Monday, January 16, 2017


Hellfire Temple Draft.



You are in front of the Lengendary Temple. It is a big, Aztec-like, building. Trianglar in shape. The entrance you see in front of you is dark. You light on your tourch. As you enter the temple, the jungle ambience becomes silent. All you can hear is the sound of your footsteps.


You light your tourch in front of the wall. An ancient drawling shows that of stick figures throwing spears at a large square pig. 


There is an intersection between the wall.

Should you go left? - 2

Or should you go right? - 3



The left path leads you in front of an indoor lake. A lake inside a temple! There is dripping sounds coming from the cieling. The water is brown. It dosen't look like anything is living in it, or is even healthy. There is a sidewalk path next to wall. You sidestep across as you balance your torch. The lakes essence is mesmorizing. It feels like you could fall into the lake and drown. It is a scary thought. 


Ahead, you can see a glaring yellow light at the end. It must be an exit. 


However, there is also a pebble besides you. You have thoughts to throw it in.

Should you throw the pebble into the lake? - 4

Or ignore it, and countinue towards the light? - 5



Nothing written.



You throw the pebble into the brown water. 

The pebble dives into the water with a large "blup" sound. The lake is indeed deep. It echos across. The lake must strech a long distant ahead. The dripping of water countinues. Nothing appears the be living in the lake. Only you exist hear with your torch. You torch could possibly fall into the water. 


You quickly sidestep and reach for the yellow light ahead. 

Turn to - 5



Slowly balancing the torch and side-stepping against the wall, you reach the end. The glowing light is quite large. Observing it, the light is coming from a relic shaped as a bug, The shiny glow is emitting from it's back. It's six legs clinch to the wall. The thing is not alive. Right beside the bug, a hollow corridor streches. Pitch black. Good thing you have a lit torch lit. The bug's light looks pretty handy.

Should you further examine the bug? - 6

Or should you walk down the long, dark corridor ahead of you? - 7



You put down your torch and try to take the bug. It comes of the wall. The bug is quite light in size. You notice that at it's mouth, a red glare emits. It is a very strange relic. It could be worth money. But it's not that important. You may put the bug in your bag or leave it where it is. 

Countinue down the dark corridor.  - 7



The dark corridor your walking down is far in distance. It is a straight path forward away from the lake. The sound of your footsteps echo. 


You see a wall up ahead. Lighting the torch up against the wall, another temple drawing is apparent. Stick figures with squares. A foreign langauge reads across. It's neither Egyptain or any familar langauge of South America. You feel the wall. Dust covers your hand. 


There is another intersection.

Should you go left? - 8

Or should you go right? - 9



As you walk towards the left, pebbles fall from above. You look up. A loud shifting noise can be heard. Something large is in this temple. You sense some kind of danger up ahead. You walk faster than before. 


A sharp turn countinues to the left. You light the torch along the wall. More esoteric langauge and sqaures appear. Nothing makes sense.


As you reach the end, the corridor turns to the right. How long will this endless hall go on for? 


At a distance, you can see outside light. You rush towards it. 


Vines and leafs block the way. You tangle your way through the debris. 


Try and cut some of the vines? - 10

Use the torch to set the vines on fire? - 12

Or push your way through? - 11



As you walk towards the right, pebbles fall from above. You look up. A loud shifting noise can be heard. Something large is in this temple. You sense some kind of danger up ahead. You walk faster than before. 


A sharp turn countinues to the right. Ahead, you can see some kind of statue. You walk towards it.


It looks like some kind of golem creature. In the center, is a shining diamond. Behind the golem, is another path. You have curosity for this thing. 

Should you examine the diamond? - 29

Or ignore and continue?  - 30



Reaching out for your hatchet, you cut through the vines. You want to use your torch, but you decide to wave it violently, and put out fire against the wall. There is sufficent light ahead to see where your going. 


The vines are thick. "Whish" movements with your hands cuts them. A little force is needed. 


Pulling the dead plants aside, you can see some kind of monument ahead. It is outside. The sun's light is shining. 

Countinue towards the monument. - 13



You use your might and force to grapple the vines and push them aside. Some have thorns, others just fragile. The vines hurt your hands. LOSE 3 LIFE. 


Your hard work pays off. Scarped and dirty, you finally reach outside. The sun is bright. From the distance, some kind of outside monument stands alone.

Head towards the monument. - 13



Waving the torch, you use the fire against the vines. They start to burn. You use much fire as you could. The fire gets incresingly bigger. You push your way through, but get burnt from the fire. You have made the situation a little more difficult. LOSE 3 LIFE. 


You use some of your canteen water to put the fire out. The fire is not effective enough to start blazing. A right amount did the job to kill the useless plant life.


Ahead, you can see some kind of large, outside monument.

Push towards the monument. - 13



You are outside. Abandon buildings hover around you. In front of you is a large, diety figure, sitting alone. It looks like Buddah, but nothing like Vishun. Niether Christian or Islamic. The figure is praying above. Wings attached to it's back. Eyes on it's stomach. Could it be an ancient God admired by the old temple people? 


Looking around, behind the diety, you see some stone hedges. A howler monkey can be heard. Life exist over hear. There is another building in front of you. And to the right, some kind of house.

Head towards the stone hedges? - 14

Go to the building behind the stone diety? - 15

Or head over towards the house? - 16



You walk towards the stone hedges. Chirping of cicadas can be heard. 


The hedges circle around you. Four big hedges with strange language written on each on. A stone path countinues towards inside of the temple again. The aura around you is suspcious. 

Should you examine the first hedge? - 17

The second hedge? - 18

The third hedge? - 19

The fourth hedge? - 20

Follow the path, and head inside the temple again? - 21

Or go back to the stone diety? - 13



You head for the building behind the stone deity. The buildng is a large. It an eroding, phallic building reaching for the sky. There is a door in front of the building. Maybe there is something living hear. 


You walk towards the door. 

Knock on the door? - 28

Or go around the building towards the stone hedges? - 14



You head towards the house. 


The house is the shape a moneky's head. The opening is the mouth. Light is inside the house. You decide to walk in.


Walking in the room, exoitc pots are on display both to the left and right. You look at the pots. One pot has curvey lines, another zig-zags. The other two pot has spots on it, and one with stripes going up. 


Crumbles of stone fall from the ceiling. Something is moving. 


Then, the door outside shuts down from above! You are in a trap!


You are now stuck inside the monkey house. You go up to the door and try to push it. The barrier is too heavy. 


However, there is a new path in front of you. It looks like your traped inside.

Head towards new path.  - 22



You examine the first hedge stone.


Written on it shows a sheep-like creature. It is red. Three lines are etched under. 

You step back. - 14



You examine the second hedge stone.


Written on it shows a dog-like creature. It is blue. One line is etched under. 

You step back. - 14



You examine the third hedge stone.


Written on it shows a dragon-like creature. It is green. Four lines are etched under. 

You step back. - 14



You examine the forth hedge stone.


Written on it shows a ape-like creature. It is yellow. Three lines are etched under. 

You step back. - 14



You pass the stone hedges and head for the path that leads inside the temple. You can see light at the end. There is no need to use the torch (you may put it out if you have one lit). 


As you walk down, the outside ambience dies out. Your are inside the silent temple again. 


