Wednesday, August 9, 2017

LitRPG Audiobook Review 1: Last Horizon by Daniel Schinhofen

As promised, here's my first LitRPG audiobook review. I'm going to try and keep these short - I'm generally prone to vomiting up far more than anyone's interested in reading, so I will make a conscious effort to be brief here.

Last Horizon, by Daniel Schinhofen. Narrated by Jonathan Yen.

Below is the review I posted to audible. I actually almost refrained from posting this entirely, as the first time I posted it a horribly sloppy blunder of mine caused me to post it on the wrong goddamn book's page. I got it sorted out quickly enough, but still felt awful about it. But that's a story for another day.
I'm wrestling with myself in writing this review, and there is a chance that I will not submit it. While I am certainly a bitter person, I'm not often publicly mean, and so posting negative reviews are not something I do lightly.
I did not enjoy this audiobook. The story was boring and uninteresting, the painfully cheesy attempts at humour regularly fell flat (and were throughly unaided by the narrator's exaggerated, forced delivery), and the use of language was exceptional in its repetition.
I will admit that I went into this knowing I did not like the narrator's work from other audiobooks, so I tried my best to separate my thoughts on his particular vocal style from the story itself. Despite this, there was nothing to enjoy. The characters were flat and uninteresting, their interactions were awkward and unrelatable, and nothing really ever happened. It wasn't much more than the author dictating his ideal personal romp through a virtual world.
The primary plot device were the quests themselves, which at no point felt like they carried any weight. They are, after all, meaningless even within the context of the story. Sometimes a reader can suspend their disbelief if the characters are deep enough for their own sentiments towards their in-game missions to carry over, but that certainly wasn't the case here.
There were some conflicts with other players within the world, but they felt more like afterthoughts, and failed to deepen the story.
Please, for the next book you write, remember that your job is to spin a tale with peaks and valleys, with bitter conflict and satisfying resolution. Not a trip to the grocery store.
...For the bananas.
 As I mention there, this book was boring. Nothing of note really happened - there were a few conflicts, but the bulk of the adventure was a bunch of friends for whom everything went (mostly) fine completing a quest chain within the game, and in so doing, exploring a world that never quite felt all that important. In writing this however, I've come to realize exactly what it was that was wrong with this book, in fairly simple terms. Strangely enough, it has nothing to do with the fact that the world was never properly developed, that the NPCs were flat and uninteresting, and that the conflicts were luke warm at best.

Listening to Last Horizon gave me the experience of being excluded. At no point am I made to feel any real attachment to any of the characters. Instead they feel like something of a closed circle, who function as the support system for how poorly each of them have been written. Inside joke falls flat? It's fine, the rest of the characters think it's hilarious. Expositional backstory fails to elicit an emotional response? Don't worry about it, all the friends are sobbing, hearts broken by your tale. As the reader, it never really felt like any attempt was being made to ensure that I was being entertained, as the fictitious audience always seemed to be enjoying themselves.

In that regard, Jonathan Yen's performance paired perfectly with that approach to storytelling - his vocal cues always made it clear when something was funny, whether you felt that way or not. I've listened to a few books narrated by him, and I've always felt myself to be a little hostile towards his style. It feels almost like an attempted hijacking of my emotional state. Doesn't do much good for one's suspension of disbelief.

So, in summary:

Will I indulge in anything by Daniel Schinhofen in the future?
I'd rather not. There's a new release out already, "Gamer for Life: Alpha World" and I feel no compulsion to bother. That said, I might in the future - people grow and improve, especially when it comes to this genre (rife with amateur authors as it is). I also have the habit of forgetting just how much I dislike something, so who knows.

Will I listen to anything else narrated by Jonathan Yen?
This is my third, so I think I can at least claim that I've given him a fair shake. He seems to continually be getting work despite his style not being to my taste, so I don't see it changing in the future. Absolutely not my cup of tea, so I'll steer clear from now on.

Overall Score: 2/5

Saturday, July 22, 2017

LitRPG Audiobook Reviews? Maybe.

Lastly, I might be considering writing audiobook reviews. Maybe. I've been rather taken of late by a niche genre of fiction called "LitRPG". It's as silly as it sounds, but frankly I can't get enough of it. In general, I'm a very opinionated person, but I regularly force myself to keep from sharing my opinions on the internet. It's difficult, but every time I feel something bubbling up inside of me at the sight of a facebook comment debate, I force myself to turn around and walk away.

But goddamnit, I need to let it out somewhere. Every time I see posts on a the handful of LitRPG focused facebook groups of which I am a member, I see people lauding books with some of the most inane, lazy writing I've read in a long time. I see people celebrating narrators whose manner of speaking leave me spitting with frustration. But I can't just respond to them, saying as much - if they like what they're reading and hearing, who am I to challenge them? I'm certainly the odd one out here.

The way I see things, the genre of LitRPG is split into two camps, although I'm sure most fans find things to enjoy in both. LitRPG generally focuses on characters who exist in a world, either temporarily or permanently, where their capabilities follow a level/experience based progression. Sometimes that's just how their world is, but more often they're playing some kind of full-immersion virtual reality MMORPG. In other cases, they're people from the real world physically transported into such a world.

