Go on, buy a copy. You know you want to!
After finishing the game, Jonathan and I realized that we weren't quite ready to close the door on Westerly just yet. So, in the fall of 2012 (I think?) we started working on Do Not Contact, which was a novel set in the kingdom. It features quite a lot of things that we mentioned in the setting materials for the game, as well as a whole pile of new stuff that we made up just because we could.
As of this writing, we are two chapters (and an epilogue) away from finishing up the third draft of the book. We're both quite happy with the amount of polish we've put on it and we are very hopeful that people will want to pick it up and give it a read.
I will, of course, update you once the book becomes available.
Now that we're almost at the end of this project (which, at over 100k words, is the single longest thing I've ever worked on), Jonathan and I are starting to talk about future projects in the Critical!: Go Westerly Universe (I'm coining the term "Westerverse" right now, so mark that on your calendar). We have a few ideas. Westerly, it turns out, is a substantial kingdom despite its relatively small size, and we think that there's quite a few stories and characters still lurking in the alleys and forested areas somewhere.
One of these ideas isn't officially on the list, but it's something that Jonathan and I have talked about. It has to do with the Eastern Empire, Westerly's nearest neighbor, and the rather...ah...unique situation surrounding the dynastic succession of its empress. While walking around today, a very vivid picture of the empire and its empress popped into my head. I have set it down for your amusement below in screenplay form. No, I don't know why. I took one screenwriting course in college and probably have the formatting all wrong.
Still, I had fun with it, and I hope you enjoy it.
Black, slowly resolving into animated images. A woman, red and angular, dominates the
frame, mastering various types of deadly-looking magic. Lightning.
Fire. Meteors from the sky.
KWIMBITZ THE SAGE
(v.o.)
In ancient times, in a land far to
the east, there arose in might a woman whose skill at magic was matched only by
her terrible cruelty. She became so powerful that she dared to call herself the
Immortal Sorceress.
Animation continues.
Woman is shown leading an army of monsters and blasting apart her
enemies. Attackers attempt to strike her
down, but to no avail. In the end, we
see her crowned and seated upon a tall throne, a spiky crown on her brow.
KWIMBITZ (cont.)
Summoning up an army from the depths
of the Netherworld, she conquered the disparate kingdoms of the east, striking
down all who stood against her. By force
of magic and skill at arms, she forged the East into a vast empire, and crowned
herself its Immortal Empress.
Animation continues.
Woman surveys the empire from a balcony on a tall tower. A man slips up behind her, poisoned blade in
hand. He stabs her in the back. She falls to her knees.
KWIMBITZ (cont.)
One fateful night, while she
surveyed her vast domain, an assassin from Geth slipped undetected into her
chambers and struck her down with a envenomed blade. Not even the Empress’ power could protect her
from the terrible poison.
Animation continues.
Assassin stands over the Empress, looking smug, dagger in hand. He gets blasted by magic and thrown off the
balcony.
KWIMBITZ (cont.)
“I suppose you are the Mortal Empress
now,” said the assassin. Historians do
not recall whether or not the assassin was satisfied with his quip. He should have been. As final words go, they were fairly witty.
Animation continues.
The Empress is dying but defiant, surrounded by her councilors.
KWIMBITZ (cont.)
As she slipped into death, the
Empress swore, “this is not the end. My
magics will sustain me through this death and into next life. Find me again when I am reborn and return me
to be your Empress. Forever!”
Animation continues.
The Empress breathes her last.
Councilors set out into a small village, returning to the palace with an
infant child. Close up on the child’s
head that dissolves into the terrifying visage of one of the Empress’
communication statues. New councilors bow
and scrape in front of it, looking terrified.
KWIMBITZ (cont.)
And as the Empress commanded, so
it was. Thirty-four times the Empress
died. Thirty-four times she was reborn. Her iron rule was unbroken for many
centuries, her cruel edicts communicated to her councilors through enchanted
statues placed throughout the empire.
Animation continues.
A wagon train, bearing the imperial standard, is crushed beneath a
landslide.
KWIMBITZ (cont.)
And so the empire was to have
been, changeless and unchanging, until a freak accident slew the search party
that was tasked with finding the thirty-sixth incarnation of the Immortal
Empress. Although the misfortune was discovered
quickly, the infant empress was not.
Indeed, she was not found again…
Animation continues.
Close up on cracked communication statue, its eyes dull. Slow zoom on face.
KWIMBITZ (cont.)
Until twenty-five years later…
Dissolve from animation to face of actual communications statue. SENATORS in purple-bordered togas are
standing in front of it, looking restive and concerned.
CUT TO
ARUGIA HOUSEHOLD: DAY
We are in the interior garden of the house, walkways on four
sides, pool of water in the middle.