You reach a large room with glaring sunlight from an open patch from the cieling. Th sun provides light in the dark temple. 


In the center of the room, you see four pillars. You walk up against a pillar and feel one. The pillar goes down. Surprised, you touch it again. The pillar goes up. 


There is another path to the right. 

You countinue along. - 23



You leave the pot room. The long corridor streches to a new room. You are anxious. Hopefully, the falling barrier was just a concidence. Right? You see light coming from the end. 

Keep following the path. - 30



The path in front of you is pitch black. You have second thoughts to touch the pillars. Should you mess around with any of the pillars before you go? 


You may write a note. Describe witch of the four pillars you want to press. Either 1, 2, 3, 4, 1 and 2, 3 and 4, All, or any combnation, etc. Keep this note for later.  




You light your torch, and head down the dark path. - 24



The path is dark and silent. You hear a flutter noise. Possibly bats are somewhere. You light your torch above. Nothing. You walk further down constantly inspecting with the torch. 


There is an intersection. 


Go left? - 25

Or go right? - 26



You head left. 


In front of you, the flame of your torch light up a dead end. Above, a group of bats are sleeping. 


One is awake! He sees you and flys down. Fight the bat!






LIFE: 14


If victory, - 27



You head down the dark corridor. Hopefully, you will not wake any bats. 


You come across a door. This door has a face on it. Two eyes, a nose, a mouth, and a red diamond in the center of it's head. You push to door open. 





You killed the bat. Scared, you quickly head the other way.

Head towards the right. - 26



You knock on the door. It is quiet. No one answers. You decide to open the door. 


Inside, there is a staircase the leads upstairs, and a viasable kitchen. Things look old and abandon. 

Walk upstairs? - 34

Or head for the kitchen? - 35



You decide to take the diamond and look at it. It is shiny, probaly a precious medal. You carest admire the diamond. 


All of a sudden, the golem shifts it's head! It is staring at you. I's left arm slowly is moving towards you. You back off. The golem's legs break out of it's sleep. The golem shakes itself. It is walking towards you! It's arms want the diamond back. You are scared. 

Give the golem the diamond? - 31

Or fight the golem? - 32



You are in a giant red room. It is big like an audotorium. The thought of such of room is puzzling. Who uses this room? The floor and ceiling are made of ruby. 


Thing in the center.


Check thing?


There is two paths. Which way?



You quickly pass the diamond into the golem's hand. It grabs it tightly. However, the golem lifts its arms up, and shakes them violently. He is still reaching for you!

Nervous, there is one thing to do. - 32



You draw out your machete. You start a fight!






LIFE: 17



If victory,  - 33



The golem falls to the ground. It's head tilts to the side. No life is through his body anymore. You swat the body a couple of times to make sure it is dead. You grab the diamond out of his head. Looking at it, you decide to keep the diamond in your bag. It's worth the fight. Shook up, you wipe of your body. You run out of the room into the next. 

Head for the path. - 30



You walk up the long, curving stairs. 


You have reached a room with a carpet and latern. Someone must be living hear. Overhead, you can see an open door. It look's like someone is in there. 


Roll a die.

3-6, Tiptoe near the door and spy. - 36

1-2, Make noise as your walking. - 37



You are inside the kitchen. Everything is made of stone. The brown table in front you has scattered papers. The langauge is unknow. The charachters look like a bunch of scribbles. 


There is a metal sheild in front of you. It is somewhat big. Looking at it, from the botton and top, it looks like it can be used for something. It might be worth money. You may take the sheild. If you do, add +2 block to your skill. 


Nothing much is in the kitchen. Ahead from the window, you can see the stone hedges. At the moment, they look more intresting than this abandon building. 

Head outside towards the stone hedges. - 14



You fall onto the floor with a loud bum p. “Who was that?”, a voice from the other room cries?


Som eone is in that room . You hear footsteps com ing your way.

Should you stay where you are? - 38

Or charge at the person? - 39



You quietly walk over to the other room . You see a green-skinned wizard brewing a position in

his caldron. Should you m ake noise? Or attack?



The person walks towards you. It is a green reptile wearing a wizard’s coat. “Who are you?”

He says. You explain your story to him . The creature turns out to be friendly. “I am Gardu,

keeper of this building. I have no idea what is inside Hellfire Tem ple. I am only doing

research for m y own experim ents. If you plan on going on through the tem ple. Please, take

this arm or with you. It does not fit m e. Hopefully you can put good use to it” You obtain the

arm or. Add +1 to all of your stats. You wish Gardu farewell, you exist his tower and head

towards the stone runes.

stone hedg - 14



You charge directly at the voice. You push him onto the ground. “Alakazam !” The creature

scream s! You get burnt by a fire spell. Lose 4 life points. The green looking crature goes

back into his lab, steals som e special am or thing, and cast onto his spell. He dissapears

without a trace. Getting up, you walk into his labatory. Obviously, this is som e kind of

wizard’s keep. Nothing special is useful. You alm ost had him too. Outside the window, you see

the stone hedges. You take out your m achete and prepare for anything worse to com e. You walk

down the stairs safely and get otuside the building. Head towards the stone headges.

stone hedge - 14





How to write a “distraction-free” gamebook draft. 


Table of Contents:



-What is this?

-Why I wrote this book.

-What you can get out of this






-What is a gamebook?

-A history and background

-How you should approach reading gamebooks.

Why write gamebooks?

-The second person genre

-Like an avant-garde genre

-Not enough second-person books

-Playing with the text is reading

-Gamebooks are part of literature

What is “distraction-free?”

-What it means to be distraction-free.

-What you need to write before hand (the Freewrite)

-Avoid using the computer. Writers are not game designers.




Writing a “distraction-free” gamebook.

-The phases

-Writing phase (stream of consciousness advice) (adding numbers before and number paths)

(before you go into edit, assume the writer is done his book)

-Editing phase (edit the whole document through)

-Sequcning phase (what is it, why it’s important)

-Formatting phase (how to make a fancy pdf document. easy for the reader to read)




Looking ahead

-Publish it on lulu or give it as a free pdf (get your audience right)

-Conculsion (ready to write another gamebook? Recap why the “distraction-free” method is the best way to write a gamebook).



Hellfire Temple draft after the writing phase, what your finished document should look like. In no way is it the “finished” product.





In this tutorial, I’m going to show you how I write a Gamebook without being distracted.

If you don’t know what a gamebook is, a “gamebook.” is a type of second-person narrative that relies on the reader to make choics and has some kind of game system, such as stats, built into the novel. The defining gamebook franchise are Fighting Fantasy, Lone wolf, and Quest!. They are differnt from the chose-your-own-adventure book because they expand upon the choices being made and the reader’s characther could die at any momenet depending where his stats are at. Think of the gamebook as a varaint or expansion of the chose-your-own adventure book. Instead of just choosing paths, the readers is also interacting by using the game system learned prior before reading.

