerie is from underneath it.  On a clear day, the sun's rays stream through the field of bessem airships, coloring the light until the heavens look like an expanse of stained glass. If you're a poet, that's a good thing.  But if you live in Midtown or University Heights, chances are you'd rather have a blue sky with a sun in it, particularly if you have the misfortune to live under Lady Romarty's ghastly pink and purple monstrosity or the Earl of Green Mountain's unoriginal homage to himself. Obviously, a green airship wasn't a stretch of the old man's imagination, and it doesn't matter how fair the maiden, she isn't at her best when the only light that hits her skin is a mottled green camouflage. 

The Aerie itself, however, is a cold and uncomfortable place. Even on the hottest days of summer, the walkways and terraformed plazas always have a frosty wind howling through them.  The air temperature is too cool for plants to grow, so the "parks" are littered with clear bessem terrariums, and therefore the flowers are always beautiful but cannot be enjoyed.  The Aerie smells are dictated by what happens in lower levels of the city, although the Dark Cloud filters out most of the emissions of the factories far below. 

So while the Aerie can be beautiful, that loveliness is aloof and cold--two attributes that suit the district very well.  The environment so perfectly matches the attitudes of the aristocracy that they naturally thrive in the Aerie, much like fungus in a scientist's controlled experiments. 

One of the most interesting things about the Aerie, however, is that it's always changing.  The noble and wealthy trade families who can afford a floating palace are constantly moving their airships around, jockeying for position both physical and psychological closer to the center of the district.  In the very center, of course, are the airships of the most powerful entities in Southwatch.  The Baron of Southwatch, young Thomas Amberville, occupies his family home right in the middle of the Aerie. His ship, one of the few vessels that isn't an affront to the goddess with its blue bessem and silver filigreeed beauty, does not move, and is surrounded by a core of airships that rarely move. Every other airship, however, is constantly moving. Unless you live in one of those core airships, you can go to bed one night and wake up the next day to find all the paths you navigated the day before have been changed. It's impossible to even map the Aerie, and only the Sky Rangers and the Angels of Steel have the ability to find all the ships easily.  The only fairly constant landmark in the Aerie is the immense golden dome of the Caelimane Temple, which has maintained its position two rows away from the Amberville airship for decades.

Which, if you think about it, is a fairly stupid way to maintain order. Originally, the airships of the Aerie wanted to be in the center of the field purely for reasons of security. After all, the pirates that constantly harass the Aerie can only get close enough to the ships on the fringes of the district.  Ships in the center of the Aerie were left unmolested.  But over time, that competition became less about safety and more about proximity until now a familiy's investments and social prestige directly impact their living address.

Put simply, the closer your airship is to the Amberville ship, the more powerful you are. It makes one wonder: what would happen if the Amberville family lost all its wealth and power? Would its beautiful ship fall out of the sky? Would the Sky Rangers come and tow it away? Or would the new power over Southwatch just move into the Amberville airship and claim it as its own? 

Makes you wonder, doesn't it? 


Monday, March 17, 2014

How Addiction Came to Southwatch

Editor's note: This is a guest blog post by Daniel Ausema, author of The Electro-Addictive Moth-Flame.  Enjoy!

Mellia, the central character in “The Electro-Addictive Moth-Flame,” is a steam monkey, a person whose body was modified as a child to make her immune to most electricity but addicted to high voltage. Celina has asked me to dig a bit into how I took the original ideas of this shared world and teased them out into the novella, so this is the aspect I'm going to focus on in this blog post: the steam monkeys and their addiction to electricity.

If you read the original Darkside Codex bible, you'd see that there was nothing about such an operation or addiction in the original conception of the setting. So how did that come about? To answer that I need to step outside the Southwatch setting for a moment. Around the time I was reading through the materials on Southwatch, I was also looking around for a copy of Steph Swainston's Above the Snowline. The book hasn't been released in the US, so finding a legal e-copy was proving more difficult than I was expecting...and that difficulty had me thinking more and more about the earlier books in the series.

If you haven't read The Year of Our War, I definitely recommend you do. At one level they're very traditional fantasy books, yet Swainston always manages to take the ideas slantwise, with a high dose of the best kind of imagination. Central to the books is the narrator, Jant Comet. He is immortal, at least until someone can best him and take his place in the circle of immortals. And he is addicted to a drug that would certainly kill him if not for his immortality.

So I had Jant at the back of my mind as I was plunging into the background of the city of Southwatch, and I thought it would be a good challenge to write about a character who is addicted to something self-destructive and yet without losing readers' sympathy. It was the barest of outlines for a character, but it was the central seed that Mellia grew from.

There is a good deal in the Codex bible about the high society up above the Dark Cloud, and that could have been a ripe milieu for an addicted character. Moving in fancy circles, characters hiding expensive drugs from their peers. That's not usually the kind of story I'm drawn toward, though, and as I read more about the Steamworks and the street-level aspects of the city, I found myself imagining those places much more clearly. The gas masks and twilit streets called for a story, the clanking presses of the factories and the crowded tenements. I turned my attention to those parts of the Codex bible.

