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Thread: The Critic's Quill: Issue 44

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    Default The Critic's Quill: Issue 44



    From the TeamHello and a warm welcome to all.

    We bring here an edition prepared amidst the busy, and perhaps even dreaded, time of the year called 'Start of School' season. But this edition is also special in that it has been written by one single writer, our very own Hitai (f0ma). This edition includes all the hot and happening stuff in the Writer's Study, and three very insightful articles.

    In fact, one of them has a very special significance, both in regards to the style of the article and it being an indication of what we have planned in the future. More on this at the end of the edition, and I'll let you have a guess which one it is.

    I hope you enjoy the work our team has done and, I speak on behalf of the team, that it is pleasure to be able to bring each edition to our great audience.

    Regards,
    m_1512
    Editor


    Table of Contents
    1. Catching up with the Study
    2. A Year in Review with bourboncream, Lugotorix and Chirugeon
    3. Narrative Trends in Shogun 2 AARtistry
    4. Cool Girls and Call Girls: reconciling Radzeer’s theory on female characters in after action reports with Way of the Bow and the prostitute archetype



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    Default Re: The Critic's Quill: Issue 44




    Catching up with the Study
    Report by Hitai (f0ma)

    Spoiler Alert, click show to read: 
    (Eh? Stop shouting, I’m trying to sleep! What do you mean? I have to write that blasted news segment again!? The things I do for this publication…)

    Sorry about that – I guess our pressroom isn’t the best place to take a nap. So, what’s been happening with the Study these past few months? Unfortunately things have been kind of slow and it’s been a busy time of year for us writing folk here on TWC. Still, a fair bit has happened since I last took you on a tour of our humble corner of the board.

    If you cast your mind back to those blissful August days, you’ll remember Tale of the Week 223 was having a tiebreak vote. Writing with the theme ‘Enemy of Rome’, esaciar and HAL-9000 fought it out in a close tiebreaker. After a nail-biting week, esaciar finally won out with his tale about Mithridates VI, the last enemy of the Republic.

    The following week Brad Pitt cast his gaze over TotW 224: ‘Troy’. Victory went to Study newcomer SanyuXV, whose deep story, laced with pathetic fallacy, won by a landslide.

    TotW 225 was entitled ‘Hotspur’. The winning submission this time was a beautiful deconstruction of what it meant to be a knight, written by none other than…wait, that dude again? For real? Right, forget what I just said. Total trash yet again, don’t even bother reading that. If you voted for it, shame on you.

    After pestering Dance to quit with his medieval themes, someone who will remain nameless (probably that douche who won the last competition) succeeded in lobbying for an East Asian theme (What? Why are you looking at me?) In TotW: 226, Ybbon, SanyuXV and Disappoint Ed battled it out over who could pen the best ‘Shinobi’ tale. In a close round of voting, Disappoint Ed came out the clear victor, with his story of a traitorous assassin.

    Our editor stepped into the fray the next week to host a guest competition. Entitled ‘Thunder That Shook the Earth’ (wonder where he got that name from?), m_1512 attracted quite a crowd with his competition. I’m sure they were all super intrigued by the theme and not just humouring him. In another close round of voting, the mighty buffalo won out yet again, with his tale of a survivor of the Napoleonic Wars.

    Dance was quick to resume hosting the next week’s competition – absolutely nothing to do with having lost to Ybbon I’m sure. Playing on the theme of ‘Minas Tirith’, Ybbon and Lugotorix fought it out in TotW 228. With a tale of beautiful imagery, Lugotorix beat the buffalo in a one-on-one duel.

    Owing to a number of circumstances, TotW 229 has yet to be put to the vote. However, I’ll be sure to let you guys know how it goes in the next issue!

    Have we really had two MAARC’s since the last update? My word! First place in MAARC LI went to esaciar and his Shogun 2 AAR ‘Arasoi’ – a wonderful tale of the Mori clan, who don’t get featured enough in AARs I feel. Second place went to our editor after a tiebreak vote. After much sulking around the office, m_1512 finally accepted the silver medal for his Medieval 2 AAR ‘Chronicles of a Norman Game.’ I’m still not sure what the ‘game’ part of it is meant to be? Finally, the head honcho Scottish King took third with his Empire AAR ‘The White Horse’, reminding us of his prestigious skills.

    When MAARC LII came to a close, the clear winner was… (Yes, alright we get it okay? Stop cheering and dancing around the office, it’s annoying. No wonder we never get any work done…) yes folks, that’s right, m_1512 took the gold this time around for ‘Chronicles of a Norman Game’. Second place that month was Lugotorix, with his third(!) Rome 2 AAR: ‘The Black-Hearted Lords of Thrace’. Finally, some stranger named Robin something or other claimed the bronze. Not too sure who that chap is, he just kind of wandered into the competition with his Shogun 2 AAR ‘The Wings of Destiny’. I think he thought he was a bit of a hot shot, but we were all a little perplexed.

    The MCWC likewise saw some action. Although he only took third in the MAARC, Scottish King’s ‘Song of Asnurn’ swept MCWC VI to take first place; building upon his expansive Acamar universe. Taking us into Anglo-Saxon England, esaciar’s ‘Northumbria: Blood & Gold’ took the silver, whilst Dance took a break from Tale of the Week to claim third with his medieval ‘Tale of a Young Knight’.

    MCWC VII saw Marshall of France take first prize with his delightful ‘Hulksuru’ story. An epic adventure indeed! Moving up in the world, Dance’s ‘Young Knight’ fought his way up into second place this time around, whilst Lugotorix’s ‘Neck of Ivory’ won out in a final tiebreaker vote.