Gamebooks have been quit successful in Europe. While in America, the chose-your-own-adventure book dominates. This is one reason why the gamebook has not reached international fame. Along with the popularity of dungeons and dragons, the role-playing market came out of America. Role-playing games like D&D, always stressted there should be one “Dungeon Master” and at least one other player. For the gamebook, the text is the dungeon master and the reader is the player. Some gamebooks in the past have created two-player and even four-player book, such as Steve Jackson’s X and Y. But the popularity remains it being a single-player, or solitare role-playing experince. One of the very first gamebooks, The Warlock on Firetop Mountain, was directly infulend by roleplaying games like Dungeons and Dragons. Gamebooks are like single-player roleplaying games. (mention tunnels and trolls along with quest). The reader is interacting with the text through a buil-in game system. This is a very similar experince to text-based-adventure games like Zork. Except that the book is analog and is not a computer. Today, computers and video-games rule the second person narrative. Gamebooks, along with role-playing games, is a dying art. Only those apperiate such entertainment will gravitate towards them. There is still so much to be done with second person writing than just chosing paths.

Most gamebook euthanist come right from reading Fighting Fantasy. I read The Warlock on Firetop Mountain when I was 17 and since started collecting gamebooks. FF has certainly defined how gamebooks should work. However, the FF combat system, Skill Stamina nd Luck, is unfortunely trademakred, and cannot be used for any commericial reasons without written consent by the creators. So only non-commericial, fan-made, public-domian, Fighting Fantasy PDF adventures have been appearing online since. To really publish an original gamebook, means to also create a game system with it. Game systems can vastly differ. But the system should be easy enough for a reader to learn and apply it to the text.

Fighting Fantasy also popularize the “turn-to” mechanic. Most choose-your-own adventure books will often give readers a choic to turn to “page 5 or 6.” Fighting Fantasy re-invetned the path system by introduction numbered “sections.” In most FF books, 400 is the average length of a FF gamebook. Section 1 is the introduction of the narrative, and then branches off into other sections, such “to turn to 54, 86, or 13.” The reader turns pysical pages and finds the section in sequntial order. Eventually, a random section, like 274, will lead to the ending of the narrative, section 400. Anytime the read could “die” because of his stas, make the wrong choice, and then the novel ends. The goal is to get to achieve an ending through any way of play. This could be bad or good. It is really up to the author.

This system is fascnianting because the potential endings increase within the book. A reader could say, “I tried to get the golden token, but then I died missing the ledge and falling down in a pit of snakes,” or “I had to choose three wifes to marry, but I chose Sarah is because she has a passive-agressive personality.” However, these endings and choices should statifis the reader. Endings like “falling into a pit a snakes” should not be negative, but encourging enough for the reader to rewind back and read again. Choose-your-own-adventure books often fail to make great choices is because they are often like relgious tracts. The Choose-your-own-adventure book was targeted for young kids, and often would they be in a situtation wehre they had to make an ehtical choice. Such a cliche example would be “do drugs and you get the bad ending, say no and you get the good ending.” This means the reader is at the will of ethics and is not free and confident to make his own choices. It’s such second-person narratives, like “Depression Quest” leaves a bad-stain on the second-person narrative. Section introduced by Fighting Fantasy, is truley radom and not forward. The reader is using his books by constanlty bookmarking random pages and flipping towards the next. The sequence of events in unexpected. Gamebooks should give freedom (freewill), power, and enjoyment to the reader (or player) than force the reader to be at the will of the selfish author. Whenever we read any text, technically we are at the will of the writer. But with the second-person narrative and the gamebook genre, the reader is truley free from the writer, since the text is his.

Gamebooks have been hard to write becuase of this paradign and because of creating a unique “game-system” and random sequnce of sections. This has hurted than writer and has rewarded more of the computer programmer of game desinger. Often, gamebooks are asscioated with games and not literature. That is true. But because they are also books, they can be as well treated as literature. All avant-garde genres of the past 50 years, like Ouliep, Deconturtion, Cut-up, fontism, and “langauge poetry,” are considered forms of literature. This strange genres have rewarded the aritst more than the articulate and logical English writer. These genres are about “messing with the text” and in some way, are considered to be “post-modern” that is, anyone could write something and art has no innate meaning. Which is intresting about the genres that ijust mention, is that they let the reader become free from the will of the writer. That is, the writer is just as free as the reader. It is a pleasure to read “cut-up words from a newspaper to create potry,” or to “interepted European philosphy to really mean that they are arguing for Communism.” This method is a lot like Ernst’s Hemminway’s Iceberg. What we previced to be written lanague on the canvas is assumed to be lanague. However, a artist truly creates art when a writer, just liek the artist, picks certain words and creates meanings that reward a sense of a apperiation for athestics than meaning. In other words, the written word can be just like painted pictures ina museam. A reader, just like a veiwer of an art piece, can aesthically enjoy written lanague just like a Jackson Pollock paintint.

This is where the genres of Science Fiction and Fantasy come in. Both genres have their origin in pulps written for children and adults. The purpose was for sheer entertinament, not high intellectualism like the works of J.R.R Tolkien or Kurt Vonnegut. It’s why gameboosk have latched on to such playful genres. But gameboooks can incoprated any genre it want’s to, so as long it gives the reader freedom and enjoyment (and readers vastly differ from on another). There has yet to be a gamebooks written about Shakespeare or a simple adventure in Vaporwave Japan. The scond-person, like the gamebook, is avant garde just like the infulncial literature genres in the past centuray. Already meaning is implied in the text. Gamebooks can be post-modern, artistic, and playful. In a nutshell, gamebooks are both literature and games in one. Someone can be a literatue aficando and enjoy a gamebook just like reading Stpehan King, and someone who has never read a book but has played hours of online games can find enjoyment in the “game” aspect of the gamebook. The second-person narrative is a future genre.

But, how can a writer write a new genre of writing that is almost unknow and has a complex discpline? Simply, by writing! Ther is no preresuites to write a gamebook, only wisdom and experince. You do not need a computer program to write a gamebook, only a word processor and time to write it down. It’s why I have made this video to teach you how to write a “distraction-free” gamebook.

Then, oppose top that, why is writing a gamebook full of distractions? One, because games today, mostly video-games, take palce on the computer. A video-progammer has to sit in front of a computer all day a type a long list of C++ commands until each model is correct and working. Writinga gamebook is not computer-programming! If you are writer, you might have realized that writing on a computer also leads to surfing the internet, checking mail, and playing with the desktop. How is a writer suppose to write a 40,000 word novel is he or she cannot commit the time or pay attention to write it? This is especially hard that if writing takes place on the computer, you will start to asscioate writing with the computer! And for gamebooks, arn’t new games based around the computer too? And the readers who will be reading your books also consumer the computer too? That is all true, but this has damaged the method of writing and the asscioation of writing a gamebook. Writing a gamebook is like writing anything else. There only needs to some wisdom learned and some experinced gained. Writing a gamebook is pretty much writing a a style that you have read and wish to interpert, or mimic.

In this information age, what should you do?

First, you should buy a distraction-free typewriter. That can be a $100 computer or a small machine that cannot go online. I am writing this right now on my Astrohaus Freewrite. The Freewrite is a “digital” or “smart” typewriter for the year 2016 and beyound. It can switch between 3 active folders, store up to 10,000 plus typed documents, and constalty save your written work online through online (wifi) cloud. It has a bttery of over 3 weeks! They only interface is an “on” button and the QWERTY keyboard in front of you. Once everything is written, just press the “send” button and a PDF/TXT file is sent to your email.

