When Kamelot went to Montreal, and I went to Kamelot

The year is 2000.

A 14-year old me is scouring the internet for news about the new Zelda game, which was up until recently known as "Zelda Gaiden", set to release later this year. The game, now titled Legend of Zelda: Majora's Mask promises to be an darker, deeper sequel to Ocarina of Time.

I stumble across a site called Hyrule: The Land of Zelda. The splash page loads a flash video of the Skull Kid wearing Majora's Mask. Suddenly, the most mesmerizing piece of music I've ever heard plays in the background. It's the first 26 seconds of this song. And all I see is "Music by Nightwish" at the bottom.

 

And this is what got me interested in symphonic metal. Weirdest, stupidest way to get interested in a type of music, but it's the truth. To be honest, a very similar event occurred to get me interested in Daft Punk: a clip of Digital Love on a GAP commercial.

I had no idea what the song was called, only that the first 26 seconds had pulled me into an obsession. I had to know what that song was. And instead of doing the obvious thing and emailing the webmaster, I decided my best course of action would be to download songs until I found the right one.

I underestimated Nightwish's discography. 

It took me about a full year to find the song, but in the meantime, I fell in love with the band. It hadn't been long after Wishmaster had released, and the first full song I heard had been Sleepwalker, the bonus song from that album. 

Years later, after their album Once had released in late 2004, I discovered they were playing a show in Montreal and knew I would have to go see it. I took a 13 hour train ride with a friend who wasn't even remotely interested in this kind of music and went to see them live. As the first notes of Dark Chest of Wonders swept across the crowd in the Metropolis, I knew. This is my favourite band. 

Years still later, I managed to see them live--in Montreal and Quebec City, because few good bands come to New Brunswick--three times with their new singer, Anette. The first show, I even brought the band a small doll I had made based on the character Eva from one of their songs. I was floored when Anette brought it onstage during the encore. Anette told me after the show that she was planning to bring it for other performances as well, and she was true to her word--she brought it onstage in Toronto the same week. Again, Nightwish was cemented firmly as my favourite band. 

Slowly but surly, a contender appeared. Kamelot, at first, was unassuming to me. Seeing their video for March of Mephisto on MuchMusic in 2005 got me interested, but it wasn't until I sat down and listened to the Black Halo as a whole that I truly understood what a fine band they are. I spent the entire summer of 2009 listening to that album on repeat. I couldn't stop. "All right," I told myself, "this is your favourite album. But Nightwish is still your favourite band."

Then, disaster struck. Last October, just a day before I was due to make a trip to Montreal for work, I discovered that Anette was no longer a part of Nightwish. I was heartbroken to hear that yet another of the band's prolific, talented singers was gone. I'm not ashamed to admit I shed tears at both Tarja and Anette's respective departures. Both times, the future was uncertain. The second time, though, I was starting to develop trust issues. I don't like to take sides when I don't know the full story, but I couldn't help but feel a little bitter.

Floor Jansen joined Nightwish to promote their Imaginaerum album and, from what I've heard from the live videos uploaded to YouTube, has done a magnificent job singing in the interim. Since the summer of the Black Halo, I had fully listened to two more albums of Kamelot's--Ghost Opera and Poetry for the Poisoned--and started to feel that second place was coming up very closely behind Nightwish. I didn't want to think about my precious Nightwish being kicked out of the position I had mentally put them in. Not because I think they would care, but only because I'm particularly stubborn. 

Kamelot had experienced some lead singer problems of their own. Roy Khan, their talented singer with a voice like velvet, had suffered a serious collapse during their tour to promote Poetry for the Poisoned. After a year's break and having Rhapsody of Fire's Fabio Lione take over for the tour, Khan announced in his blog that he would no longer be a part of the band, and he has since left he music industry altogether. 