    Finally, we saw another duel. Washing ashore, the turtle squared off against our dear editor in a battle of words. Playing on the theme of ‘The Creeping Dark’, with a neat picture of an assassin provided by a very generous member of staff, both fought cloak and dagger to claim gloating rights. Showing that you don’t need anything quite as luxurious as opposable thumbs to write well, Shankbot de Bodemloze triumphed over m_1512. Hmm, our editor’s duelling record isn’t too great is it? (Ow! Jeez, I was only saying. You won the MAARC didn’t you? You can’t have your cake and eat it. What? No, I’m not buying you a cake. No, it definitely wouldn’t be covered under staff expenses. No, I’m not going to ask Q to adjust our budget, do it yourself. Can you just leave me alone now!?)

    Before I sign off, I have some sad news. Due to complications, Dance has resigned from his staff position in the Study. I hope you’ll all join me in wishing him all the best and thanking him for all the hard work he’s done these past months. I’ll keep you updated on who his replacement will be.

    So there we have it. Have y’all sufficiently caught up with the Study now? Can I go back to sleep? Cheers folks, you know I’m only kidding! Keep reading, keep writing and I’ll see you guys later!


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    Default Re: The Critic's Quill: Issue 44



    Rome 2: A Year in Review with bourboncream, Lugotorix and Chirugeon
    Article by Hitai (f0ma)

    Spoiler Alert, click show to read: 
    1. For any readers who might be unfamiliar with you, can you provide a brief description of yourself and your work here on Total War Center?

    bourboncream: I am pretty new to TWCenter, bought here to post mainly because of ROME 2 but I have lurked around previously as I also own Napoleon TW. As a TW player I suppose I fall into the casual category, I dont believe that I am particularly that good at the game and will hold my hands up to not having the historical knowledge of many on here... however I have been able to learn significantly and due to the game have delved even further into Roman history. With regards to my work, well I tried and failed earlier just after release with a Roman diary, a patch corrupted my save and as such ended the campaign. However after waiting for a few more patches and practicing in between, I have come back to have another go at conquering with the Romans! My writing style probably is off the 'norm' as such, because rather than telling a story, I post updates with images and focus mainly on how my Romans are doing.

    Lugotorix: I'm Lugotorix, and I go by Lug, or Lugo to the community. I've completed or am in the process of completing three AARs in Rome II. One focuses on the mid to late game politics of the 'Carthaginian Empire' on H, another which was really enjoyable as Scipio and the Roman Republic in the 2nd Punic war, in HatG on VH, and one as a self challenge as the Odrysian Kingdom on H, since it was so easy to steamroll the map in Rome I vanilla as them and they were less fleshed out. I like to participate in the site contests. I'm a writer for for the Eagle Standard as well.

    Chirugeon: I have been a member of TWC for about 8 years. I joined during the time of RTW1. I started dabbling around with AAR writing with vanilla RTW and then I discovered EB which basically changed everything. It was engaging and realistic. I did some beta testing with some of the EB versions and wrote several AARs. One was with Carthage, then Iberia, Rome, and Ptolemies. I also wrote some stories with Skyrim and posted them in the Non total war AAR section. Currently working on an AAR with Massalia.


    2. Before the release of Rome 2, there was obviously a lot of excitement. However, the game came under heavy criticism from all corners shortly after its release. In light of this, what inspired you to embark upon and continue penning a Rome 2 AAR?

    bourboncream: Personally I am still excited by Rome 2. I could debate the good and bad of this or any other game, but when I look at what Rome 2 allows me to do in the game and then with my imagination, there is nothing better than being able to watch Romans (albeit graphical sprites) going into combat in all their pomp and glory. I can also add that as I am not a huge veteran of TW games, I dont necessarily look to compare or look for problems.... I play what I have been given and its fun and to enhance that I like to write about my campaign as it keeps things fresh in my memory and hopefully people enjoy what I am sharing.

    Lugotorix: I've found that in the early stages of incessant criticism, it was better to avoid the forums and enjoy the game, as just being around such a prevailing negative sentiment made me more pessimistic about the things I felt the game got wrong, such as reinforcement range exploits by the AI. I was inspired to write my first AAR, The Bastard Son of Hannibal Barca, because I was lucky enough to not only have Hannibal Barca become a major faction leader character in my campaign, but the political actions that came out of the campaign were intriguing and made some sense, as opposed to the chaos everyone was saying Politics were at the time.

    Chirugeon: I went ahead and starting writing an AAR for Epirus and found Radious's mod. Unfortunately the game was being patched so often that it made playing a long campaign difficult. I decided to wait till the game got more stable. So essentially I tried but with all the rapid patches coming out and Radious's epic effort with his massive mod it seemed I was always working with an outdated version. So many things you had to start a new campaign to see the effect of.


    3. The writing community in particular has been very vocal in its criticism of the game’s lack of ‘roleplaying features’ – noting specifically the absence of a family free system and fewer skill traits to personalize characters. Do feel that these are obstacles to writing a Rome 2 AAR and, if so, how do you work around them?

    bourboncream: Well this is probably where my AAR comes in differently and although I would love a family tree etc, my update style of writing is not overly affected by the lack of this. I do try and bring across my feelings for my Generals as in game with the way I play, I often get attached to them and as per my writing a certain General will often come to the fore in certain 'in game campaigns' like my effort against the Gauls with Papus, or in Britannia and Iberia. Im sure more of these will occur in my game and as I say I have to use my own imagination to bring that out, so it would be nice for additional features but even without them, I am able to write in my style and not get disappointed or lose motivation.