The Freewrite has definally changed my life! I can write anytime I want! The thing is small, portable, and reliable. I can wake up at 4AM and write whats ony my mind and be back in bed 30 mins later (bright up screen too!). Also it has a handy word-count measure and stopwatch. I just press the “special” button and check my progress. All writers know that word count is the center of any written work. Knowing this is important to consider how much time you ahve spent typing and how long the reader will lread your text.

Furthermore, the Freewrite is NOT a word processor! It does not have arrow keys and no wordcheck! That is up to you to send the file through ther computer and edit it in your own word processor. The Freewrite does one thing and does it so well.


All you ahve to do is just write. Get everything on paper and edit later. No wordsmithing! Writing that novel is a process.

1.Writing 2. Editing 3. Formating.

Once everything hs been written, take the time to edit the giant document. Hire an editor or do it yourself. Once that’s done, go ahead an format it to your desire. Most writers nowadays depend on self-publishing, since that is where the reader market is at (everything else is shameless self-promotion). And once that is done, your ready to sell your book! Don’t expect to anyone to buy your book immeditaley, what matters is your written word is avaible for the public, either free or on sale.

The Freewrite has change the way I write. I suggest you should go ahead a buy yourself a Freewrite. It is the only existing method to writing a distraction-free gamebook. Assciaoting writing with the computer creates a distracted, hyper, autistic reality. As a writer, you want to asscioate your gamebook with every reader. Do not asscioting writng with a computer. This will hurt your freedom to write whatever comes to mind and you are at the will of programs and windows.

Once you have found and created a writing enviorment (just like all writers do), you cna start writing a gamebook. But once again, how do you even write one? Or even where to begin?

Already, you have either never read a gamebook in your life or have reads tons of gamebooks and is watching this to look for advice. First, I suggest anyone who hasn’t read a gamebook, go buy and read The Warlock on Firetop Mountain. If you found this video for the first time and still never read a gamebook, keep watching. Because you will learn how a gamebook is written and will apply the knowledge learned once you read your first gamebook (and hopefully you will too start writing a gamebook). As for everyone else who read a gamebook, keep watching.

All gamebooks have some kind of game system. This game system usually involves printed paper with an eraser and pencil and some dice. This is almost protocol for every gamebook. Though there has been gamebooks in the past that do not rely on random genration dice and have xteneded amount of choices or stats gained and lost. This once again bothers a line as an advacne choose-your-own-advanture book. Dice, Paper and pencil have been crucial to the gamebook genre. It is the use of outside components that have made a “game” within a gamebook in the first place. However, it is at the same time that these outside components scare off new readers into gamebooks. All books are physical and do not need anything else to be read (maybe glasses). Gamebooks tried in the past to create random genration through page flipping and obtains stats or “keys” to open certain section paths. This is nice method and lmost like rolling dice. Dice should never be the pinncale of the whole gamebook genre. Gamebooks should have diverse and unique systems for each book (or series that is). Also, gamebooks should not be defined by path taken, as that would lead to the gimmick of choose-your-own-adventure books. Gamebooks are more than just “paths” and are advance versions of the choose-your-own-adventure book.

With technology today, a gamebook system can be emulated on a phone. Random dice can be genrated and stats recorded. Game systems are becomming more minimal and more of an ease to get into. There will always be complex or diccult gamebooks, such as the classic Quest! series. This books are also rewarding as they give the reader more freedom and is a bigger game than just a novel. However, all gamebook writers should start writing simple and easy gamebooks before they start writing more complex and advance gamebooks in mind. It is also true that a majority of people would prefer to read The Warlock on Firetop Mountain over Quest! And ultimatley why chioose-you-own-adventure books sold better in America than gamebooks. The levle of diffucilt can scare away any potential reader. The reader must engage the text naturally like reading any other book. Therefor, the introdcution “how-to-play” text must be as short as possible. Rules to a game is only the guidelines, not the game (or novel) itself.

The most popular game system is none other than Fighting Fantasys. It requires two dice, pencil and the adventure sheet in front of the book. The name is written down, all three stats are rolled for, and in some situation, the begginning inventory is selected and recorded on the adventure sheets. Obviously if anything is used, stats go down or items are erased. What makes this system fun is because the reader feels engaged with the text and has the freedom to interact. It is said the motion of rolling dice itself is fun, and brings to mind that of gambling. Even though, random numbers can be gnerator either way, and if a number is randoming gnerated throguh flipping pages, well, the reader wishes he or shw could just picked a differnt and higher number anyway. The aspect of random numbers must be fun too. Whatever this situation might arise of sneaking acorss the room or fighting with a monster. The reader must feel engaged the system. The game system is the submarine costume in order to go deep below the sea and swim with fishes. The game system should not take over the novel itself. The reader is the center of the text, not the system or the writer (a gamebook writer of course, may be jsut be good at what he or she writes, so the reconized name is a dfeinity choice).

The hard truth is that gamebook writers must create (or borrow for the easy path)a game system before writing a gamebook.

Now, the big question is, what do you want to use? Do you just want to use Fighting Fantasy’s system, or do you want to create a varaint of the system?

I suggest creating a varaint of the system you like to use (for that matter, Fighting Fantasy). Instead of using two dice, why not use one dice? And for stats? Well, for one thing, life is imporant and attack. why not add a starting stat for both LIFE and ATTACK at 10? And if a monster appears, give him a “X” ATTACK where X is the diffculty. Both roll a dice, and damage is absored. Characther that reaches to 0 is dead! This is just one of many ideas you could intergrate in your game system. You want to write a game system that is easy to learn and to use. Give extra perks to make the system more fun, like gain experince points when a monster is dead, or be alined with a certain characther class that gives you benefits and new paths to follow. Adding these things will make your system intresting and original. I beleive you should write you feel is a system that asscioated as a form of play. Like fighting monsters all the time? Just add one monster after another? Like money? Add shops and things to buy? Like equipment? Add bonuses to stats. Your created game system should come naturally to you. Pretend, as if, you are really just writing a choose-your-own-adventure book. But add in stats to interact with the path, random number challenges, fighting of monsters, and buying things. The reader will feel more invested into the text when given this freedom. Try to make the text like a role-playing game. Give the reader freedom over his characther and allow rules to help him break the rules! You could not do this in a choose-your-own adventure book. Make your gamebook have it’s best potentional as a game and not just choosing pahts. If you still don’t know how to create a proper system, just borrow one. The ultimate purpose is learning how to write gamebooks in the first place, and creating a game system prior before writing should not deter you. If you plan on writing a game system before writing, write the game system first! If not, but you still are looking for your game system, just start writing and add game elements in the text to help you make sense what will become your future system. Most gamebook writers love fighting Fantasy and will often mimick Fighting Fantasy, though they canno use FF’s game system. Mimick what you would want to read. Just remember, the game system should not be the center of your gamebook.

Every writer knows that there are 3 processes for the published written work.

1.Writing 2. Editing 3. Formatiing.

As I just wrote, writing should be a “idstraction-free” process and every stream of consiousness should land onto the canvas. Later, let’s say after all 400 gamebook entries have been written, the process of editing comes about. Technically, your gamebook is finished, but is poorly written. Editing goes back and checks every mistake and incorrect grammeer error. After the editing process comes Fomatting. There is no  misspelled word or wrong sentece before formatting. Anyone can read. However, the perfectly good written word needs to be applied on to a document that has paragpraht idents, page idennts, page nubmeriing, and everything that would be digitally sawed as an actual book. Open up any book. It was formatted before it was pbulished. After the diting phase, your work would look like a jumbled mess of words colliding together. Fomating cleans the sapces. After fomratting is done, the document is published into the book and it is ready to sell (or be created as a private book).