I fell into a period of musical confusion. My two favourite active singers were no longer a part of the bands I loved. There was a period of time that I avoided metal altogether. It was a brief period, but it was there. I listened to Gorillaz and Mother Mother and wondered if I would ever love metal again.

And then I discovered this song. 

When I heard the singer, at first I thought it was Roy Khan in a new band, or that perhaps he had changed his mind. When I got to the chorus, though, I realized that it wasn't Khan at all, but someone new, and that Kamelot was alive and well. I was overjoyed. Not only were they releasing a new album, but they sounded as good as ever. While new singer Tommy Karevik had some big shoes to fill, it seemed he was doing a very good job of it.

I purchased their most recent album, Silverthorn, and was blown away by it. To me, it was their best album since the Black Halo. It helped me through a particularly rough patch in winter. Every day I would look forward to coming home, cranking the album as loudly as I could, and... well. Cooking supper. I cooked supper like a badass.

I bought concert tickets on a whim in late March, foolishly overlooking the VIP tickets and going straight for the regular show, thinking it would save me money. For some reason I was neglecting the fact that I was attending a concert 13 hours away and that saving money was a little bit out of the question. Many months passed. Random Access Memories was released and kept me actively listening to something in the meantime. When September arrived, I was ready, and terribly excited.

We woke up at 4:30 AM to board the plane to Montreal the morning of the show and met with a friend who was also in town to see the band. We spent the day hanging out in Montreal, more or less killing time until we could enter the venue.

Brad and I waited outside in the line in the rather uncharacteristic cold for about an hour and a half until finally the line started moving and we were allowed inside the venue. We found a spot on the floor to stand and were surprised when everything started exactly on time. Opening band Eklipse took the stage promptly at 7 PM and blew us all away with their unique, harmonic blend of string instruments. 4 ladies--3 violinists, and one cellist. They played popular cover tunes as well as their own atmospheric originals.

Closely following Eklipse was Delain, a Dutch group who are actually far better live than their recordings would suggest. Lead singer Charlotte Wessels seemed to be an absolute sweetheart, smiling at the crowd at every opportunity. She packed a powerful vocal punch as well. At one point, the crowd was cheering so loud that Charlotte just stopped and watched us, positively beaming. All around, the show was shaping up to be one of the best shows I'd seen, and that was before the main act even came out.

At 8:30, Delain thanked us and left the stage. Just a half hour before Kamelot came on. It was a pretty long half hour. But the lights dimmed, the crowd cheered, and a familiar voice from just offstage shouted "Montreal!". The opening notes of Rule the World started to play, and like the revelation I had when I saw Nightwish live for the first time, I realised right then that Kamelot's succession had arrived. They had dethroned Nightwish, my favourite band for almost 10 years, and taken their place.

Their set was absolutely magical. Alissa White-Gluz of the Agonist--my personal girl-crush and current musical inspiration--accompanied and sang backing vocals and the female vocalists on many of the songs. She also growled during Sacrimony. Eklipse returned for My Confession, playing their strings just as they do on the album. Acadian artist and fellow East Coaster Angie Arsenault took the stage to sing a duet of Don't you Cry in French alongside Tommy. Incredible.

The band said goodbye for the time being, but was, as always, met with a series of cheers and chants from the crowd, begging them to come back on stage. They did, opening the encore with Ghost Opera ("welcome all to curtain call/at the opera/raging voices in my mind/rise above the orchestra/like a crescendo of gratitude"--fitting!). The final song of the night was March of Mephisto, which began with two members of Eklipse coming onstage to play a drumbeat, and followed up with Alissa growling the role of Mephisto. I think that was when I lost my mind. And my voice.

It was an incredible, magical evening. But it wasn't over.

We stopped by our hotel room for a few minutes, then went back out to see if the band might hang around the venue a bit afterwards.

And then, this happened. That's Sean Tibbetts, Kamelot's bassist. I wasn't in pain, by the way, I just can't take a decent photo to save my life.

