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I will be installing myself, entirely announced, at the British Library’s Crossroads of Curiosity event on Saturday 20th June, in which the Library will descend from the top stair to join the more adult architectures of London in staying up very, very late. Until at least eleven!
The event is to celebrate the launch of David Normal’s lightbox installations, originally exhibited in a place much in need of patterned light: the Nevadan desert, and Burning Man festival. David used thousands of public domain images from the Library’s collections to create his work, and the Library has taken the opportunity to celebrate all those artists, like myself, who have used its collections to inform, inspire and construct their own output. There will be talks, art installations, performances and music by DJ Yoda, a man who I apparently once saw at university and adored.
I’ve already had to write some bumf for the event, so in the spirit of it all allow me a little paste:
As part of our Crossroads Of Curiosity event, one of the Library’s most curious recent denizens will be joining us on the evening of 20th June; Interactive-Writer-in-Residence Rob Sherman.
A writer, musician, multimedia artist, games designer and ‘world-builder’, Rob spent six months creating the beginnings of an intricate, satirical and fantastical ‘alternate history’ for our exhibition about polar exploration, Lines In The Ice. From handbound, hand-aged diaries to reworked traditional shanties, from secret computers to fake artefacts, Rob used many different mediums and technologies to weave together the life of Isaak Scinbank, a forgotten (and entirely fictional) Arctic explorer in a sprawling collection of works called On My Wife’s Back.
Rob will be hosting one of his ‘holistic exhibitions’, first held at the Library during his residency. He will be curating and constructing his own corner of the festival, mixing the artefacts, writings and ephemera of both himself and his characters, with little distinction between the two. Come and visit Rob to ask him questions, peruse Scinbank’s belongings and his own, explore digital maps and objects, and watch Rob at work at his recreated ‘resident’s desk’, as well as submitting your own ideas, suggestions, criticisms and even belongings to the narrative of On My Wife’s Back; Rob promises that everything will be considered.
Rob will also be performing, and contextualising, new, reworked and traditional songs from his residency at scheduled times throughout the evening.
Look for me in the Last Word Cafe in the Piazza, lighting candles, huffing mould, and curating a peaceful little shelter in the midst of all this genius.
On Saturday, there was a peep on the Failbetter Games forums, from the moderator Flyte, to the effect that The Black Crown Project, my rather excessive, microbial, non-epic, cough-em-up, text adventure shenanigan, published by Random House, would be taken offline entirely on 31st October 2014. It has taken me a little bit longer than Flyte to respond to this news, and I can only apologise for that. I suppose my first response is to the initial comment underneath Flyte’s post, by a Failbetter forum user named Rupho Schartenhauer. It reads, “Well, I certainly won’t miss it.”
That’s a shame, Rupho Schartenhauer. I will.
Now, I’m doing my usual trick of burying the actual semes of what I am saying within a lot of asemes, so I’ll put the gist of this post out on its own, with slightly more pointed lettering, if you are only here for the grave information.
The Black Crown Project will be taken offline entirely on 31st October 2014.
This decision was one that I, Random House and Failbetter Games had to make, after a not-insignificant amount of time, concerning the project’s future. Though I am saddened, in ways that I will always find difficult to articulate, that The Black Crown Project will no longer be playable in any meaningful form, it is a decision which I was made fully part of, consulted upon, and endorse. I will miss it (Rupho), but I understand why it is disappearing below some ground.
Despite all appearance to the contrary, text adventures like Black Crown are not free to run. The hosting costs are, for a company like Random House, minimal, and would never have been a problem had we built the game on a platform which Random House owned and had developed themselves. But, as was very public, this was not the case. We partnered with Failbetter Games, and Popleaf Games, to devivsect an original story in an original corpus: facilitated, edited and promoted with Random House’s skill and experience, enlivened with Popleaf Game’s visceral flair, and skinned with Failbetter Games’ Storynexus platform, a platform which had been developed and iterated upon many times already to become an excellent tool for making branching text narratives.