Now, this sequnce pretty much applies to all written novels. Writing a gamebook is no differnt than writing a novel. However, one extra phase is added inbetween editing and formatting.


Remember about the random sections I told you about? Your written sections needs to be both radom and re-organzied into sections 1-400. The first room could be at 72 and the second to last room could be at 14. This process of Sequncing is the longest phase of editing/fomrating (or both) the gamebook. The good news is that every single word is edited and there is no need to correct anything. And after sequncing comes formatting, which should be very short compared to sequencing. Think of sequcing as formatting itself. Sequcning is just an exculsive phase of “formatting” for the gamebook genre. You are bascially genrating a random number sequnece, copying and pasting each number to your written sections, and then finally copying and pasting each written section through a correct number seqeunce number 1-400. It’s a lot of inane copying and pasting, scrolling up and down, and making sure numbers 1-400 are in correct order. In fact, what’s so annyoing is you have to do it 400 times while staring at a computer screen. You eyes should hurt for a bit. But you should know everything is done at this point. The labor ofg sequeincing is just the msot crucial part of the entire gamebook.

Sequencing has three parts

1.Generating a random number sequence (1-400 in this case).

2.Copying and pasting the random number sequence, top to bottom, to your written sections, written as XX or the number uptop.

3.Creating a new document, copying past sections 1-400 and reorganzing the sequence back to normal.

Already, this seems like a lot of hard work. Why do it if you can get a program for it? Truth is, there isn’t any program for this. The written word is free and is up to the writer to make sense of it. Just like an actual lanaguage. The langue of the gamebook requires this crucial sequencing. In the end, it’s worth it. It’s not worth sepend the money to do it for you.

The first part of seqeuncing is creating a random number genrated line. Suppose you are to write a a gamebook that has 400 sections. Section 1 is the introduction and section 400 is the best ending possible. Sections 2-399 will be random. Each correct oder of sequnce will be scrmabled to a differnt number. Such as going to 54 from 344 and 295 to 66. 1 and 400 are not scrmbale. This is both the start and finish of the gamebook. To create a sequnce of random genator line of numbers, I suggest going online, type in a search for “random number list generator.” The site I go to is Find the “Random Sequence Generator. The smallest vaule is “2” and the highest vaule “399.” Type it in, click “Get Sequnce” and the list should be genrator for you. It should look something like this:










This is what I got from the random generator. What you want to do next is copy everything, top to bottom, and paste it into a new text file. This sequence will be very important.

Now, you should have probabley wrote your gamebook by now. The next section that follows 1, should connect the paths with “69,"137,” or “345.” The original paths of 2, 3 and 4, should be replace with the correlated number. Delete the three numbers that follow. For every path you wrote, right the disginated numbers until the whole chart you wrote is deleted. See where you going from hear? You just gave each of your sections a number to follow. They no longer are called “sections 1 2 or 3.” They have meaningful number to go with it.

What is next after this? The last and lognest part of the process.

Re-oragnaize all sections into the correct order!

That’s right. The new section 2, should follow 1, and then 3-4-5-6-7-8, until you get to 400. The differences this time? Everything is in random order. There is no correct order after section 1. It’s rather an event that happens later on in the narrative. So now the reader must flip pages until he gets to the desinated section. If turn to 72, the reader must now follow section order until he gets to 72.

No program was used to make this. Only a number sequncer found online and your own time re-organize everything. This is how Steve Jackson and Ian Livingstone wrote all their old books. No frills. Sequncing is a discpline just like formatting. It is in between the art of editing and formatting. Getting this right means you have created a perfect gamebook. Most will give up on this process and rely on someone else to di it for them. The problem is, this is your text. You should edit the text how you see approiate and how others will read it. The sequencing process has nothing to dowith game desing or computer programming. It just is. It is not a writing process either. You are simply editing the book to be read as a game, or form of play. Get it right and you are one step closer from finishing your gamebook.

The most important of a gamebook, is how to even write one? It’s like poetry really.There are differnt method writing poetry. All poetry is similar in some sort of way. All gamebooks are similar in some sort of way. What do gamebooks have?

-Gamebooks have a personal game system.

-Gamebooks use out components, like dice and pencil, maybe even a smart phone.

-Gamebooks have sections. Depending how long the gamebook is, sections can range from 200 to 400. 400 being the average.

-Gamebooks have paths to choose from. A gamebook could have up to tow, three, four or even more paths to chose from.

-Gamebooks have combat or “fights.” The reader’s charactyher encounters an oppoent usiong dice, satistics, or choice.

-Gamebooks have “keys” or “items.” Some objects obtain will further advance a new path the reader can take or advange in a fight.

-And Gamebook sections are short and descriptive. They rely on the second-person narrative and describe the enviorment in a great amount, but short detail. “You are in a wet, dark cave. You can hear waterdrops falling from the stagalites ahead. It is so dark, you can not see ahead.”

These 7 factors make up the elements of the gamebook. For the factors of a simple choose-your-own-adventure book, they only have 2 factors. 1, to chose a new path everytime, and 2, if a recorded item system is ever introduce. The reader of choose-your-own-adventure book will often forgot the so-called objects they collected anmd cheat by flipping back and choosing the “right” path. This would mean the choose-your-own-adventure book really only has 1 factor, that is, jsut choosing paths.

This is what makes the gamebook truly unique. The writer must be aware of all 7 factors added into his book. Now, none of these factors are defninite. They are only innate charteristics of the gamebook genre. Any of these factors can be altered anyway. However, the writer must acknlowedge that these factors are the structure of the genre. Not the science. The game system is the writer’s gamebook should not supercede the narrative itself. Outside components should not be cumbersome to the reader and should be natural for the reader. Sections should be short to read and not long to read (at least 150 words). Fights with opponent characthers should not be too difficult or inane. Objects and keys come natural to the reader’s senses. And the reader should always remain as the objective reader and not the critic agaisnt the poor writer. The gamebook allows to be free within the second-person narrative. This freedom should not supercede the writer’s art. The reader then might as well drop the book and go play an online video game. The reader is niether at the will of the writer. The reader is enjoying and engaging the text just like a science-fiction or fantasy pulp.

It is hard to think about these things all at once. This is not game design, it is writing after all. The best way to incorporate these factors is to write sponetenously. The writer is creating the text not for himself, but for the reader that might enjoy his world. Poets write poetry that might give a certain feeling to poet lovers. The gamebook writer must persuade his feelings too.

So, you want to write a gamebook?

Do you have an interest in gamebooks or know what one is?

Have you written a gamebook before and is interested in advice in “distraction-free” writing?

Or you don’t know anything about writing gamebooks and is seeking advice.

It’s why I wrote this.

I love gamebooks. But I don’t know how to compose one. I use to think I was a “bad writer.” No. Not at all. That is a deafist attuide. You can check my attached copy of Hellfire Temple at the end of this document.

I use to think that I was just not “writing” right. Nosense. Anyone can write. You can too. The problem is composing the gamebook. It’s about putting it together and making sense of your writing. After all, you want to write a second-person narrative. That is what gamebooks are. “You,” talking to the read. Any writer knows this. There should be no problem addressing your reader.