    Lugotorix: Absolutely I feel they're both impediments to RP. One has to give examples of characters acting their parts, rather than the traits themselves just entering the flow of the game [disloyalty or a higher rebellion risk] You're given more liberties in historical fiction to give the characters family structure and personality, and that's actually a project I have arranged for The Black-Hearted Lords of Thrace, where I'll actually map out how I viewed the family tree (based on naming conventions) but for the main part It's a lot easier to tell the story from a one sided historical chronology of the faction and it's actors.

    Chirugeon: This is quite true. Lack of a family tree is a real issue for AAR writers. However there are some rather clever and creative modders out there. The mod Talents, Traits, and Toadies gave new life to characters and allowed them to specialize their skills. Also their ancillaries for the mod are quite good and useful. It was definitely an obstacle till I found that mod.


    4. How much have the Rome 2 DLC releases impacted on your AARtistry? Do you feel they’ve been sufficient in opening up new avenues for the writer and aiding the Rome 2 AAR scene? Or are they perhaps largely irrelevant?

    bourboncream: I like the DLCs because I like more units and I love the Blood! As such I have invested in all of them but not the 'Ladies DLC' just because it dosent hold well with me, although im no historian and woman could well be vital to this period of time. So the impact it has had for me is; more Roman units, more choice as a Roman campaigner and also more variety in enemy units such as Lusitania, the Arveni and so on. With an overall take on things, im sure that all AAR writers would love to have more units available to them and even the option of the smaller campaigns such as Hannibal or Gaul. Variety is the spice of life after all!

    Lugotorix: I wouldn't have been able to tell two of my three AARs without DLC content. I really liked Hannibal at the Gates and completed two campaigns, but I felt in order to have an identifiable antagonist at the head of each faction, that the Better Characters for HatG was a necessary add-on so the faction leaders wouldn't die. I also felt that a roster expansion was necessary for Pirates and Raiders because OK was rather unpolished and one-faceted at release. I still don't think the 'By Toutatis, Nemossos must be defended or liberated.' bug has been fixed.

    Chirugeon: I dont particularly like the focused DLCs. I prefer the grand campaign. So the DLCs that were really great were of course the Greek States, and Empire Edition. The EE was a gamechanger in that it breathed new life into the AI. One day I may visit one of the DLCs like HATG. Only because I have a real love of Iberia and Carthage.


    5. Over the past year, do you feel that mods have made a difference to how you approach Rome 2 AARs? Are there any mods in particular that have had a significant impact on the storytelling aspect of the game?

    bourboncream: I’d have to pass on this one, mainly as I don't use mods. Now that may sound crazy and in the future I probably will dabble, but the only mod I tried which was to enhance the graphics ended up causing me more problems than it was worth. So I have stuck with Vanilla and the DLCs. From an outside perspective, mods will always offer a writer something new to work with and that is always a good thing to stretch the life of the game and the community.

    Lugotorix: The mod's I'm using are Sebidee's Balkan unit roster expansion and Better characters for HatG. I'll probably wait until an overhaul that incorporates Emperor Edition and BI II to use a major game-changing mod, as I wasn't altogether unhappy with vanilla's mechanics, although I feel they've improved a ton through patches. I'm looking forward to Rome II: Total Realism, and of course the Spartacus and other historical overhauls for HatG are great additions.

    Chirugeon: Well as I previously mentioned the Talents Traits and Toadies mod is really important for me to roleplay. Radious's complete mod is an absolute must in my opinion. Having a good mod where you can control the camera more so than in vanilla is important also. Anything that helps make pictures a bit more crisp and having unit variety keeps the story interesting. I also change army stacks to 40 to make the battles that much more epic


    6. If there was one thing you could add to or change about the game, in order to make it more accessible to the AARtist, what would it be?

    bourboncream: Replays to be alot better, easier to control and getting better camera angles for all events. For some images might not be important, but for me it helps convey what has happened in my campaign and at times the replay function is a pain. A lack of rewind causes me problems, especially when trying to find that key event from a battle. I would add to that the camera angles at times just not working, walls and cities often get in the way, there is clipping and sometimes a close up is harder to get than it should be.

    Lugotorix: A family tree, and names for the characters wives. This is something that can be fixed in an expansion.

    Chirugeon: I think that adding a family tree would be invaluable. That is the one thing that is missing. Also don't make it like Mtw2 where you could not pick your successor! I have no idea whose terrible idea it was to put a family tree in the game and then have no control over who took over. Sorry just had to vent.


    7. On the other hand, what features does Rome 2 already have that make it more interesting to write about compared to other titles? Are there any features you couldn’t live without?

    bourboncream: Just being set in Rome makes it interesting for me. The feeling of marching a Legion into battle is second to none and the way the game looks when you have over 2000 men, sometimes double that all lined up ready to fight is just magnificent. The battles are what make this game and combined with the ability to dominate the world (as such) it hits the spot for me. I think the variety in land, regions, factions and units gives the AAR writer alot of ammo to work with... not just being Rome, but taking on Egpyt or rebuilding the Macedonians... maybe taking on Carthage to change the world or even the Britons and leaving their island home to conquer foe... the options are limitless and if you have a good imagination what can’t be done with Rome, pales in comparison to what can be.

    Lugotorix: More provinces and the provincial system gives you the ability to have Kings of regions as the Hellenistic and Barbarian factions without modding in titles such as Chivalry or Stainless Steel, where the administrator can be a clear character. Also the added number of factions adds to realism and immersion. The choice in retinues also helps role-playing a bit. Politics in the Emperor Edition is quite fun.

    Chirugeon: The quality of the graphics, the unit variety, the variety of the men of the unit, the blood, the lighting, and the overall polished look of the game after 15 patches. Also I can say that the AI is much less predictable and the game is actually challenging.