We saw a few people coming and going, but Sean Tibbetts stopped to talk to us and take a few photos. After seeing no other members coming out, we decided they were likely tired and we headed out to Foufounes for a post-concert drink.

It was when I was ordering a round of Shocktop when my husband Brad leaned over to me and asked "Isn't that Thomas Youngblood over there?". I looked over, and sure enough, the guitarist and founder of Kamelot was standing not far away, chatting with fellow musicians and having a drink of his own. Marcel, our friend who accompanied us--also the lead singer in Moncton-area metal band Shades of Sorrow--suggested we say hello. I'm shy, but I couldn't pass up this opportunity. We approached Youngblood to say hello, and he reciprocated with a smile, shook our hands and clinked glasses with us. Wow. To say it was the perfect end to an already magical evening would be a bit of an understatement.

While I didn't get to meet everyone in the band, it's safe to say I'll be getting VIP tickets next time to ensure this happens. When I first heard of Khan's departure, I was uncertain whether Kamelot would keep going, or that the new singer might not measure up. It seems now, though, that my sentiments echo Youngblood's from this Blabbermouth article:

"In the beginning, when this whole thing started, we were a little unsure of what the future might be, but now we're really excited about it."

I couldn't agree with him more. I'm excited, too.

Nightwish will always be special to me, but times change and so do our perceptions. I'll still see Nightwish on their next North American tour, I'm sure, but I don't know that I can get attached to another singer in the same capacity. It's not right to compare two bands, and though it may sound like it, I'm not. One has just slowly and steadily grown on me to the point that I can no longer see myself calling any other band my favourite. Thanks for September 8th, Kamelot. I'll never forget it.

A post-script to note that seeing Kamelot was the musical kick in the ass I needed. I finished recording this song this week. It's the first song I've ever written. Please let me know what you think!

The world would be a better place if it were more like Animal Crossing

Here's why. And don't you dare judge me.

10. Renewable resources

You can fish all day without a license. You can catch rare butterflies without the fear of airport security hunting you down when you try to smuggle them out of the country. Rare fossils can be found every day. Guess who doesn't care that you just caught a half dozen whale sharks? The DFO. 

9. Your pockets are freaking amazing

This is the 27th one today.

Fish and bugs can live harmoniously in your pocket without being crushed or killed, even when buried under 4 furniture items. You can store an entire week's worth of clothing. In your pockets. 

8. Storing furniture in handy leaflets

There would be a lot more trips to IKEA in my future, let me tell you. 

7. Everybody gets a mansion

It's like The Invention of Lying, only true.

6. You can choose your neighbours

Don't like one of your animal friend townies? Kick em out! Fascist.

5. Gardening is stupid easy
You can seriously grow a fruit tree in like 3 days. And then you can chop it down and grow another one in another 3 days. Also, these trees bear fruit every three days. Who needs seasons when you can grow fruit all the time?! Solving world hunger faster than you can count to 72.

4. Your tropical island destination is just a song away
Literally.

3. Make your first million in a day
Go to the island. Catch beetles. Return to land to sell. Repeat ad nauseum.

2. Get your furniture upholstered in 30 minutes
or your Bells back. Seriously though I'd get my furniture re-done every single day if it was as cheap and quick as Cyrus does it. Also if I could store it in a handy leaflet. (See point 8.)

1. Money grows on trees
No, really.

Sweet, sweet Bells.

My other blog, thisindiegameblog, is typically home to all kinds of other game writings, though they're typically independent games. Check me out over there, too!

Also my Dream Suite address is 4800-2191-6274!

A quick re-direction

I've decided that, after four long and detailed blog posts about various indie games, to re-direct that effort elsewhere. I realise that some of the posts have actually become reviews as well as reflections. Rather than hold myself back from this, I've decided to go the "create another outlet" route for it. And thus, thisindiegameblog was born. thisindiegameblog will be comprised of reviews and shout-outs for indie games of all kinds. Maybe, through doing this, I'll manage to find a home for Thread!