However, to state that Failbetter Games was merely a ‘skinner’ would be highly insulting, and a little disgusting. I consider all of the people working at that company to be my friends and teachers. In particular, Alexis, Paul, Henry and Liam listened to my ideas with patience, interpreted them by pen, code and design and with clarity, speed and always their own deviations.
Most importantly, along with Dan Franklin, Harriet Horobin-Worley and many others at Random House, as well Berbank and Jon at Popleaf, these people taught me how to make The Black Crown Project. This is an important point, and easily overlooked. I was never entirely sure how I would actually create this thing that I had so smugly proposed and wheedled into the shockingly receptive halls of Random House. As will never not be the way with fiction, the form and process of the thing became entirely apparent by the end, with the help of everybody else. Failbetter Games rebuilt their engine to make Black Crown look and function the way it has now for a year, and will continue to for another month. They provided endless stress-testing, and links into their API for the content outside of Storynexus such as the Miasma objects. They, and everybody else, offered Skype connectivity, English words, walks, warm liquid, large windows in their offices out of which to stare, and always, always their support.
The Black Crown Project was my first professional piece, and I’ve admitted to many people that it was a difficult one to finish. For a variety of reasons, including my own weaknesses, it made me undyingly ill, both physically and mentally, and pushed my personal relationships to the brink of something unspeakable. I asked too much of myself, and everybody around me. But everybody around me helped to make something which, despite its flaws, its shudderings and hedgerow transparency, seems to have given a lot of you joy, sadness and an experience which, I now feel comfortable saying, is still completely unique.
Unfortunately, despite the endless charity which was given to me, none of the companies involved are charities themselves. Failbetter Games is a company who are expanding in all the ways which they have worked for and deserve, and maintaining Black Crown, with its ring-fenced code, unique features and separate, demanding bug queue, is not something which they have time or money to do. It is the same with the others. No more money can be spent on something which refuses to produce much in return.
It is no great shame or secret that Black Crown was not a successful project financially. The amount of speculation, trust and liberalism that went into its production unearthed a distinct optimism in me. I have been shamed by everybody’s behaviour and professionalism, and continue to be today. My Great Thanks stands as a headstone to this. But taking all such things into account, it remains a simple fact that Black Crown was an experiment in creativity and commerce, in which I believe I delivered on the former but not the latter. In its current incarnation, Black Crown will not make any of us any more money. It is not a populist piece, and the economics do not stand up. I stand by the decision made, and will defend it.
However, this does not mean that I am not bereft, and upset for those of you who still play the game. I have been constantly touched, in the manner of a stingray in an open pool, by the magnaminity, individual creativity and vociferousness of every fan. There have been songs written, art made, light-lighting slash fiction released. There have been long discussions on the nature of my work which, rather than superciliously detaching myself from, I have engaged with as a fan of my own work. Every single ___clerk___ inside The Black Crown Project no longer has to wonder about designations. All of you may curl your fingers (and no thumbs) in and over the pain; you have reached the ____highest rank____.
Now that I have been nice to everybody who deserves it, some business regarding things to come.
One of the prerequisites of taking Black Crown offline was that the entire archive of assets, from qualities to storylets to artwork, was backed up and maintained in a readable format by Random House. The actual logistics of this are still being decided, but rest assured that everything will still exist, de-articulated. The way to put them back together might rely entirely on what winters inside my own skull, but have some faith. I once drove to Devon with a concussion. It will be safe.
As to what happens with the Project afterwards, and in the coming whatevers, this remains to be seen. As many of you have been promised by email, I was not finished with the work by half; there was more artwork to come, more of the Eremite’s ephemera, hundreds of tweaks, clarifications and new storylines, as well as the digitised diaries of one Mr. Oscar Parlay, master of the Suite. I have not forgotten about these promises, but I cannot tell you how they will be realised.