    8. The original Rome Total War, alongside Medieval 2, still has a flourishing AAR scene, whereas later titles have always suffered in terms of popularity and activity. Do you think Rome 2 AARs have a bright future?

    bourboncream: Definitely. The game has received alot of support and yes people will argue it should have been in a better state at release, but 15 patches, free DLC and other DLC available, seriously with the way some games come out and are just left, we have been lucky that CA are still with us and trying to put right some wrongs. That said, gaming communities are more fluid now than they were... people are always looking for the next thing to play, Rome 2 may be on peoples radars for just 6 months because 'x' has been released etc and we are in a age where there is so much more choice now. Rome 2 has alot of the ingredients to allow people to tell a story, share their campaign and offer a reader something to enjoy. With that, there should be a bright future and I hope there is.

    Lugotorix: Yes. I think Emperor Edition will bring a lot of people to the scene who haven't previously considered it, and further expansions will make the game more on par in detail and micro-management to Medieval 2 and it's modifications.

    Chirugeon: Part of this comes down to the fact that the AAR section seems quite neglected. The explosion of live streams, Machimas(spelling), and other fancy video productions with lots of editing have eroded AARs. I think that people would rather watch something then read it...sadly. I do not see a bright future for AAR writing if this trend continues. One way to stem the tide might be to feature and AAR on the main page every once in a while. For example Radious is going to allow me to post my AAR on his forum.


    9. So, it’s been a year since release, how do you feel this year has been for Rome 2 writing in general? Has it lived up to expectations? Improved as it’s gone along? Any defining moments? Or are you just looking forward to 2015?

    bourboncream: Obviously it would be nice to have more AARs to read, but the ones on TWCenter are fantastic and I will apologise to fellow writers right now as I am the worst person for posting a comment in threads :o However be assured I do read any that are updated and maintained such as Lugotorix and Teanon. Lets be honest, it could and should be busier, but it is what it is and with the game improving all the time, more DLCs, the potential with the new Emperor DLC to add family trees etc, im sure that the rest of 2014 and beyond will be a success for all those involved in Rome 2 and the AAR community.

    Lugotorix: Well, in the Writing study, we've had a couple of MAARC winners, with some even taking first place so that's good news. In terms of my formatting I've deviated from a pulp approach to writing AARs to editing each photo and a more novelistic style.

    Chirugeon: I will be honest and say that compared to other titles especially the original RTW it is quite barren. The writers that have contributed have been pretty good however people tend to start an AAR and then stop. There are dozens of AARs on the forum for RTW2 that are only one page. I think that we will continue to see a downward slide in views and comments because so many people are watching live streams and what not. I am not critiquing that format and I love the Machimas(spelling) like Rise of The North, but without a family tree and stuff like that it is going to be hard to pull in people to role play. Who knows maybe typing out of AARs will be like vinyl records and make a return!


    10. Thank you all for participating in this! Do you have any closing thoughts? Any tips or advice for anyone wanting to begin a Rome 2 AAR perhaps?

    bourboncream: Firstly enjoy the game, nothing else matters. If you enjoy it and then want to share that, go for it. It dosent have to be a marathon of posts or writing, my AAR is probably the least content in terms of 'storyline' there is, but I enjoy what I do and I hope those who read it can share in that with me. The game has stacks of potential and with a bit of imagination so does an AAR...

    Thanks to everyone who has read and commented on my AAR to date, thanks to TWCenter for hosting such forums for us to express ourselves and thanks to Hitai and the Critics Quill for inviting me to do this interview, im humbled and thoroughly enjoyed sharing my answers.

    Lugotorix: No problem. My advice would be not to give up on your campaigns. You never know when something interesting and worth sharing will happen, or when you'll have to opportunity to do so yourself in Rome II.

    Chirugeon: We have to work hard to push to get our work in more locations or to have a featured AAR on the main page as a sticky or something. This is big website and most people visit the main page and then some will go other places. Catch them at the front door to maximize the product. If you are going to have an AAR have an original idea and be ready for a fair amount of dedication. Do not let game play exceed your writing. In other words don't play 30 turns past your last chapter and expect to be able to remember details. There are tons of other things I could help with regarding tips but for now that about sums it up!



    Narrative Trends in Shogun 2 AARtistry
    Article by Hitai (f0ma)

    Spoiler Alert, click show to read: 
    In the history of after action reports here on Total War Center, we’ve seen a slow, but increasing shift away from ‘history book style’ stories to more narrative works – the emphasis shifting from a direct re-telling of in-game events to a focus on character and plot. However, as AARtistry evolves, these trends bring into question what exactly constitutes an AAR. In this piece, I’ll be examining Shogun 2 AARs and the extents to which increased narrative styles have redefined AARtistry.

    When we consider tradition in AARtistry, we immediately think of the turn-by-turn recap of the author’s in-game experiences. A faithful example of this style appears in one of TWC’s first Shogun 2 AARs: Luki’s Date AAR. This enterprise fulfils the traditional remits of an after action report: the first person narrator is a direct reflection of the author himself telling us about his in-game experiences, technical terms such as ‘turn’, ‘play’, ‘tech-tree’ are used to give the audience a clearer picture of the campaign at the cost of immersion, whilst presumably direct campaign screens and videos were employed. A direct re-telling of in-game events, with no additional storytelling elements, stories like Luki’s Date AAR are what could be called the quintessential traditional AAR.