Finishing the Swan

Today, I braved the Boxing Day shopping rush to grab something other than a deal. It was a PSN card, so that I could download and enjoy a breathtaking PSN title called The Unfinished Swan. I played the demo last night and was immediately drawn (or painted, in keeping with the theme) to it, so I knew I had to play it as soon as I could.


This game was released as a partnership with Santa Monica Studio's incubation program, which also released other fine independent titles such as Flower and Journey. Naturally, I had high hopes for this game.

 

You play as a young boy named Monroe whose mother has passed away. She loved to paint pictures of animals, but she would never finish them. When she died, he got to take one of her paintings as a memento, and it was a picture of an unfinished swan.

One night, Monroe awakens from his sleep, and the swan has gone missing from the painting. He goes to look for it, and he's pulled into a white world where he must begin by throwing balls of black paint to reveal his surroundings. All the while, he is following the golden footprints of the swan to try and track it down.

As the player, you watch the surroundings evolve from simplistic white canvas that reveals pathways and creatures through the thrown black paint balls, to landscapes that feature simple white with grey shadows, to all-around elaborate, inverted dark-to-light levels. The gameplay evolves from splattering paintballs, to using water balloons to grow vines that you can climb across, to creating blocks in an alternate dimension that will transfer to the regular dimension. Each chapter of the story teaches you how to play the game through sheer experimentation and simple puzzles that will bring you closer to completing the story. The puzzles never get too difficult, and the gameplay is very minimalistic, making it a good choice for experienced gamers and casual gamers alike. You can simply pick it up and play it.

Some of the game's concept art.

Design-wise, it relies on minimalistic colours, shapes and designs, and the character designs possess a nostalgic, Petit Prince-like quality. The world, though mainly empty of characters, is full of breathtaking scenery, reminiscent of ICO. Its gameplay, though it uses a number of different mechanics to bring it to life, can be summed up as a platformer, though, as many games are, this game is so much more than that. It's one of those refreshing games that is simple but complex. It creates a new idea of what gaming can look like, and the direction it might be headed.

Another interesting component of the story is the unexpected dual storyline. At first, you're witnessing Monroe's story alone, but as the game progresses, the story of a self-absorbed king begins to unfold, to the point that his story is as important as Monroe's. It also draws a lot of parallels to Monroe's story, and to his mother's story.

While the game deals with some dark or sad themes, it is considerably lighthearted. Part of this is because of the game's fairy tale-like storytelling. It deals with the subject of death in a way that is overt, yet sensitive and honest. To me, this is saying that death is a normal part of life, and how you accept death says a lot about you. The theme of leaving things unfinished is an interesting theme, as well, but I won't go too far into detail, or else I risk spoiling parts of the game.

The game is a triumphant voyage through the imagination. It's beautiful, uplifting, strange, mysterious, and just a little bit sad. I felt compelled to talk about it in detail after playing it, but I also know I'm not quite finished with it yet. Something about this game begs to be revisited. It's one of those games that, to me, feels almost allegorical, like a good piece of literature. It further cements the video game's place as a form of art and a storytelling device. While video games have been debated over for their artistic merits for a long time, to me there is no question that it's a remarkable art form. What other medium allows you to immerse yourself so wholly into the experience?

The game is available for purchase on the PSN for your Playstation 3 system. You can also download the demo for a free trial. For more info on the game, you can read an interview with Ian Dallas, the game's creative director, here. To add, Journey-lovers should check this game out. You may just find a little surprise hidden within.

More on Journey

Not to beat a dead horse, but I have more to say about this game after a week of playing it. As I said in my last post, I don't want this to turn into a video game review blog. That's not my aim. Instead, I'd like to have a discussion about this game, because I absolutely love it. I love this game.

Here is some background music for you while you read the article. Please listen to it; it's one of my favourite pieces from the game's soundtrack.