So the two camps I was referring to are as follows:
  • Stories where the RPG-style world and the characters' interaction with it is the focus. Your main character(s) complete story quests, interact with NPCs, and essentially just progress through the framework the world provides.
  • Stories where the RPG-style world is the backdrop, against which the characters' interactions with each other are the focus. The world is merely the context in which these interactions occur, and often the real world (and all of its own issues) serves as an important element to the story.
Stories that lean more towards the first camp drive me insane. It's not particularly often that I find one that isn't juvenile in its approach, and I can't quite think of one right off the top of my head. See, the problem generally seems to be that the problems they face don't really carry that much weight. I generally see books like this relying on a line of quests within the game serving as the primary motivation for the character. Complete this objective, then that, move along, kill the goblins, save the village, get the coin reward, and so on and so forth. By definition, if the quest itself is fabricated even within the story! How many levels of inception do you expect my suspension of disbelief to work through?

The second group however is where I've found some real gems. Stories that balance the real and virtual worlds, that demonstrate how the same problems manifest and can be dealt with in each plane of existence. Travis Bagwell's Awaken Online series and Stephen Morse's Continue Online: Memories are excellent examples of this. The problems they face are interpersonal, psychological and financial. These are things that every one of us can relate to with ease.

Other interesting stories explore the economics of trade, and the grand sociological challenges of running clans and guilds. Manipulating markets and people to amass wealth and power, and furthermore the abuse of that power. Even determining what constitutes crime in such virtual worlds, and how it should be dealt with. These questions are what thrill me about the genre, and at least as far as the audiobook market goes, for every hundred of the first category, you might come across one of the second.

I'm a bit sad about the fact that I've limited myself to audiobooks, as I'm sure there's all kinds of excellent stories out there. But what can I do? I have a tendency to read a little slow, and between my job, my work on, my art and my personal game development projects, I simply haven't the time to sit down and read. It certainly doesn't help when so many celebrated titles in the genre are just puerile descriptions of the author playing an imaginary video game.

On the flipside, when it comes to my boiling cauldron of opinions, narrators are as ripe a target, both for praise and for protest. There are a lot out there who are pretty good - perhaps not worth noting, but who do nothing to harm the story in any way. Then there are those who have genuinely taken a good story and with their own range of voices, and their own grasp of the characters' emotional depth, have taken it to a whole new level. A couple that come to mind of this sort are Pavi Proczko and Andrea Parsneau, whose performances really brought the characters to life.

Then there are those whose performances leave you wondering if it was the story itself that was bad, or if the narrator's performance was just so obnoxiously distracting that it ruined something perfectly mediocre. Sadly there are two fairly prolific narrators who fit the bill for this last group - Jonathan Yen and Jeff Hayes. Based on what I've seen, a lot of people really seem to enjoy their performances, so it may well just be a matter of my personal taste. Jonathan Yen in particular has this awkward, lilting rhythm to his delivery, so heavy handed in its attempted manipulation of how the listener interprets that which is being said. Almost every line is spoken as though it's something amazing, or something just-so-funny. The latter is particularly grating, as there are plenty of situations where an author may include something a little cheesy, but that can easily be down played if it doesn't quite tickle the reader's funny bone. This is unfortunately impossible when Jonathan Yen reads it with his exaggerated, exasperating meter and tone.

Given that I'm effectively addicted to this genre, I need to have an audiobook to listen to. I've taken to walking to and from work, giving me a solid hour at a minimum every day to burn through. Because of this, I've been picking up title after title, and have willingly spent my precious audible credits knowing full well that the next one would more than likely be yet another dud. Despite my ire towards his work, I'm currently listening to yet another narration by Jonathan Yen in the hopes that it wouldn't be too bad. So far, I'm not impressed.

Anyway, I'm seriously considering recording my own thoughts on these books, more for my own sake than for others' (as I've never actually publicized this blog, and treat it more like a sparsely-used diary). Perhaps giving my favourites another listen will help keep me from having to dig into books I already know I won't much enjoy. I hope not to be overly bitter and vitriolic, but given that I'm a stubborn person and will usually push through a bad book with a sour face, there's bound to be a little gnashing of teeth.

The once lush jungle of doodles is now a parched desert

Here are some doodles and illustrations since my last art post. Not all finished, but I figured I'd include some abandoned pieces and whatnot to compensate for the fact that I haven't been drawing nearly as much as I should.

Also, in the whole damn year, I managed to do just one new comic for drawabox.


Man, I am pooped. The last two months have been rough in a variety of ways, all of them work related. Around mid-May, I had a new project dropped in my lap, which required me to fill a role that was well outside of both my comfort zone, and my area of expertise. For context's sake, I was hired on as a concept artist a few years back, although I've filled a variety of roles for the benefit of the company itself. That's really how small studios work, people wear a lot of different hats when they can. So, I've done a lot of programming (due to my previous employment in that field), GUI design, puzzle design, web development, level design, etc.