Random House is still very interested in the IP, to use the lingo and never again, as am I. More importantly, I am interested in seeing the work in its current iteration, with my poetry and prose and song and artwork and weaknesses and failings, released anew so that people can continue to play it if they so wish. I have been toying with the idea of converting the entire project into a Twine game, a free, open-source software with which I have been gaining literacy through my work with the charity Shelter UK. Many of the original features of The Black Crown Project, if not all of them, can be replicated within the Twine code. Porpentine has helped me with this, inadvertently. However, this conversion would be a fairly daunting undertaking, one which I cannot personally afford at the moment without some form of reimbursement. There are other options, perhaps, but before anything is decided pens need to be twirled, windows need to be looked out of, lunches need to be eaten, and talks need to be had.
For the moment, I am working on several new projects, only one of which has been announced. Until Feburary I am the British Library’s Interactive-Fiction-Writer-In-Residence, which is extremely unwieldy but also exciting, like a bastard sword tanged with Aurora Borealis. I will be attached to the Lines in the Ice exhibition, which details the Victorian quests to snap through the Northwest Passage over Canada, and the resultant heroism, pathetic nonsense, cannibalism, love and hideousness that this all entailed. I’ll be creating original artworks inspired by my reading and research at the library, and what I have planned has a lot, perhaps too much, in common with The Black Crown Project. However, it might interest some of those that are reading this send-off. I will be physically at the Library for many drop-in sessions and events, and so do follow my progress on the official research blog.
Well, that’s it, really. I’m devastated but determined that the two years of work, entirely unequatable, is not lost entirely. You now have about 25 days to play as much of the game as you might like, and save any artwork, screenshots or copied text to your hard drive before the earth goes over it, and it sinks into a form which is not retrievable. I will potter about it, for as long as I can, and answer any further questions you have via email, but please do keep them brief. I’ve gravetending to be doing.
I used to sign off my Black Crown blog posts, and forum posts, with a twattish, capitalised Yorkshire shepherding pidgin which was the voice of the Hogherd, my semi-divine administrator character within the game. I always felt that I was insulting somebody, inadvertently, when I did it, and I’m not really sure if it was as haunting as it was meant to sound.
HYAAAA HYAAAAAAAAAAAAA HYYAAAA COOM BY COOOM BY
My residency at the British Library, attached as a tug to the upcoming exhibition on the Franklin expedition and the search for the Northwest Passage, now has a title, which is helping to rein in all my calving thoughts.
It will be called On My Wife’s Back, and I hope that you will follow my progress over the coming months as I try to pull something Shermanish from all the fervent, hushly white mythology that surrounds the Franklin and Arctic exploration in general.
Above is its logo, of sorts, in the original Greek sense. This title, this logo and its themes, will encompass what is looking to be a pretty bastard variety of new work, from writing to art to music to essay to video to hardware, and from now all news to do with the residency, including all of the material that I will release, will be found on my research Tumblog. There’s nothing much there at the moment, but I’m sure something will bob up soon.
In the meantime, I do hope that you’ll come to the Library and see me, gloaming through the Rare Books Reading Room, before the exhibition itself, ‘Lines In The Ice’, starts in November.
A tiny party of you might have been looking over my blog and website for the past few months a little worriedly, wondering where I’ve got to. Of course, things are happening, behind the sub-domains. There’s a sort of rumbling, huffing squawk that you’ll sometimes hear, and occasional gouts of hot breath that you can see rising into the air More than anything, you might have seen a certain aesthetic emerging. White on white, with little dashes of red. The pattern of snow, on every stylesheet, forming a sort of Arctic hoarding while I get on behind the skeines, carving this website into some sort of order.
I don’t even like snow very much. It’s a folksy sort of acid, charming the feet off your ankles, making pressings of all your nerves, and causes great, cheery delays on the trains running into London, which struggle at the best of times with the maelstrom of slight damp, fallen foliage and teenagers pushing each other off the platforms.
However, I’ve chosen it as my new digital camouflage because it has a nice obliteration to it. It’s the colour of the internet, anyway, and I thought that, rather than get all clever with my hex codes and background images, that I would just choose something for my blog that represented the medium in which I’m choosing to write. The web, hungry for anything, ready to obliterate at the slightest mistake in one’s syntax. It’s a lot like snow, isn’t it? So inviting, but so horribly judgemental.