Since my last post, I have played through this game 4 more times, making for 5 in total, and my husband has played through once. I've convinced 2 other friends to play and it affected them similarly. The 4 other playthroughs were vastly different from my first, and two of them I found profoundly sad.

What I've learned from the playthroughs of the game is that finding a companion who wants to travel with you is absolutely golden. I was spoiled during my first few plays, and I had partners who were helpful, engaged and patient, then moved on to partners who were mostly goal-oriented in the latter plays, some of whom didn't think twice about running ahead. I got separated from many of them. It didn't sour the experience, but it did make me feel very sad, and lonely. This is especially true for the last one, in which I had a few not-so-patient partners, then finally came across one who was very friendly and let me teach them a little trick (how to trip). Momentarily afterward, though, we were separated, and then I was forced to complete the rest of the game alone.

One of the main things this game has taught me is that you can find kindness in anyone. In that the game is anonymous (until the end--but even then you can retain a level of anonymity), any person you meet on the street can be a person you played with. Regardless, I've been rethinking how I interact with people I don't know, even if it's obvious that they wouldn't play Journey. To me, the people you play Journey with are the same as the people you encounter randomly on the street. They each have that capacity for goodness and kindness. The person you're playing Journey with is, figuratively, the person who holds the door for you, or the person who bends down to help you pick up something you dropped. They may not be directly or overtly changing or affecting you, but what they do for you certainly means a lot. It's like graffiti or yarnbombing, but instead of witnessing a physical imprint, the player gets to witness an emotional imprint. The game's anonymity is also a nice reminder that you could be playing with anyone, making discrimination virtually impossible.

That also means that in this game, any first impression is not a first impression of you. You don't need to wear specific clothes or look a certain way for someone to like you. Racism is gone. Language is gone. A whole new level of anonymity is achieved. Because of that, nothing can be personal; it's simply not possible. Though, of course, with a game like this, the player just might end up taking things personally, because the game feels personal, even if it really isn't. The game is really an extension of yourself: it is how you project yourself uniquely in a world where people don't look so unique.

On a more plot-driven point, this game can be seen as many stories converging into one. This game has seven chapters: the Prologue, the Broken Bridge, the Desert, the Sunken City, the Water Caves, the Sand Temple, and the Snowy Summit. Other things that have seven chapters are the seven stages of grief and the seven stages of life, both of which can have nuances which hint to themes used in the game. I will leave that for you to explore with your own experience of the game, and if you haven't played the game yet... well, why haven't you played the game yet?!

The game is also highly reflective of the hero's journey, which Jenova Chen himself spoke of in an interview. Once again I'll let you read it and draw your own parallels.

Part of the problem I've had more recently with finding partners not quite so engaging might be me. I've realised that I have gone into the game more recently with a goal: to show people things and to make friends. But, it's the journey that's important. The point of this game is not to have goals and things you absolutely need to do or succeed at. It's the journey that counts!

To end this, I have a different article for you to read. This one is about Jenova Chen, co-founder of thatgamecompany and artistic director. I find his vision to be fascinating and genuine.

I think part of the reason this game has affected me so strongly is because I am on a journey, myself. Like Chen, my desire is also to move and touch people, but with words instead. It is my wish that some day, I might be able to write something that moves someone in the world as much as Journey moved (and continues to move) me.

A petal for your thoughts, Part 2

...And then, I played Journey.



As the trailer suggests, it's a game in which the journey is the most important part. As the trailer also suggests, there is a co-op mode, meaning you can play alongside someone else. The co-op is very unique, however, in that you don't choose who you play with. In fact, you don't even choose if you get to play with someone. The co-op is randomly selected, depending on whether or not someone is playing in the same area as you at the same time. They could also leave at any point, making your experience different every time. Sometimes they'll be replaced by someone else and you'll have multiple companions. You can't talk to your companion. You can only communicate in symbols, song notes and chirps. You may not believe this, but it actually becomes a feasible means of communicating, and you may find yourself understanding what your companion is saying by the end of the journey.