But what about the whole body modification stuff? How did that work its way into Southwatch and get entwined with the addiction? To answer that, I need to point to the rest of the novels and stories I've written. It's a theme that plays out in vastly different ways across many of them, not something I consciously think, “Oh, I need to shoe-horn some body modification in here,” but a theme that develops on its own in many stories. I'd say that it's very closely tied with the infections of Chels and the other characters in my Spire City episodes. In other, unpublished novels I have characters who have cyberpunk sorts of implants in one and a land that causes the characters' bodies to mutate if they stay in one place too long in another, to just mention two. All those, as I see them, are akin to each other and to Mellia's experimental implants. Someday a grad student in literature will write a thesis exploring how that plays out in my various works...

(It's worth mentioning that similar transformations take place often in the works discussed as New Weird, as well as being not all that far off from a common motif in fairy tales and folk tales, all of which have been influences on me.)

So, that's a long way of coming back to the question of how Mellia's transformations fit into the Darkside Codex. As I read through the information about the rogue scientists and the factories, with the thought of Mellia's addiction at the back of my mind, it all fell together. Of course there are and have been scientists employed by the factories, operating outside of the usual, accepted labs and laws. Of course they've looked into tweaking the workers in the factories. Maybe some they've tried to turn into mindless drones as an alternative to the mechanicals. Maybe some they've tried to keep small, so they never outgrow their usefulness. And who can say what other experiments the factory scientists have performed? Those are great wrinkles for other writers to explore, and I hope some do.

Until then, at least we have the steam monkeys, their bodies lined with electricity-conducting wires, their necks pierced by the coils of metal that are the outward signs of their modification. And when they are too old for the factories, if they live that long, then they wander the streets and underground of Southwatch, immune to shock but craving a greater jolt of electricity. So take a trip with us Darkside Codex writers, and maybe you'll meet up with one of them.

Wednesday, March 05, 2014

A Letter From the Editor, or What Are We Looking For in TDC Books?

Everyone always wants to know the answer to the question "I wonder what they're looking for?" Although our submission guidelines are specific, they're more about the nuts and bolts of a potential submission.  The part of the acquisition process that is the most obscure for the writer is the subjective part, which is rendered even more difficult to guess because of the unique requirements of a shared world. The Darkside Codex is a huge, complex world and has been from its conception. But what makes a shared world so much fun is that the world is never finished. Never. Writers are bound by the canon, but have extraordinary license to build and expand upon it.

The main thing I'm looking for is a great story.  Yes, I know. Trite. Basically, I want to see stories that can stand on their own merit, as if they don't rely upon the shared world. Sure, you can write something that expounds upon the world beautifully, but I have to care about the characters, I have to have an emotional stake in the resolution of the conflict, and I have to "see" the story in my head, like a movie. In other words, you have to engage my interest. Even if there are a few small flaws in your story content-wise, I'm experienced enough to judge whether a story can fly with regular editing, whether it needs to be revised/resubmitted, and whether it's just not going to work.

However--

One thing you absolutely need to make sure that you do is to send me a clean manuscript with proper grammar and spelling. The downside to being experienced enough to see past structural flaws to the heart of the story is that experience makes me a little intolerant of easily fixed mistakes. A word to the wise--do NOT rely upon spell checker or grammar checker software for your submissions. Go through your submission word for word, line by line, page by page. Spell check, for example, cannot differentiate between homonym errors--and nothing is worse than a manuscript where the author incorrectly uses to/two/too or there/they're or its/it's.

(hint: homonym errors are my current submissions pet peeve...be warned)

And finally, when I read your story, it needs to have the feel of Southwatch.  That doesn't mean a rubber stamped style from the first couple of books.  CA Chevault's Storm Angel and Daniel Ausema's The Electro-Addictive Moth-Flame are very different in style, tone, and feel. For one thing, Storm Angel is set primarily sunside while The Electro-Addictive Moth-Flame is set darkside--and both stories reflect their settings in tone, style, character, and conflict. So your submission needs to fit in with the part of the Southwatch world where your POV character(s) primarily reside. A girl who was caught in the burning rains in Bricktown is going to have a completely different voice than a young aristocrat who's the favorite drinking buddy of Thomas Amberville, the Baron of Southwatch. Also, the feel of the setting is going to be different as well.  While there are good times to be had darkside, for the most part the lower you are in Southwatch, the more desperate your situation. There's room for any author to play in Southwatch, no matter what side of the Dark Cloud you play on.

Hopefully, all this will help any potential authors as they prepare their submission for The Darkside Codex. Let me remind you, too, to take advantage of the opportunity to send me the first two-three chapters pre-submission. I am more than willing to look at what you've got and plan to do, determine if it is working within the world, inform you of any changes in the world that will affect your story, and give you my honest opinion of your work. This isn't a submission, and I'm not looking for publication polish. All this is for is to help you to complete your TDC submission by giving you feedback at a relatively early stage. You can learn how to do this by looking at our submission guidelines.