I want to share with you two things I learned about writing a gamebook. First, how I (I) write one, and second, what you should avoid when writing a gamebook. I am only sharing the wisdom I know about writing a gamebook.

it is best to write a gamebook when your, as a writer, is free from distractions.

That is, away from the internet, the TV, video-games, anything that could deter your commitment and mediation towards writing and enabling of ther media. These distraction won’t help you.

This is what I see with the problem of gamebook writers. I see them indulged in technology, such as computer programming, and they based writing their gamebooks like programming a video game.

Are you one of these people? I have bad news for you. Writing is not programming.

Writing is writing.

There is no innate science, only the written word of the English lanague. Therefor, gamebooks are just like any other written form like the novel and poetry.

The problem is, normal people do not apperaite the art because they don’t understand how the gamebook works. Normal people find gamebooks too comnplex or nerdy to be apperiated. Maybe too much of a niche audeince.

Your interested obviously writing a gamebook without distractions. Yes. This is the best way to write. Gamebooks in the past have aquired the activity of computers and paper grpahs.

You won’t be needing those to write your gamebook. Just a typewriter and self-discpline is all you need. Just like any other piece of written work of art.

How can this be if the gamebook is a "

game.” Wouldn’t that be game design? And that would mean the writer is a game deisgner.

Yes and no.

The gamebook is both a “game” and book together. That is, if you define a “game” as being a form of play. The reader is playing with the text, yes?

But reader’s also enjoy reading Asimov and getting into his own worlds. There is an enjoyment in “knowing” about the fictional world of robots nad thier laws.

The reading is playing with the text that offers him zero infulence. He or she is rather spending time talking to other friends about the worlds Asimov has wrote about. And that is entertainment? Yes.

Game of Thrones on HBO has reached some level with normal people. Now everyone wants to talk about George Martin’s pulp fantasy novels. They don’t offer any higher significane. Just ccheesey pulp stuff for normal people. It’s enjoying talking about such simple things.

Now, if only normal people could interact with such text they could be free from Martin’s will. This is the beauty of writing a gamebook.

Writing a gamebook is writing a whole new genre of literature. the second person narrative. It is about the reader and less about the writer. The reader “plays” with the text though devloped innovations, like chosing paths, built in statistics, and fighting monsters by rolling dice. Still, gamebooks are experimineting with ideas how to increase freedom for the reader. Some ideas have became insituted, like rolling dice, stats for life and attack, andwriting down things being carried. The reader is really enjoying himself through this new narrative based around “you.”

You can thank roleplaying games like Dungeons and Dragons and Tunnels and Trolls for such infulence. That gave players total control of the enviorment.

Notice “players” can be exchanged with “readers.”

Is a reader a player? Shakspeare once argued that we are all “players” to one grand theather show. The reader “reads” the text. But also interacts with it. What does it mean to them? Is it intresting? How much does it relate to their personality? What wisdom can learned from the text? The reader is constantly asking these questions.

It’s get boring, first person and third person narrative, because readers only observed what is being written. It is up to the reader to make up the rest. Why engage in the text if it is nothing but meaningless.

Why not just stop reading now and go play a video game online with internet friends?

This text written must mean something.

The power of reading is important. Less people are reading becasue of technology. Sooner or later, social media will become dominated. People will “read” through flashing images, like videos and games. It will be less about the first and third person narrative.

“You” are the most important person existing. It might sound solipsit, but it’s true.

The gamebook is defining a genre about “you.” You are the characther on an adventure around detail and choice. Your imagination is reaching a new level of higher consiouness. It is no differnt from reading any other text.

It is why I would like to argue that the gamebook is for everyone. Not jsut for computer nerds and acifandos.

This may be your start to writing the next big genre of fiction.

It dosen’t require a computer and it dosen’t require any other external forces.

It’s up tfor you to write it, edit it, “sequnce” it, and format the text properly, jsut like any written novel.

Writing a gamebook is writing a novel. No presquites needed.

I will share with youhow I wrote my own draft of Hellfire Temple and how you can apply it to your own writing. I wrote everything without a distractions. I wrote all the paths straight through wihout random connections. I later “sequnce” the story manually by myself without hte need of any program.

Writing a gamebook can be just like writing from a stream-of-consiousness. The rest is just making the structure.

First, I will explain the hsitroy of the gamebook and give a baackground on it. I will also talk making the game system and share some infromation on the writing process. And the most imporant part, the manual labor os “sequncing.”


Before I can talk about seqencing, a major important facotr in writing the gamebook depends on "forking." Forking precede sequncing in a unique way. Imagine reading a novel start to finish. The narrative stars on the first page and ends on the last page. In a gamebook, the narrative can be skewed, or "forked" to a differnt path. If the reader choose to go the left path or the right path, the reader ends the novel with the path taken. That way, the reader could read the novel again, this time, taking the other path to read a new experince. This would mean that there is a fork of two paths. Gamebooks are know to have many differnt forks. Choices can be from two to four. Either way, the path is taken by flipping to the new page section accordingly. Once all forks have been written, it is in sequncing can happened. 


There a differnt apporches are theroies about the fork. For example, a gamebook could have five differnt endings. Three deahts, a good and bad ending. This means that all forks eventually lead to these five conculsions. This is like writing a novel five times again. The mutiple choices create a maze eventually lead to these conculsion. A choice made as well be fighting a monster, or a good choice finding a health position, and end up on the same yellow brick row again. Forks create choices, conculsions end the gamebook's narrative. 


Think of this like a game Plinko. The show, The Price Is Right, had a game where contestants would use a chip, and let is slide down a maze of begs and bumpers, until it falls into one of the five holes. This is exactly how a gamebook is written. Gamebook writers are rather both a mix of architechs and creative writers. Two subjects that clash and usually don't get along. A creative writer must learn the discpline of the gamebook system, before he starts writing like William Burroughs. The architech, without the spirt of being human or lack of interest in the arts, is just a plain old scienctist, that offers no creativity to the written word. The cliche is that creative writers are read by creative writers and scinetist read by scientist. Gamebook writers synergize these passions and stay focus on creative writing and not be too focuses on the science aspect. The sceince aspect does ruin everything really...


Gamebook writers will often consult drawling a graph of using a gamebook program to "draw" out the Plinko board and create forks and end with conculsions. This is often a mistake for any writer. This ends up being an aspect of "game disigning" than writing like Hemminway. Game designers play games and game players play game designer's games. But, writer;s write books, readers read books, and reader's become writers and writer's are readers. Two subjects of game design and literature clash. The gamebook is both a game and literature. However, it cannot be reserved exculsivly for gaming. Because the gamebook is both literature and a game. Game culture cannot ursurp the written word. Therefor, programs and grpahs just distract the writer from actully writing his gamebook. Gamebooks of the future should be achieved through a stream-of-consiousness method. New gamebooks should be written on a tpyewriter, without stop. The problem is, there is no discplene for this... yet.