METELLA, a harried-looking but happy mother of two is playing a game
with her two small daughters, AVIA and ZOIA.
AVIA (holding a game
piece)
And then Deneva the Scutaria takes
her big sword and…
METELLA, seeming to remember something, looks over at the
garden sundial. She does not like where
the shadow has fallen.
AVIA
Mama?
METELLA (standing)
I’m sorry, darling. Mama just remembered that she has to take
care of something. Would you be a good
big sister and play quietly with Zoia for a little while.
AVIA
All right.
METELLA
I promise I’ll be right back.
Maternal hugs, kisses, and a few more words of encouragement
before we follow Metella into the Roman-style villa. She moves quickly and somewhat furtively to a
small bedroom that features a tall, wooden cabinet. One window overlooks the garden. After a last look out the window at her kids,
Metella closes the door, opens the cabinet, and takes out a fearsome-looking
golden mask. She settles herself on the
edge of the bed and puts it on.
CUT TO – INTERIOR OF THE SENATE CHAMBER
The senators are looking bored and perhaps a touch
angry. SENATOR CALLUS looks like he’s going
to have to start doing damage control, but is rescued by a chiming note that sounds
inside the statue. Then the statue
speaks. It has a woman’s voice, booming
and mechanical sounding.
METELLA (v.o.)
Good afternoon.
CALLUS
Greetings, oh most high, we are
pleased that you could turn your mind aside from your eldritch pursuits to help
with certain delicate affairs of state.
METELLA (v.o)
Of
course. Go on.
CALLUS
Senator Nevina bears some
disturbing news regarding our border dispute with the Westerlians.
Senator Nevina, a nervous-looking woman, steps forward. She clears her throat and addresses the
statue in a slightly too-loud voice.
NEVINA
Greetings,
oh most high! The Westerlians…
METELLA (v.o., angry)
What
have I told you about yelling?
NEVINA (terrified)
I’m
sorry, most high one?
CUT TO – METELLA’S BEDROOM
Metella has pulled the mask off of her head and is in the
process of running to the window. The
kids are shouting in the courtyard.
ZOIA (loud and
sing-song)
Mama,
ma-maaaaa!
Metella comes to the edge of the window and hides the mask
behind her. Avia is in the process of
restraining her sister, who is still cheerfully shouting. Metella is flustered, but not really angry.
METELLA
I’m
right here. I can…
CUT TO – SENATE CHAMBER
METELLA (v.o.)
…hear
you perfectly well.
NEVINA (bowing her
head)
Yes, most high one. Of course.
CALLUS
Senator Nevina has been on the
frontier these many months and is no longer familiar with courtly protocols, my
empress. She just…
CUT TO – METELLA’S HOUSE
AVIA
…wanted
to ask you something.
METELLA (whispering)
Can it wait just a few moments,
sweetie? Mama’s right in the middle of
something.
AVIA (over the top of
her)
I
told her that, Mama, I did.
METELLA (over the top
of her)
I’ll
be out soon, I promise.
ZOIA stands up on tiptoes and shouts very loudly.
ZOIA
I
want…
CUT TO – SENATE CHAMBER
ZOIA (v.o., loud.)
A
drink!
The senators all look at one another, fearfully. Then they scatter.
CUT TO – METELLA’S HOUSE
METELLA (whispering
and a little frantic)
Of course. Avia, take her into the kitchen and get her
something, won’t you? Oh, and take down
some of that bread and cheese I’ve been saving.
We can have that for a snack when I’m done. All right?
AVIA
All
right!
ZOIA
Hurry
up, mama!
The girls hustle away from the window and into the
house. Metella sits down on the bed,
blows a stray hair off her forehead, and gently lowers the mask over her
face. She straightens up, as if in
shock.
METELLA
Callus,
what…
CUT TO – SENATE CHAMBER
The senators are huddled around tables bearing numerous
cups. One of the senators is clutching a
wound on his arm and is bleeding into one of the cups. As the statue speaks again, everyone snaps
alert. One senator in the back faints,
dramatically.
METELLA (v.o.)
Are
you doing?!
CALLUS
You demanded a beverage, most high
one. Not knowing your pleasure, we have
procured for you a number to choose from.
METELLA (v.o.)
Is
that…blood.
BLEEDING SENATOR
Yes, most high one. I thought…In the accounts of your twelfth
incarnation, it mentioned how you supped on the blood of the people of Bellrendo
and I though, perhaps…
METELLA (v.o.)
That’s fine. Thank you.
That’s very…generous.
CALLUS
We are pleased that you are
pleased, most high. Which of these would
you prefer?
METELLA (after a
pause)
Oh, they all look…nice. All of them, I suppose?
The senators surge forward to hurl the contents of the
various cups at the feet of the statue.
Pan up to the statue’s face. We
can hear Metella’s metallic sigh.
