Christmas Clippings (Bookhounds of London)

 

Extra History

Big fan of that channel. Loved it ever since the Extra Credits early days at the Escapist.

This week's post is inspired be the bit at about 6.50 in, where the conversation turns to clippings from magazines preserved by eager children. 

The magazines would have been 1850-60ish. Fast forward about 70 years and those children are in their dotage, fondly remembering Christmas Past and looking forward, with some uncertainty, to Christmas Future. Probably very near future, in some cases.

Lest Old Acquaintance Be Forgot

There's a sudden uptick in demand for magazines published c. 1850-ish. Heavy on the ish. The magazines need to be in pristine condition to get the real money, but there's a demand even for the indifferent stuff. Given that the magazines in question weren't made to last, indifferent is the standard rather than the exception. 

The Hounds soon discover that this demand comes from the four grandchildren of Oliver Packer, a noted occultist and enquirer into the uncanny. The Hounds may even have relied on Oliver's expertise from time to time. While he doesn't go on adventures anymore, (not with his lumbago), in his day he was quite the active rogue. 

Technicolor: Oliver spent several seasons exploring Egypt's mysteries and his house is practically a museum, filled with peculiar antiquities.

 

Arabesque: Oliver is (and was) an explorer of the ghostly byways of old London and knows more about the hidden side of the city than any two other people.

Sordid: It's said Oliver bargained for his longevity with hideous creatures that dwell beneath the Thames, making who knows what kind of sacrifice.

The grandchildren, Thomas, Alice, Quentin and Prunella (aka the Prune), are jockeying for position. Each of them thinks they might be the one to inherit Oliver's fortune and are sucking up to the old boy. One of them hit on the idea of presenting him with a collection of his favorite magazines from his childhood, and are using an old bound collection of Christmas clippings as a means of identifying the magazines he read as a child. Once one of them had the idea the other three copied it, and now they're all chasing after Oliver's past in hope of presenting him with the perfect Christmas present. 

However, while they can identify most of the magazines (and have bought up reams of the stuff) the one thing they can't identify is something called the Barchester Sampler, apparently published between 1848 and 1853. The illustrations purloined from the Sampler are among the most evocative, and the grandchildren are keen to complete the set. Can the Hounds help?

Option One: Barchester Bull. There's no such town as Barchester. It's a creation of Anthony Trollope, who used it in his Chronicles. However, what the grandchildren don't realize is that Oliver's father, Roger, was an amateur artist and printer who created the fictional Sampler for his son. Oliver, who is no fool, knows full well what his grandchildren are up to, and encourages this snipe hunt as a means of teaching them a lesson. However, there are plenty of unscrupulous people out there - possibly including the Hounds - willing to forge a magazine or two if it will get them easy money.

Option Two: Barchester Dreams. While Trollope created Barchester, young Oliver extended it. In his youth he was a Dreamer and made regular forages into the imaginary landscape of England, including Barchester. Oliver brought back the magazine scraps in his wanderings. Oliver has been trapped on the mortal side of the Gate of Dreams for some time, thanks to a ward put up by his enemies in Dreamland. However, if someone else can make the trip across the veil they might be able to bring back a complete set of the Sampler. Or even get Oliver back into Dreamland again ...

Option Three: Barchester Nightmares. There is no such place as Barchester. Not unless you're prepared to make certain sacrifices while travelling in Somerset, where Trollope drew much of his inspiration. Oliver learned the trick years ago; it was one of the first magickal rituals he created, in his younger days when he was full of vinegar and willing to take all sorts of chances. Oliver learned it was possible to cross from mortal realm to fictional one, but the fictional world isn't the kind of place you want to spend a lot of time in. Shadows gather there. Things which ought not be hide between the pages. Oliver soon abandoned this particular ritual but it can be recreated, by someone reckless and willing to try any kind of blasphemy. It will be even easier if they have that bound volume of Christmas clippings ...  

That's it for this week. Enjoy!