It is easy to write forking in a gamebook. For example, the gamebook will begin with an adventuer at the entrace of a temple. He may either enter the temple, go around it, or walk into the jungle. Three choices, one fork. If I decide to go into the temple, I will write as I entered the temple. As I write, I may feel the need to add another fork when possible. This time, I am in a dark, undercave. Should I take thecreeky bridge or go around it?  I wrote that on the spot without any consequnce. Suppose my mind wanders off and wants to write about taking the step on the creeky bridge. I write about the experince obviously. Maybe I might also add in a dice system that determines if the bridge breaks or not. Totally improvised on spot! Eventually, the creation of forks, choices, opponenets to fight, dice to roll, items to pick up, item if used, are created through one, stream-of-consiousness writing session. I will get to the end, wheter it may be good or bad. Once that has been written, It would nice to as well write it all over again by writing about how I decide to take the path around the temple! I might right about encountering an outside relic, or meeting a wizard, or find a choice that leads to a fork inside the temple before. This is up to me to decide. Once that's done, I will write it all again by this time, going aorund the temple. Choices made, forks created. Three possible conculsions are amde at this point. 


At this point, it would be best to save all three documents, cut and paste them into one single docuemnt, and combine documents 2 and 3 into 1. Connect the paths together/ Most im portantly, for the paths not written, starting with document 1, write them. For the path spotting the monkey hosue to go into, write about, If I fall off the creeky bridge, write about it. Do this with documents 2 and 3 as well. At thise point, this is a mix between and writing and ediiting phase, but still, I would consider this a "writing" phase, because you are looking at the paths not written and adding on them. Editing comes by connecting paths. Really simple suttf. 


Forking is an important issues in any gamebook. It is the backbone to choice with the reader. Some choose-your-own adventure gamebooks actully have mutiple forks and choices, but in the end all lead to one conculsion. The fun part was choosing paths that made the reading experince differnt. In the gamebook, however, multiple endings will occure. This can be three to thirty! Choices not determine about prefernce, but as well having certain items in inventary, a roll of the dice, a challenge determined, or having enough stats to get in. It is up to the writer to decide how forks will play out.


Whick forks bring into the concept of sequncing...




Thursday, January 12, 2017

the recondite fight


Ok, so, this happend yesterday actully. I did some things today... Got in naked in fron of Sarah and jerked off... finally. Went to Saladworks, walked to Wawa. got ticks on me. But onto yesterday...

I was in the car with Kevin to go and pick up stuff from his house and transfer it back to family house. It was his last day to move out and back into the house. Kevin obnoxusly put on "Recondite - Acid" album. Hipster post-modern and ironic "Acid house," TB-303 and everything. Now, I wish for one moment I would just sit in the front of the car, and everything is nice and dedicated. But what happens with Kevin, when he is stressed, he lingers onto topics he wants to talk about... by speaking his mind of course. And he speaks about music equipment, and how he's going to make it, and things he never really does and says. So... to make things more intresting, I decided vto say, "I think the bassliner he is using in this track is a Roland TB-3 actully." "NO IT'S NOT... HOW? I DISAGREE. YOUR WRONG. END THE CONVERSATION." Why is he so hostile like this? I want to only say the thought I say... not his. Why he is so hostile? When he speaks that tone, I have to discpline him like a middle-school teacher to a student. "And hears whyy..." Very quickly and nonc harsh. Unapolgetically. But everything he takes in his an offense to his own nature. He's a big baby. Everyone I know speaks in a nice tone and acknowledges every thought. Not Kevin. He's no differnt than a social justice warrior. A problem with today's society. But anyway, that runined my day. I could not think about anything else but that one little incident that ruined my day. "What if he is right and it is an actual TB-303? What if I am wrong? I know I am right. Why can't he acknoweldge my wisdom?" I could not move around things, as Kevin was yelling at me more. "This is the only way I can speak to you if your actully going to do something and do the job!" Pathetic he is. (He's making stranger John Carpender music in the other room right now). Yesterdazy was also raining, and the mood was dooming. I tried to seperate, but he wanted to be near me. He kind of said he was sorry, but not really. He's not that bright. (Virginina Woolf said if a women wants to be a writer, she will need two things: a room of her own, money to spend, and a type writer). At the end of the day, I decided to look up if this claim was true that he has a real TB-303. Well, it's implied he might have a real TB-303, but, he uses more often Abelton and Acid Bassline by Audiorealism than anything else. Hence, me and kevin were both wrong. Digital yes. I was close to being right. Kevin on the other hand, wrong. The incident offened me because Kevin became the suppose expert on Bassliners and I was left to dust about my own knoweldge. He dosen't even have experince on bassliners goddamit. I was the one with a Future Retro Revoultuion and Rebirth RB0338. He only cares about making gay, obnnxious, white hipster music more than anything else. He dosen't even know music theroy! He knows how to press buttons and makes "sounds." so pretensious and immature. Like a baby that needs his paciifer. Sometimes, I wish this infulenced would not my harm in interest in music. In some respect, Kevin taught me how to like music, but still, I DONT want to like music. I feel that that learning music is forced upon me as a brother or family thing and really, I don't like it at all. I use to make it, because I am force to. This is good, since music becomes work rather than leisure. I love that. I can make profit off music than love it. However, I still want my privacy when it comes to listening and creating music. It should come natural like all musician have experinced in the past. I however, I have no control over the situation and must be at someone else will (Kevin, Mom, Dad) . This creates a wrothless and sucidial life (that has mostly been the answers in situations like these). The answer is to moe out of the house.... when i get my degree and get an income. School and family has nothing more been a dsitraction from becoming who I really am. I am a worthless slave.

Today, I woke up at 9, drove to Sarah's house. I didn't bring a frisbess. So no frisbee time. We decided to go to Saladworks for lunch. Amazing. Best salaf I ever had. Sugarery and Salty and fastfood like. Too bad it's not like Subway. The headquaters is in Conshocken. Maybe I should work or them. We waled around a bit. and headed back home. Sarah played Sims game and I watched her make a house. I told her I was horny. I finally got to show her my penis! She wacked it a couple of times, punched it. It hurted a bit.. I said I need to masturbate. I got naked in fron of her I jerked my dick of while standing in her bathroom. She watched me like a nurse waiting for a sperm sample. I had to do it in the bathtub, not shooting at the wall. I said I can ejaculate in 3 minutes. Than it turned six.  I guess I am shy. She left the room. I ejaculated after that. I thanked her to let me do it in front of her a bit... Next time, she has to watch me cum, or cum on her leg. After, we took a walk in the park and up to wawa. She got Peach Sprite and Honeymustard Synber pretzel bits. Walked back to her house. After helping her house, I relaized I had two ticks on me. I flushed them down the toilet. She said "Fuck you." For not cleaning up the ticks. I left 10 minutes later. Had some long kisses, had fun. 6 hours at Sarah's house. Other intresting dialoug too we talked about. Such like the Hapa reddit and stuff Euraasin people like, The cosomplotian survey on how interrcial, wealthy liberal couples, are racist in bed. Do white people rule the world? When does nationalism occur? Are college degrees worhtless? Why get one in English when the esoteric infomration you learned is only applied to esoteric, enncrtic, upper-classs delusional liberals? How divided is the working-class and elite class? Intresting stuff. I am thinking she will make a good wife one day... maybe. 


I have to buy either a joystick for KOF 14 or more Reason rack extensions soon. I should maybe sell the Roland TR-8 as well. Buy Yokai Watch TCG tommorrow at Wal-mart. Go to dentsit at 4:30. 