    However, some Shogun 2 AARs also adopted narrative styles early on, as was the case in stories such as heindrich1988’s Tales of the Chosokabe, Aonghus G. Friedhold’s Of Birth and Station and Heartfire’s The Clan of the People. Written in a narrative style, these AARs have a larger focus on storytelling, characterising in-game characters and expanding upon in-game events with imaginative deviances. Whilst some stories such as Of Birth and Station still included the campaign screen and un-cropped UI’s we might come to associate with the traditional AAR, other such as The Clan of the People took greater pains to inject further immersion. However, what ties these AARs together is their re-telling of in-game events and following of a campaign, even whilst employing a narrative style.

    This style, which I shall dub ‘soft narrative’, prevailed for a number of years as the most popular format for Shogun 2 AARs. However, this began to change with the advent of Robin de Bodemloze’s Takeda. Takeda is notable for beginning as a ‘soft narrative’ AAR – following the events of an actual campaign through the eyes of characterised personas of in-game generals and ancillaries. Yet, after the half-way mark of the story, the campaign ceased to be the primary source of inspiration and the latter part of the story became something more akin to what we consider ‘creative writing’ and something I shall refer to henceforth as ‘hard narrative’. At this juncture, it’s perhaps pertinent to hear Robin’s views on the matter, as expressed in the Afterthoughts to his AAR:

    "Over time, especially in the latter chapters, I found myself depending more and more on custom battles and less and less upon campaign battles. The former afforded a certain freedom that wasn't available with the latter, and my attention had turned to creating authentic screenshots rather than staying faithful to my game … Was I still writing an AAR after my break from the campaign? Or was my story simply one decorated with images from the game?"

    This asks the question that hangs over narrative AARtistry – to what extent does the story have to be tied to the game? Does an AAR have to follow a campaign? If so, to what extent must it be faithful to in-game events? If not, what – if any – aspects of the game should it reflect and how?

    In the aftermath of Takeda, we still for some time saw the prevalence of ‘soft narrative’ AARs. Examining AARs such as Merchant of Venice’s Way of the Boy, Tigellinus’ In the Light of Dusk and my own The Road to Kyoto, we still find a prevalent ‘soft narrative’ style. However, we also see lapses into ‘hard narrative’ and pure creative writing, such as the majority of Way of the Bow’s first volume and specific chapters in The Road to Kyoto and other works. Although not uncommon to ‘soft narrative’ AARs, their frequent employment in this post-Takeda era marks a striking shift towards increased narrativization.

    This increase eventually culminated in the first full ‘hard narrative’ Shogun 2 AARs: Robin’s The Wings of Destiny and my own Yokai. Neither story follows a campaign or seeks to portray – accurately or not – in-game events. Instead, they are more reminiscent of creative writing pieces. The only elements that tie them to the game Shogun 2 are a shared setting and the use of in-game screenshots. As such, the question of whether these can actually be called AARs is one that has been asked by both authors and audiences.

    If so, then what does define an AAR? Is the use of custom battles enough to define a story as an AAR? If so, then that calls into question to what extent custom battles themselves are necessary to defining an AAR. At the end of the day, just how tenuous can the link be between story and game?

    I’m not here to provide an answer – I do not think I know. I consider ‘hard narrative’ AARs to nonetheless be AARs, however I’m not sure I could articulate my reasons as to why. Furthermore though, we must consider this case-study in a broader context. What does an increasing trend towards the ‘hard narrative’ mean for AARs and video-game fiction? Is this the end of the traditional AAR? Is the marriage of AARtistry and creative writing a natural or logical step in the evolution of AARs? Just how far can a game be marginalized in regards to a story before the story ceases to be about the game? Question maybe without answers perhaps, but questions to think about nonetheless.



    Cool Girls and Call Girls: reconciling Radzeer’s theory on female characters in after action reports with Way of the Bow and the prostitute archetype
    Article by Hitai (f0ma)

    Spoiler Alert, click show to read: 
    As I have often stated, I love to write female characters in after action reports. However, not only do I enjoy writing them, I also enjoy reading them. With the recent introduction of two new female characters into the story, Merchant of Venice’s Way of the Bow has taken an interesting new turn, prompting me to reconsider the literary theory regarding female characters in after action reports. With this is mind, my first port of call was Radzeer’s article, ‘Where Few Men Have Gone Before: Female Characters in AARs’, published in Issue 38. I plan to reassess the theory Radzeer put forward last year, taking into account more recent developments with Way of the Bow as a case study; noting specifically its unique employment of the prostitute archetype of female character.

    Radzeer begins his theory by noting that both after action reports and the Total War genre at large (including its player base) are largely male-centric, owing to a combination of factors including, but not limited to historical accuracy, gameplay design and narrative styles. He argues the prevalent archetype for female characters is that of an ancillary plot aid stating: “…female characters are usually put into stereotypical supportive roles. They could still have an important impact on the story but that is typically shown through the actions of the male protagonist” and “These two AARs [Radzeer’s The Wolf Among Dogs and Robin de Bodemloze’s Takeda] are examples for female characters that live in the shadow of the male protagonist, having an important impact on the plot but not taking over the narrative.” Most certainly two of the dominant and influential stories of that time, it’s a fair assumption to state they represented the narrative norm for female characters. He goes on to highlight how female characters were used to fill the role of protagonist in Thokran’s Heaven's Descent, Cyprus Reborn, further saying: “These women are not just extras, but well developed characters with conflicting motives and goals.” Whilst it would be exciting to trace how the nature of female characters changed in between the publication of Heaven's Descent and the aforementioned stories it predated (as well as validating Radzeer’s claim that Heaven's Descent “broke new grounds” in regards to female characters), that is not the objective of this article. Instead, we will examine how Radzeer’s theory holds up to more recent literary developments and to see what has changed in both how female characters are portrayed and perceived.