It’s appropriate, also, for my next piece of art, the funding for which I have just found out, this week, is migrating over to me for the winter. For the past five months, as well as fannying with HTML and doing some sort of job in the daytime, I’ve been making applications. Overusing words such as ‘institution’, ‘pedagogic’, ‘democracy’ and ‘Philip’, drawing up Gannt charts, paring down to word limits (you must know how that hurts me). I was hunting for money, for support, for funding, but all of this pairing and peeling and stitching of words and chart-making put me in mind of preparing for a sea voyage. Admittedly, I’ve never taken a sea voyage, not outside a ferry, and I suspect that I’d find it horrible, but I’m still enough of a quivering, genteel mast of glycerine to enjoy the metaphor.
And, it appears, that my funding application was watertight. We have our money. Our voyage is going ahead.
For the next five months I will be Writer-In-Residence at the British Library. Despite my lack of experience or sea legs, and my obvious weakness to scurvy, I will, after all, be the official artist to a sort of naval expedition, one that tacks back into the past, looking for long-lost sailors. In the Folio gallery, a meandering knock-hole underneath the escalators in the Library’s foyer, an exhibition is being put together. It will contain the Library’s collection of documents, personal effects and paraphernalia relating to the lost Arctic expedition of John Franklin in 1845. Franklin was one of those longitudinally impossible men of 150 years ago who managed to be both Governor of Tasmania and a north polar explorer in his lifetime, though the latter was only by dint of all the other candidates being either too chilly-willy, too married or too Irish by half.
With two ships, the Erebus and the Terror (arrogant, tiny little ships, named for primordial horrors) Franklin set off with his crew and the blessings of the Admiralty to find the Northwest Passage, the mythic, ice-free trading route over Canada and down into the Pacific.
I don’t like to link to Wikipedia and be done with it, but in Franklin’s case it’s the only sensible thing to do.
Franklin was a much braver man than I am, but I do see parallels in our work. As an attaché to this exhibit, producing original artwork and writings relating to the Franklin voyage, and the subsequent attempts to find his vanished crew, I feel as scared as if I was about to take to the ocean. Throughout my applications for this position, I have been getting tongue-tied between the words ‘exhibition’ and ‘expedition’, and the gap between them has certainly shortened. Looking at the body of work in front of me, the amount of time and research that has gone into the Lines In The Ice exhibit, as it will be called, perhaps the practices are not so different, after all. As I sail through the Library’s archives, seeking the stories of Franklin’s adventures, the odds he and his crew faced, and how a great trooping line of subsequent explorers, down the years, have uncovered the sad tale of what happened to those several hundred men, their elderly commander, and their two malaprop vessels, I feel more and more like an icebreaker myself. My research will uncover documents forgotten for many years, and as my crew I will have the resident curators, bookbinders, scholars and excellent cooks that make up the Library’s staff. With them, I will discover terrific vistas, great pains, and create something entirely new to sit alongside these old, old log books and ship’s diaries, something which the public can enjoy until March, when winter is getting woolly, and the exhibition ends.
I am still working out what it is I want to do with my time at the library, but rest assured of the following:
– I will have my own cabinet in the exhibition, to fill with whatever I like;
– There were plenty of ideas that did not make it into The Black Crown Project, my last piece, which are due a stiff pint of sea breeze;
– I’ve stockpiled an awful lot of ship’s Twine for the task;
– You do not have to be with me aboard the British Library to participate, but I have been told that I make a charming mate in person.
There will be more details here and elsewhere when the charts have been finalised, the hull caulked, and we are ready to set sail. Once all this is in place, we’ll be heading out from Port St. Pancras, north and west, following the stars until the bend in the earth sunders them. We’ll be seeing what we can find in the lines in the ice. The British Library is an odd vessel to charter, shaped more like two steamer ships pulling perpendicular, and it has particular dearth of masts. Still, if you are interested, do come and join my crew.. The galley does a cracking doorstep sandwich.
And if you won’t be coming to join me, don’t cry, don’t send out search parties, and put the kettle on. I’ll only be months.