I was lucky, in that I had the same companion throughout. I wasn't sure if I had switched companions, but my suspicion of having the same one was confirmed at the end when I was told the screen name of my buddy (thanks for the great time, mrconkin! Sorry I kept falling off stuff; I have terrible depth perception).

Near the beginning of the game, I was walking alone when my companion, very suddenly, appeared beside me. We were both overjoyed, and we sang back and forth and chased each other in circles before progressing in our journey. The wide expanses of the game's setting are enough to make a player feel very small, so having a second person just like you to help you and stand beside you is startlingly powerful.

My companion was very helpful, and tried to protect me and signal me where to go when monsters appeared. He would sing to me to get my attention when he found something. At one point near the end of the game, we had been momentarily separated. I knew we were near the end, and I couldn't even see the white bloom glow that hinted at his whereabouts. I felt lonely and sad that we wouldn't be completing the journey together. I actually started crying as I looked up at the beautiful, glowing expanse I was soaring through, quietly wishing that my companion was there to see it with me.

My husband, who was watching me play behind me, saw the golden glow of my companion soaring up a long line of scarves at the same time I did. Knowing how attached I had grown to this guy in the mere span of 2 hours, he pointed him out, saying "there he is!". I laughed, and the two of us were reunited once more. After another brief separation, we were rejoined again, and we completed the journey together, walking into the bright white glow side by side.

Reading this, you would think I went on some sort of life-changing pilgrimage. I almost feel as though I did, and I don't care how stupid that sounds.

The game made me think of communication, and the inner workings of things like language. The entire game, nothing is ever verbally communicated, and it's not needed. You form ways of communicating with your companion, and you learn more about the story by visual representation. Your relationship to your companion reminded me a bit of ICO, in which you also can't communicate other than by calling out. The bond is made stronger, though, in Journey, by your companion actually being a real person on the other side. A story I heard online was that someone played a game of Journey with someone and sent them a message afterwards. That person replied to them in Japanese, meaning they were both able to play this game together when they may otherwise not have been able to do so. It's incredible that a game can bring strangers together like that.

I am truly captivated at the way these games can convey strong stories without using any words. They both have linear stories with a beginning, middle, and end, but the only way to communicate those stories is through strong images and powerful music. And yet, I feel I have a stronger response to these games than from any game I've ever played. It seems that the games with the most minimalist storylines and gameplay are the ones that really tug at me and make me think outside of the story.

I don't want to turn this into a video game review blog, obviously, but being that both Journey and Flower are games that have heavily inspired me (and the blog is called "When I'm Inspired, after all) I felt compelled to share my experiences in writing.

If either of these games appeal to you at all, I really urge you to play them. My experiences are just that: my experiences. You cannot truly know these games by listening to someone else's commentary. You have to play them yourself to truly know. Some people have talked about which is "better", but in my opinion they can't be compared. They are separate, unique experiences that stand alone.

Both of these games are great advocates of non-violence in video games, as well as art in video games. Journey is an excellent example of teamwork, as the only reason to work with someone else in the game is for the sheer gratification of it. I feel there is a little something in each thatgamecompany game that suggests harmony and peace. If we all had that little something in us, I believe the world could be a better place.

Our world is so full of "stuff"--cars, buildings, and machines. In a world like this, it's nice to find some simplicity, such as the simplicity you find in Flower and Journey. The landscape and scenery can make you feel this unexpected elation. It's too bad that can't be enough for all of us.

That is how these games have affected me. Have they affected you, too?

A petal for your thoughts

Anyone who has ever tried to pass off video games as mindless entertainment really owes it to him/herself to check out the game I have posted a trailer of below.