    In the last issue I briefly discussed how the female characters in Chronicle of Spain struggled to overcome the traditional archetypes laid out by Radzeer. In that AAR, they flipped back and forth between dynamic characters and traditional stereotypes, never really breaking the above game-defined ancillary mould. Whilst from this we might extrapolate that not much has changed in the past year, I believe it’s pertinent to examine a story I’m more closely tied to as a reader and critic – for indeed I reviewed Way of the Bow in Issue 40. In that piece, I only very briefly touched upon the lead female character, citing the fast pace of the relationship between Yuki and Suzume and the author’s employment of a ‘love at first sight’ technique. However, with the addition of an array of new and dynamic female character since, I’d like to re-examine these old thoughts.

    As of the most recent Chapter Eighteen, Way of the Bow features three established female characters: Suzume, the love interest of the protagonist Yuki, Chosokabe Naomi, wife of the supporting character Chosokabe Kunichika and Emura Akara, bride of the antagonist Chosokabe Motochika and daughter-in-law to Kunichika. However, it also employs minor female characters – whom we might call ‘extras’ – whom perhaps only appear once or twice with little to no dialogue. The ‘extras’ are of particular interest and it is they I shall be examining in this article. When Radzeer discussed female characters in AARs, he focussed, consciously or not, on supporting characters and protagonists. Whilst he disregards ‘extras’ (in contrast to protagonists) when discussing Heaven's Descent, I don’t believe he was discussing ‘extras’ as we might understand them in a story such as Way of the Bow: true background characters.

    One such example of such a character might be the bar maid in Chapter Twelve, who appears in this following short scene:
    “Now we’re talking.” Laughed the hooded man, sipping the sake the sake one of the girls had just brought over. He turned around to the girl, a squeal bursting from her mouth as he spanked her bottom. “And how much for you?”

    “Too much for you to afford!” Snarked the girl, slapping the man’s hand away then walking away.
    We must consider what purpose she plays in the story. She has a mere six words of dialogue and disappears in the blink of an eye. Granted, yes, we could take Radzeer’s theory and say that she is used to advance the plot and serve the central male cast, inasmuch that she helps define the assassin character as lecherous and an obvious villain.

    Such a purpose could again be served by the prostitute Chisato in Chapter Thirteen, who once more helps to paint a poor picture of the antagonist Motochika. Whilst she enjoys some playful banter with him, what’s more telling is the other characters’ opinions of her:
    “We have one lead, though I doubt our witness is reliable.” He [Koboyo] said. “One of the girls at a local tavern has tipped us off that she saw a hooded man in the tavern, though she is a…..”

    “Prostitute?”

    “Shhh.” He put his finger to his lips, though I was unsure of the need for secrecy. “Yes.” He said in a voice only just louder than a whisper, yet again for reasons I could not ascertain. “Him and her…..”

    “Slept together?”

    “Shhh. Yes.”
    Whilst the young Yuki is perhaps naďve to the darker side of Japan, it’s clear here that we the audience are meant to be disgusted in Motochika, furthermore emphasizing him as a villain.

    Again, if we examine Chapter Sixteen, a similar purpose is served by Akane and Shinju, two girls given as ‘presents’ to Yuki after his victory in battle:
    “I have something you might like.” He [Otomo Sorin] lumbered off out of the tent and I quickly followed him. “These were presents from Chikakta-san.” … As he lifted up the tent, Sorin revealed quite a surprise. Two woman, I must admit quite attractive women lay on the bed, completely naked. I realised only later how stupid I must have looked, eyes bulging as the women ran their fingers up and down their bodies, enticing us in.

    “Chikakata-san said they were Akane and Shinju.” He said frankly as he pointed to the two women respectively. The one who I think was Shinu (or was it Akane?) winked at me, and I felt a flurry of excitement rush through my body.

    “I really must be getting to sleep.” I declared meekly, slowly walking backwards, inching my out of the tent.

    “Nonsense, there is no better way to sleep then with a woman lying next to you.” Sorin replied as he inspected one of the girls, running his own fingers down her, giggling as he did. This was a completely different Sorin than I had ever seen before. Drunk, he was like an animal and in stark contrast to the wise, old man I had found in the wilderness. I was so very thankful I too was not drunk or I am afraid I would have done something I would have certainly regretted.

    “I’ll take your advice another time.” I could feel the flap of the tent behind me. I was so close to escaping.

    “It’s an order!” He replied, his tone much more angry now.

    “Then I must disobey it.” I answered. I was not going not going to betray Suzume. I was not that type of person.

    “How dare you!” He bellowed, his face going red. “Hahahaha,” he laughed going back to normal in the blink of an eye, “I’m only joking. Run along, if you must, Suzume must be a real gem once she takes off that flaming red kimono of hers.” He joked, just before he lumbered on top of one of the girls, as the other undressed him.

    “Goodnight, tono.” I blurted out quickly, as I left Sorin to his girls. As I walked off into the night, I could hear squeals and giggles coming out from Sorin’s tent. I just hoped I would have the normal Sorin back in the morning.
    Employing language such as ‘the normal Sorin’, ‘a completely different Sorin’, ‘like an animal’ and ‘lumbered’, we could easily state that the purpose of these female characters is to call into question Sorin’s character, whilst further highlighting Yuki’s qualities as a protagonist when he refuses to betray his wife.

    Finally, we once again find a relationship between Motochika and a female extra in Chapter Seventeen:
    Motochika always felt the best when he lay with a women. When he could kiss them, run his finger along their skin, he felt a comfort he felt nowhere else. And so, the first place he went after the disastrous afternoon with his father, was his quarters. There on his bed lay a girl, fully naked. The way I like it, he thought. …With her long delicate fingers she enticed him closer and he obeyed like a puppy dog. He waddled over to his bed, stripping off his clothing one by one until he finally made it to his bed.