Best of luck to you, writers!  I am looking forward to seeing your Darkside stories soon--

Editor's note: Celina Summers is not only the editor reading submissions for The Darkside Codex, but she's also the co-creator of the world (with Richard C. White) and the Editorial Director of Musa Publishing.  With a writing background in speculative fiction and sixteen novels and novellas to her credit, she's happily combined her love for the great shared worlds of the past like Dragonlance and Thieve's World with steampunk and other spec fic genre mashups in The Darkside Codex. 

Wednesday, February 19, 2014

The Chronicle of Southwatch: The Great Blackout

Editor's note: We will publish sections of Herink Lesward's The Chronicle of Southwatch upon occasion to provide our readers with an alternate point of view regarding important events in Southwatch. While the majority of historians cast doubt upon Herink's credibility and his obvious anti-sunside bias, we feel that this maligned diarist can give someone unfamiliar with Southwatch a different perspective on what happened. 

For years now, the darkside citizens were accustomed to occasional blackouts.  Every factory, no matter how well-run, must stop production in order to perform necessary maintenance.  The Great Steamworks was no exception. Usually, the blackouts were not only of short duration but were announced by the Steamworks well in advance, thereby causing the citizens of Southwatch very little inconvenience.

However, a few weeks after Pertcha in the year 2958, Southwatch was struck by a completely unscheduled blackout in the middle of a cold winter night.  This blackout wasn't the result of industrial maintenance.  No, this blackout was the result of sabotage, with terrible repercussions that stretched all the way from Bricktown to Downtown and beyond. In fact, this blackout affected every single building and residence throughout the city--even all the way to the Aerie.

If the saboteurs were hoping to cause chaos, they succeeded. The series of explosions that rocked Bricktown set whole buildings aflame.  That district was the only one where one could see out on the streets.  The explosions resulted in the deaths of 49 people, most of whom lived in the rickety Visavi complex of low-rent housing.

At the Great Steamworks, the saboteurs not only managed to sever the main electric lines from the steam-powered generators, which led to the city-wide blackout, but they also destroyed the D generator.  This loss will result in erratic power and potential future blackouts as the winter season deepens.

But interestingly enough, the saboteurs also managed to wreak havoc upon the sunside of the city--not only in the hallowed skywalks and dirigibles of the Aerie, but upon Baron Amberville's own airship. I went to the Aerie the morning after the blackout, having heard from an acquaintance on the Sky Rangers about the attack upon the Amberville airship. I was dubious, thinking this was no more than the type of rumor that begins with some old woman seeking attention and then garbled through every ale shop from the Temple down. But when I arrived at the Amberville mooring, I was shocked to find the old dirigible barely afloat.  Even after several hours, men were working hard to put the remains of what must have been a massive fire out. The bessem exoskin had vanished from the port side of the stern, revealing blackened beams and mounds of smoldering rubble where once had been the private rooms of one of Southwatch's most venerable and lovely airships.

But even that could not hold a candle to the stinking mound of rubble that was all that remained of the Visavi building.  Even as people combed through the wreckage, searching for bodies, the engineers were already hard at work, bracing the now empty space and checking contingent buildings for structural damage. If the Visavi had been in Midtown or University Heights, some enterprising entrepreneur would have erected a new, modern building in its place. But this was Bricktown, and the families who'd survived the inferno would not find new housing in this spot. Southwatch would reinforce the neighboring structures with bessem buttresses, and instead of new housing would leave this space empty. They would put in a new lift system, perhaps, or build an elevated thoroughfare that would connect the Steamworks with Midtown, with wide enough lanes for the industrialists to drive their expensive vehicles safely.

While those few bedraggled survivors would have to cast themselves upon the charity of friend and family as they added their names to the lengthy waiting lists for housing in units they could afford.  It might be years before they have a space to call their own. No telling what these helpless men might do in order to shelter their families, or what degradation a young widow might endure to keep her children fed--but the young Baron, Thomas Amberville, will await the repair of his home on a trip to St. Louis. While children, victims of the same saboteurs as the Baron, freeze and starve in the unheated corner of some rat-infested garret, Thomas Amberville will enjoy the splendors of the Imperial Court.

Do not mistake me--I have no complaint against Thomas Amberville.  He is young to rule Southwatch, yes--only twenty-five--but he is not a cruel or thoughtless man.  From what I understand, he is striving to learn how best to rule and has a very real care for the welfare of his people. Perhaps when he is older, he may actually learn that his people don't just live sunside. Perhaps he will extend that care to the darkside districts, to the people who, like the families that survived the Visavi explosion only to be homeless the next day. In fact, I would surmise that he must represent some sort of threat to the status quo if the people behind the sabotage were as high-ranking as I have heard.

If he were like the majority of the government, he would never have been targeted by any conspiracy.

But then again, if he were truly aware of the plight of the Visavi victims, how could he have left for St. Louis without making some provision for them?

I believe I will watch Baron Amberville closer upon his return to Southwatch. I will be interested to see what he does, not only for the city, but at the trial of those who tried to kill him.