This game is Flower, a game in which you control the wind and a stream of petals to make flowers bloom. Each flower that blooms adds another petal to your stream. It sounds simple, but watching the trailer alone should tell you that it's actually a very intensive emotional experience. It's a game that is directed at everyone, and that anyone could pick up and play and enjoy.

I don't want to spoil the ending, so I'll recommend that if you have a PS3, you at least download the demo and give it a shot. I hope you won't be disappointed.

Playing through this game got me thinking about the things we do to this planet and have been doing, and all the things that are happening because of us. The bees disappearing, climate change. The earth is slowly falling into ruin. It's not pleasant to think about, but it's sadly what we face from day to day. Most people prefer not to think about it at all (including myself, some days), and some deny it. The reality is that the planet is declining, and we aren't helping that. In fact, we're helping it decline.

I notice a lot of negative connotation when the topic of environmentalism is brought about, and I've always really wondered why. I read a letter to the editor in a local newspaper once that said that "tree-hugging" wasn't the way to secure a sustainable future, and that a creating jobs (that negatively impact the environment, in this instance) was. I can understand and support the need for jobs in any community, but why would that ever take precedence over the world we live in? If it's an immediate threat to our world, why would we choose that over our planet?

We've taken the earth into our own hands, and we haven't been very careful with it.

I'm not saying I'm perfect. None of us are. But we can all find ways to live a little more purely, whether it's by recycling more, composting, turning off the faucet while brushing your teeth, planting more flowers, or turning off the light when you leave the room.

Earth Hour is coming up on March 31, 2012, 8:30 PM. If you're able, try to make an effort to use little to no energy during that time. Light a candle and read a book. I plan on doing just that.

-K.

Journey

It's been awhile since I last posted. The holidays took up a lot of time and sucked up most of my energy. Directly up to December 24th, my creative pool was dry as a bone. I took those days to completely relax, and with the relaxation came ideas.

I've said before that I have a particular love for video games that convey certain feelings or emotions, and I find aspects of certain games to be inspiring. Throughout the month of December and into early January, I kept myself sane by playing video games. For nostalgia factor, I played Legend of Zelda, but the new and updated 3D version. Then my husband and I played FEAR 3 together (I played Fettel). From the ashes of the holidays came the phoenix known as Boxing Day sales, which led to me buying a copy of the ICO/Shadow of the Colossus collection. I have since gone through and beaten ICO, and it was my first play through of the game.

I'd like to take an opportunity, before I continue, to make a case for video games as storytelling devices. Too often, video games are passed off as merely entertainment. I have to wonder if the people passing off these games have ever really sat down and played a truly good game, with a rich story and characters you relate to. The point of a good video game is to take you and put you directly in the story. You become the character, and their goals are yours. Instead of following along with the character's goals and aspirations, they become yours. That facet of video games has always been one of my favourite parts of playing them.

Because of this love for specific games, I have always had a desire to design and direct a game. This has been ever since I was a child. I remember drawing characters and writing back stories as early as twelve, dreaming up new worlds and levels.

This past week, I've taken a step toward designing one, myself. I drew a scene from a game that I would make, called Thread. Click the image below to see the scene, and to read about my aspirations for the game, should it ever come to fruition.


Thread by ~nekonezume on deviantART

Now that my little spiel is complete, I'm going to update you on a couple of things.

Population 1 is not cancelled! It's postponed. I ended up writing a lot more backstory than I intended, and adding more detail than I had originally even planned. This is a good thing. When Population 1 launches (I'm hoping for a February launch, but stay tuned), it will be complete.

I have been invited by the Moncton Library to give a talk on my book in March. I'll have more information on that when it arises. I'm very excited about it! Thanks to the Library for inviting me.

Next week I'm going to be my theatre troupe's production of Ken Ludwig's Three Musketeers, which is yet another reason the planning for Population 1 has been stunted. Busy busy...

I hope to talk about poetry with my next post, which hopefully won't be another two months from now!