Great War, Extra Credits and Soviet Ghosts

More of a catch-all, this time. For those of you with an interest in the Great War, or my Trail of Cthulhu supplement Dulce et Decorum Est (plug plug), should check out the Extra Credits series Extra History. Extra History is pretty much what it sounds like: a look at historical subjects, created by the same folks who do the video game commentary animated shorts. For the next few weeks Extra History will be tackling the Great War, and so far it's up to episode two. The first episode, all about the lead-up to the war, can be found here, and the second, about the assassination of Archduke Franz Ferdinand, can be found here.

While I'm talking about totally unrelated things, I would be shockingly remiss if I didn't point the Night's Black Agents fans towards the work of photographer Rebecca Litchfield. Her collection of post-Soviet abandoned sites, including radar defense bases, train yards, military camps and other forgotten memories of the Soviet era is truly outstanding. Any Director worth his salt needs to look at these. 

Bush League

Extra Credits has been an excellent video series about the game industry, which I've followed since its debut on the Escapist. Recently EC left the Escapist due to a dispute over money. I'm not going to rehash that argument here. I don't have all the facts at my disposal and I doubt it would matter if I did, since both sides are burning with righteous indignation right now and neither willing to concede a yard of ground. Trench warfare didn't work out so well the last time it was used, but every time lawyers get involved it seems both sides start digging.

However it intrigues me (in a morbid look-at-the-car-wreck way) that the dispute is over non-payment of money owed. Judging by some of the twitter responses this may not be the first time that's been a problem. Now, I have a dog in this fight, as I've written for the Escapist before and hope to do so again. That dog may be small and puny, but it has four legs and fleas: it's a dog.

They're not the only company I've written for. I've done a little for Ars Magica and a lot more for Call and Trail of Cthulhu, among others. No, I'm not going to tell you who pays late and who on time. That'd be wrong of me, and childish to boot. Any discussion along those lines is between me, the other fella, and my bank account.

However the Escapist debacle reminded me of a forum discussion I had on YSDC about NDAs and their use by pen-and-paper RPG companies. My position was, I didn't see the point in anything as official or as restrictive as an NDA when the subject of the agreement was as trivial, in the grand scheme of things, as an RPG product. A licensed property, perhaps; something technologically complex, perhaps; something worth a lot of money, perhaps. The average monograph fits none of those categories. At that rate of pay, you're looking at just a touch over $0.01/word. You don't pay rent with that cheque. The Horror Writers Association suggests (in their membership requirements) that the minimum professional rate is $0.05/word, which is not a rate that all of the RPG companies I have done business with have paid. Of course Chaosium's a bit unique in that their monograph system has the contributor doing all the work, and there's always the chance they might get more if the thing 'goes gold', to borrow a term from a different gaming industry. But low pay is a fact of life in the RPG biz. The one piece of advice everyone involved repeats again and again is 'don't give up the day job.'

A few things came out of the NDA discussion, some of which I agreed with and some I did not. Yet some of them seemed to suggest a mentality I've come across a couple times before: "if you want to play in the big leagues, you have to play by our rules."

I'm pretty sure the big leagues can afford to pay more than $0.01/word. I'm also pretty sure the big leagues can afford to pay on time. The Penguins, the Pan MacMillans, the Times, they're the ones in the big leagues. Even they screw up, but I doubt they make a habit of it. Down here in the dirt, we play bush league stuff.

Now, I don't mind the minors. I see it as a proving ground. I expect one day to move up to the majors, if I'm good enough, and I constantly work towards that goal. I like the Escapist. The people I've done business with there, particularly Susan Arendt, are good people. I'm sorry to see them in this mess, and I'm sorrier still that it had to be Extra Credits, a series I admire. I think this is a situation that could have been avoided.

However I do wish one thing: that we all stopped pretending this is the big time. It's not. This is scrabbling in the dirt, praying that the ump is cross-eyed enough not to notice our screw-ups. That can still be a hell of a game, and it demands skill, but it is not the majors.

Maybe it never will be, but that shouldn't stop anyone from trying to be professional. From bush to big isn't an impossible gap, but it demands a certain commitment to standards, on both sides.

Again, I'm sorry it had to be Extra Credits, and I'm sorry it had to be the Escapist. I wish everyone concerned the best of luck.