    …As he lumbered on top of the girl, he felt the worries of the day drain away. For these few moments, he could forget about his father, about his father’s expectations, about his father’s comments. He could just enjoy the moment.

    After he had finished with the girl, he lay motionless on the bed. The girl lay next to him, fast asleep, her arms draped across his body.
    This builds upon the previous encounter between Motochika and Chisato, once again pointing to Motochika’s lecherous qualities and his casual objectification of women – meant obviously to draw a reaction from the reader.

    In all of these examples, it could be said that female characters have been employed to serve the plot and help develop the central male cast. However, I believe they do more than this. All of these women, from the barmaid, to Chisato, to Akane and Shinju, to the unnamed girl conform to a prostitute archetype. Chisato is explicitly stated to have been a prostitute, whilst the barmaid implies it when she tells the assassin he could not afford her. With the other three it’s perhaps a little unclear. However, whilst not explicitly stated, from their actions it’s quite clear that they’re consenting to sexual relations. With Akane and Shinju’s winks and giggles and the unnamed girl’s ‘enticing’ fingers, we can extrapolate that these girls are being paid to have relations.

    The extents to which these characters could be prostitutes is largely immaterial however. The important point is that they are used, along with the prostitute archetype, to add dimension to the story, independent of both character and plot. Frequently we have erotic references to the women’s bodies or her seductive actions, creating a sexual undercurrent throughout the story. I believe this not only creates a richer atmosphere for the story, but, more importantly, also explores extratextual themes. From the association of these prostitutes to villainous characters and furthermore their complete objectification, it’s abundantly clear that Way of the Bow carries a moral message in regards to the portrayal and treatment of women. Whilst one might initially call it crude or vulgar, their association with the antagonists belies a certain satire. Yes these women are objectified in the story, but they are objectified by characters with no moral compass; characters we’re obviously not meant to be rooting for, as has been pointed out and is apparent if we apply Radzeer’s theory. Yet this portrayal goes above and beyond a view that limits female characters strictly to aids of character and plot development, instead employing subtextual didactic rhetoric to criticize contemporary sexism.

    As Radzeer mentions in his article, it is often difficult for the writer to escape the ‘modern woman’ in after action reports, assigning particular blame to the Hollywood style of retroactively redefining pre-modern women. Although this is not necessarily a discussion to such an end, Way of the Bow has a particularly strange relation to this difficulty, alongside navigating the issue of historical accuracy. Whilst it flits back and forth a little between the two portrayals, I’m inclined to think it settles for the former; that is to say it by and large paints women as modern through their actions and mannerisms (the strong and independent barmaid character or the seductive and forward Chisato for example) – but perhaps most apparent in the continued championing of monogamy as opposed to the historically rife and acceptable polygamy. I’m not here to critique this after action report on its historical accuracy (and indeed in other areas it achieves much success in creating an authentic atmosphere), but instead to highlight how by portraying female characters – the aforementioned prostitutes in particular – as modern ties into the story’s greater moral message by drawing a clearer comparison between them and the contemporary women associated with the audience.

    However, this is not to say that Radzeer’s theory is neither without merit nor entirely inapplicable. Indeed, the fact that Way of the Bow so frequently employs both the prostitute archetype and a female-specific erotic lexicon confirms Radzeer’s hypothesis concerning a male-centric author and readership. Furthermore, whilst the story devotes much time to its female cast, the audience is never treated to a narrative from their perspective. I would concur that in terms of story women have been relegated to a supporting role in Way of the Bow and furthermore agree that this could well stem from the story being written in a soft narrative style and having a reliance on game mechanics (see for reference my article in this issue: ‘Narrative Trends in Shogun 2 AARtistry’). However, I believe that it’s wrong to consider female characters strictly as devices for supporting plot and character development. Whilst this can be a function of a female character, as we have seen they can be used to other extents also – in this instance extratextually to convey moral messages. Thus I would say that the basis of Radzeer’s theory holds true and that it was representative of after action reports of its time. However, in light of Way of the Bow and recent writings, I would call into question a one dimensional view of female characters that prescribed them only a single function – or indeed more broadly to a protagonist/supporting character dichotomy.
    Last edited by m_1512; November 23, 2014 at 12:21 PM.


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    Default Re: The Critic's Quill: Issue 44



    Concluding the edition, I would again like to extend special thanks to Hitai for stepping up to the occasion and delivering the above insightful "piece offerings" for our wonderful readers. Please shower him with much rep points as possible. And now about the part of the future and to reveal the article I mentioned at the start of the edition, unless you guessed it first.

    The article is the "Cool Girls and Call Girls" one, the one bold and in-depth article which I am sure was unexpected. The focus of our team going forward will be to bring to you such interesting and in-depth article, and perhaps even bold ones. Although this means that there would not be more number of articles, we will ensure that this will be a step forward in the long tradition of the Critic's Quill.

    If you would like to request a review done for any specific writing work, please feel free to PM me about it. Also, there is always room for reviewers on Critic's Quill, so if you would like to join our team to deliver articles, PM me and we can discuss it.

    Until next time,
    m_1512
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    Hitai de Bodemloze's Avatar 避世絕俗
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    Default Re: The Critic's Quill: Issue 44

    Time to sleep now.


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    Default Re: The Critic's Quill: Issue 44

    A very interesting read! You deserve that sleep Hitai
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    Default Re: The Critic's Quill: Issue 44

    excellent job guys
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    Default Re: The Critic's Quill: Issue 44

    Good job guys. Good read.
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    Default Re: The Critic's Quill: Issue 44

    Hitai is sleeping? Let's poke him awake by throwing rep points.