I wouldn't say I was overwhelmingly pleased to do these things, but I was certainly willing. Illustration and concept design for games is of course what I wanted to focus on, but things don't always go the way you want. On the other hand, I love the people I work for and with, so I was willing to tough it out.

This time, things were definitely more contentious. We took a contract to create a movie, intended for a 360 degree dome theatre venue. The movie, which was to be at least 15 minutes in length, was to be created within Unity (a game engine I am quite familiar with). All that's well and good, but the task that fell to me was to build out the scenes (combining the models we have, using fog, particle systems, etc. to create a believable atmosphere, and so on) and to choreograph the animation. I say choreograph because I wasn't actually animating the rigs myself, but rather establishing the paths things followed, and determining which animations should play where and how. There's definitely a lot of overlap in what I did and actual 3D animation.

Let me tell you - I loathe animation. The beauty of illustration is that you're set within a frame, and you capture a single instant in time. You don't have to worry about how things get to a specific location, or what they're going to look like in the next or previous moment. You don't have to worry about things outside of this one slice of space and time. It can be quite difficult to tell a story within a single shot, but that's a challenge I've always loved to tackle.

The challenges introduced in having to deal with here were a nightmare, especially for the first month. Over time I started to get used to how things worked, and other members of the team developed some interesting tools that allowed us to rely more on procedural animations which freed me up in a lot of ways (although they introduced their own issues). Overall, things got better, but the underlying fact that I should not have been filling that role served as a continual weight on my shoulders. The unfortunate truth was, of course, that I was still the most appropriate person for the task on the team.

So, we compensated for my shortcomings with overtime. Oh, so much overtime.

We ramped up slow. The first few weeks, I was doing a couple of late nights, totaling to 8-12 extra hours per week. Not bad. Then a Sunday. Then a whole work-week of late nights. And finally, my last "week" of work consisted of 26 consecutive days, over which I worked about 280 hours. Overall, the project demanded about 200 hours of overtime, over the course of a month and a half.

Thankfully, that's done now. The result's not too shabby either, and people seem to have a lot of good things to say about it. Sadly the dome theatre itself doesn't do justice to all of our hard work, as despite our best colour-correction efforts, there's only so much you can do to combat the light that leaks in on a sunny day to wash out your colours, and the generally meh-quality projectors.

Despite that, I certainly impressed myself. I don't ever want to do anything like this again, but I'm proud to have stuck through it. We should be getting some well deserved time off soon, but we still have another small project to polish off for that same dome theatre. At least I've got my weekends back now.

Here's a trailer for the show (though it was made from older footage, while we were still scrambling to iron out a lot of animation kinks. A Whale Story: Surviving Against the Odds

Saturday, June 18, 2016


This week's been rough, and I fear that's far from over. I can't speak much about why it was rough exactly, but I can say that the next couple months are very uncertain for me. At least I can take solace that in general, I'm in a good enough position to weather any storm. The stress is a killer, though.

Anyway, here's what I've painted in the last little while. They're primarily reddit gets drawn stuff, but there was one illustration in there (that didn't really turn out as well as I'd hoped - serves me right for diving right in, rather than doing my due diligence in thumbnailing and general preparation).

I also drew another comic for

Tuesday, May 31, 2016

February 2015 - May 2016, Big Update Dump

It's been a ridiculously long time since I last posted here. More than a year. And while it's been an eventful year, I haven't really done that much art-wise. I've done a handful of paintings, I've gotten into doing RedditGetsDrawn portraits, and I've done some doodles, but overall my time has been devoured by /r/ArtFundamentals, which since the time of my last post has evolved into a proper website, It eats up a lot of my time, but I've been able to monetize it reasonably well, with both ad revenue and a patreon campaign.

Before I get into all of it, I'm gonna warn you - this is a really, REALLY long post and if you want to get to the art, jump all the way to the end.

Thursday, January 8, 2015


Haaappy New Year, folks.

My past month's been pretty good. Moved to Halifax to work with a great team of people at Silverback Games. Generally it's not like you're going to speak ill of your coworkers in a public forum, but these people really are fantastic to work with, my bosses included.

Aside from that, the subreddit I started back in mid-August has really taken off. /r/ArtFundamentals now has just shy of 3000 subscribers (we should clear that mark by early next week, if not sooner), and I've been receiving five to ten homework submissions for critique daily. It's a hell of a lot of work to keep up with, especially while finding my way around a new job, but the feeling I get from seeing so many people improve from my suggestions, and put so much of their own effort into completing these exercises is without equal. I only worry that its growth is not sustainable in the long-term.

I'm contemplating different ways to approach changing its structure. Most of my options involve building a dedicated website for it, and if I do that, I'm inclined to take it all the way - pay proper designers, take the time to properly develop and test it, and also implement a business model that at the very least breaks even, and doesn't become a drain on my own bank account. I love teaching, but perhaps not so much that I'd go into the red over it. That said, I have no intention of ever charging for the lessons that I write, so I'd likely attempt to monetize the core service I've been offering - my (supposedly insightful) critiques.