I was at a variety gig some time ago, staged in an former keeper’s lodge at the gate to one of Britain’s less provincial towns. As well as feeling London like a shadow on the lung, I could taste the soap in my beer. The doorman wore tattoos like eczema at the corners of his lips. It wasn’t at home.
My opinion solidified after a few hours of awkward listing about the dance-floor, and resolved itself into the need to leave very quickly and get on a train. Unfortunately, the sprawl of the audience was, for some reason, centred on the only door, and nobody was intent on moving. The current band had been popular ten years before with a very slender wedge of humanity, and most of them were here tonight, being overwhelmed. The fact that I might want to leave was as inconceivable to them as museum lighting was to a pharaoh’s capstone. I had to squeeze around them, apologising.
However, in the centre of this static storm, unmoving and full of cardigans and Rorschachs of backsweat, I came to an impasse. The only way through to the door was between a ferociously nodding man and a pregnant woman, who stood sipping mango juice with her back against a wooden post.
I still feel awful about what followed, and I think that a large part of this guilt is due to my superstition, and the superstition of many, concerning pregnant women.
Most media that I can access portrays them as fecund, ripe, bountiful, Wildorf-esque beauties waiting for enlightenment to crown. And this woman was beautiful, blonde bobbed and florally dressed in blue, and she wore her bump less like a delicacy and more like a fuel tank, necessary for her extreme performance. I have been very unkind to her in the above drawing. She was nowhere near as monstruous as I have depicted her, but then, nobody is. She just terrified me.
What terrified me most was that apocalyptic fragility to her. I am an immeasurably clumsy man, my hands like combine harvesters with the pedals jammed, but even accounting for this I am surprised that pregnant women allow themselves out of the house. It seems to me that even walking, considering their payload, is like balancing a cascade of champagne flutes on aerosol spray. And there is such potential, with only a small mistake on the behalf of anybody encountering them, for such annihilating misery, such miscarriage, that I find it best to give them as wide a berth as possible.
I had a bag on my back, and I tried as best as I could to nudge the man in front out of the way, but he was too busy trying to emulate a twelve-stringed guitar with his one-stringed mouth. He pushed back. And so it was that I slammed, almost neatly, into her.
She gaped up at me betrayed, mouth sagging with implication. In my mind there was such a smoking, Biblical tower of sorrow in her, at the thought of what my clumsiness could do, that she transformed into this clenched, incandescent clump. Her hands went to her stomach and I almost vomited. I apologised as profusely as I could, gibbering over the violin solo. Two men beside her, who were not her friends but who felt out the roles that they must now perform, marshalled protectively, flanking her like Chinese lions outside a restaurant. I think one of them even bared his teeth, but if you asked him about that now, he might be embarrassed and feign all knowledge of it. We all get a little canine when the fundaments of life are involved.
After a while, or what must have been one-eightieth of a second, her anger turned to understanding, as she read the signs of her body as surely as her own handwriting. She knew that nothing had died, or gone moronic. I pinged out into the night, free of the trial, almost on the point of tears.
It is perhaps six months later, and I still think about that woman, and when I see somebody pregnant I instantly become aware of my tottering, unpredictable body, and my unaccountable limbs, and how they might, if I am not careful, inadvertently deconstruct a life. Sometimes I am angry at her, for not understanding that it was not my fault, and that it is difficult to for the rest of the crowd to maintain the aura around her when she stands in the thick of it like that. I then feel awful for being angry, of course, and go on avoiding women like her, dubbed numinous by society, and desperately safeguarded against people like me.
It appears that I was mistaken. I have found a recording of Mour Mour Mour, the most famous literary work of Jon Praester, the 17th century Dutch emigre, poet and tailor. Sorry for pleading ignorance on that; it must have disappeared into some sort of crack.
Despite its tempestuous voyage down the centuries, arriving to us as no more than driftwood in three fragments, I am pleased to finally present this special reading of Jon Praester’s surviving poetry.
My thanks to Tartarus, Professor Dale Cull, and Joseph McShea, for his patience and leathery voice.