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    Default Re: The Critic's Quill: Issue 44

    I read Cool Girls and Cool Girls and was like lets have a look what everyone else wrote...

    Anyhow f0ma I've just read that article, which I found very analytical and a great read, you put forth some really interesting points. When you talked about the whole modern-female image being applied to female characters did you think about how maybe it is done through lack of historical knowledge of women in terms of how to present them and their personalities and mindsets (more so in the TW games where female agents often play smaller roles/don't have such an in-depth trait system - which helps provide writers with a personality background of their character if they are struggling to create one) thus leading writers to "flesh out" these characters with what they know - namely generic, stereotypical modern portrayals of women as constructs within fiction, or maybe as a way to make their narrative more connecting with their readers with small (which as you have said is often the size of female roles in AARs etc.) personality flashes that are easily recognisable due to their aforementioned portrayal. For example I often find (especially with Rome or Shogun AARs where names can get a bit technically if people striving for authenticity) that I remember characters more easily through their presented personality instead of their names, especially if there are a multitude of characters present.

    Something to think about. I'll leave you to your sleep now but when you wake up I want a response.

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    Default Re: The Critic's Quill: Issue 44

    It's a point Merch raised as well with me and of course something Radzeer originally outlined. I'm inclined to agree to a point. It's very difficult - indeed perhaps even impossible - to portray a truly accurate historical character, so I do think AARtists, consciously or not, fall back on modern stereotypes - I know I myself actively borrow on modern tropes to define my own characters. However, this is not always the deficiency we might believe it to be and I'm suggesting here that perhaps this modern portrayal has been used as a means to another end. I'm also inclined to believe this discussion applies not only to women, but also all potential characters and your comment on 'personality flashes' in particular reminds me of Takeda's depiction of Hattori Hanzo; a character who immediately and uniquely sprang off the page in such a way. So yes, I think the 'problem' of historical accuracy and our traditional negative mindset regarding inauthenticity is something that has been and is being challenged in a number of ways.
    Last edited by Hitai de Bodemloze; November 27, 2014 at 05:59 AM.

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    Default Re: The Critic's Quill: Issue 44

    Yeah back with Tales of a Kingdom most of my characters had some modern-stereotype/personality... artistic licence and all that. I guess it just helps with character depth because we know more about the modern persona than Medieval one. I think you are right about it applying to all characters as well, not just female ones. I for one am glad that, as you mentioned, the mindset is being challenged, if I wanted facts of reality I would read an academic book, with AARs you want a creative story and deep characters at the expense of historical authenticity, which I guess is why I prefer AARs that use the game as a base for a bigger and more in depth story arc instead of following it religiously... mind you CA take their fair share of inaccuracies - which interestingly I don't find such a bad thing, it is kind of like AARs, first and foremost you want something entertaining and then something that resembles historical accuracy. Well for me anyway.
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    Default Re: The Critic's Quill: Issue 44

    Then again, things become difficult with the history-book/faux-history style AARs, where historical accuracy means more. Luckily character focus is quite minimal, but it's something to be taken into consideration, since 'historical accuracy' is closely interwoven with the style of the piece (inasmuch that there's a larger emphasis on a 'this could have happened' mentality, as that's traditionally the immersive driving force of the piece). Although perhaps I'm wrong and it's not as big of a problem as one might think, who knows. Someone should write an article on that
    Last edited by Hitai de Bodemloze; November 27, 2014 at 03:17 PM.

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    Default Re: The Critic's Quill: Issue 44

    Thanks for offering
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    Default Re: The Critic's Quill: Issue 44

    Excellent issue, thank you!

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    Default Re: The Critic's Quill: Issue 44

    Its really great to see articles creating discussion and debate, I think thats what they should aim to do, be the starting point from which further discussion arises.

    This is just my two cents but I do agree with Hitai in that it might just be impossible to write a character that is 100% from that time period so to speak. I think while historical sources and records do give us some info, its hard to think what people did think back then.

    For me, the biggest problem is incorporating women into stories set back in time because they had such a different role to play. I think that's a possible reason why they aren't included so much. Back then, women were treated more as items rather than people and I think you have to be incredibly sexist to truly write like they might have. I personally use ASOIAF as much inspiration on how to create just the extra characters in terms of how they should think and act. It's not Feudal Japan but it represents a different era.

    I think when creating a character you have to actively look out for modern ideologies or stereotypes. For instance, I kind of think Yuki in my story is a bit too modern in his dislike for war and his tolerance of other people. But I think as long as you don't have every character like that then it doesn't matter as much.

    Anyway, they're just my thoughts but I think it's a really interesting point you two have raise, Hitai and Shankbot

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    Default Re: The Critic's Quill: Issue 44

    There were, however, numerous examples of women wielding power, you know.


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    Default Re: The Critic's Quill: Issue 44

    Quote Originally Posted by m_1512 View Post
    There were, however, numerous examples of women wielding power, you know.
    And at times, the problem is trying to combine both those exceptions and the status quo role of women. But I agree that it's also important to have powerful women.

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    Default Re: The Critic's Quill: Issue 44

    Quote Originally Posted by Merchant of Venice View Post
    And at times, the problem is trying to combine both those exceptions and the status quo role of women. But I agree that it's also important to have powerful women.
    Agreed, although with artistic license, you can have both. Further, the word power is also ambiguous. It can refer to the means to control by command as well as through schemes and intrigue.


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    Default Re: The Critic's Quill: Issue 44

    All this talk of women in AARs, and still nobody does it better than Thokran.
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