Am I self confirming my thoughts and philosphy when I hear aa noise I want it be? 




teenagers who attend american college



There are three types of American teenagers that attend college.


First, there is this type that believes that he or she has no control over the situation and enviorment they are in. They pretend that college is an experince and feel they have no control attending the school or working thier major. Often the parents will send them out of the house and give them money to support to live out 4 years of thier lifes, only to get a degree in the arts or something else useless. These people are often big tit blondes, worthless jocks, and lower-class barbarians. 


Second, there is the weak type that bleives college is a "transcendetal" and life-changing experince. They see the insitution as a means to live out first time experince and truely act like a so-called "adult." They cherish experinces that are idylic and often have peer pressure from other social groups. Nerds, feminist, philosphers, agitators, and upper-class snobs will fall in this catergory. 


And thirdly, there is this type that understands college as a hollow money-making insitutions. Therefor, it is best to get out as quick as possible and get a degree in something worthwhile. These teenagers have demanding parents and have no control the situation. Unlike the first catergory, they are determined to get the best grades, the best scholorships, and any method they will get to be the best in what they earn. They will avoid making friends and focus on work, as if they are working wihtout getting the pay. These are the Chinese, forgien-exchange students, working-class regreters, anti-social types, and the "work culture" individual. 


Now, imagine all three groups in one big stupid insituion all at once. This will result in total failure. The campus with 20,000 students is indeed chaotic. How is the insitution suppose to look out for everyone of these types? Easy. Insitualize certain catergories. There is a Bell Curve and there is a socio-economical classes. Money pats the culture and the culture is exploited. There is no true authentic experince in America. 


The greatest awakening any student can see after the ages of 18-22, four to five years spent in an lying insitutional, is that col,lege itself was a scam. This scam made the consumer blind in order to take out money from the innoncent pokets. the first harm of innoncence comes from the money spent to lvie out the greatest moment in someones idyllic youth of 18-22. The system promotes a crash-and-burn idology. Most students come out of 4 years learning absolultey no trades, only ideology. Don't blame the insituion. The insitution was only there to make money and to exploit the foolish. Buisness 101. I am lucky to type these out on a Freewrite and have the enternal ablitity to finally write my thoughts down. This is real education and liberation. It was right in front of me this whole time. I only needed the discpline and time to commit to typing on keys. And now, I can write what ever thought I want wihtout the need of professor looking over me and correcting WHAT I SHOULD SAY to a politcally-correct mass that will not understand me. Worthless wisdom and a waste of my time. 


Who should we trust? The 22 year old with a BA in English that graduating from a private school and is now working for a phone company full time and is luckiy hanging on to a new found girlfriend to be evnetually wed and buy a house in Pennsylvania? 


Or what about that 22 year old that got out of militarty, fucked 7 girls since, maybe shot someone in war, knows how to work a gun, gets up in the morning, and is jacked and has both beauty and health?


The weakingly just wants to take the military kid and take him down to the inferior, bourgois, weak nature of the suburban kid. There is not equality. The military kid has better wisdom, advice, experince, and has gain more knowledge through the military than a cold money making insituion has. Think about it. Staying in McDonalds for 4-5 years of ones life, or going outside and working the world to ones advantage? 


This disctomony is important. However, the strong man is as well exploited by the elite. the strong man ends up as a worthless jock. Why can't the strong man synergize the talents learned in college and put them into practice? This is a rare find indeed. 


I think about my own life. I feel as though I am worthless myself. I am cold, bitter, and cruel than I was when I was 18. When I was 18, I felt I had power. And all of a sudden, I lost that power.  ...I feel like I am in jail. I feel I have no will.


Those who have will are the winners. The parents must allow it, the insituion must allow it, the money must pay for it. It in return creates a cocky, selfish, arrogant being. Is it worth it? Yes. That life is worth it. 


It's why equality won't work. When I meet a stranger, the stranger must comdem those who are weak. Only the cocky, the selfish, and the arrogant survive. The weak wants to take these vaules down to his level. Unfroutnaley, everyone knobs the head and says bullies will be stopped. Only then, the primal world reappears again in all forms of social life.


The cliche one hears: "We are only humans." "Are humans naturally good?" "Humanity is flawed." "The law is only guidelines and people are people." "All flaws happen because we are human."




It's a whole culture condeming BEING human. When the reality is that humans are the opposite of what we say. We really don't understand ourselfs. Its why we need relgion. Ahtesit, maybe even satanist, try and take in the aspect of humanity. Only then to condem it and say it's evil. A sad, silly event of religious vaules. 


Nationalism, White Nationalism, Ehtnonationalism, is the most closet religion that comes towards a society where humanity is right. All actions jsutified without liberal nonsense. No more dishonesty and indoors jokes. Nationalism is unapologetically honest. The honet religion. 


Has college teach me this? No. I had to learn this for myself. The insituion has no power over me. I am only an animal that has learned an advanced langauge. I don;t know my own biological surroudnings or inner nature. I am not sure of my own breathing. I only improve through my own spirtual growth. I want to become that writer and musician, thatartist too. I will have a name for it as well.

The USA release of Yokai Watch TCG is coming out August 1st at Walmart. I am afraid it looks totally differnt from the Mayalasian version. I hope it is not that differnt or stupid. I see only numbers written on the cards. I also bought a rare, hologrpahic Jibanyan card for $9.99 on ebay too. Maybe that will grow in money too. 


I spent $10.50 on the worse Cheese steak I ever had. This will out the Pheonixville fiar. Mom dragged me out to go see my brother. i felt worhtless, like always. Next time I should not go. Good thing it was mom's money and not mine. 



asian fetish in white nationalism? is it called that?

Cleo is having a purr attack on my lap. Can't... get... her off. 

Sonic Mania is 2017 remake of sonic 3 or 2 or idk even more. Is it even Japanese? No. 

Sold Game of Thrones cards and second TB-3. $200. I got mono m-audio speak er. Works well. 

Got back from Hooters with Kevin and Sam. Had wings. I prefer boneless. Bought $350 new glasses and new yellow luck prosperity cat from mall. 

Went to vet with Mom and leroy. Leroy has atmoplasmosis. Worms. Not tapeworms. He got them from tiks. 

The ps4 controller that puppy ate is working again. Kevin magically put i t back together again. It's fine. No $60 waste. Happy. 

I should check my college email to see if Ms. Jaker sent an indenpendt study with me. 

Hold on... 

Nope, nothing stil. 

DNC convention on tonight, should watch. 

Alice got me gifts from Europe. I will see her tommorrow. 

Lights went out in Hooters. Pretty funny. Waitress was a dumb, big glasses dark lipstick "tumblr" girl. Zeitgeist not of. 

Gonna play Doom 4.... 



Watching old school Netrunner videos. Watching Android:Netrunner players play Original Netrunner. They are all somewhat confused. They are unsure what card to play and what means what. Also, thos small minor rules that a differnt (link, agenda points, bad pub). 

I think Netrunner is growing smaller. When ever I think about games, I ha ve to talk aboput math as well. Math is intresting once it is used in a c ertain way. I use it for games. I like to think about space and time. 

Right now, there are... let me check... 

An average between 700-800 cards (100 more from Mumbad). 700 cards seems t o be my sweet spot. When the game reaches the first pack of the 8th cycle , 240 cards, from the first two cycles, gets deleted (banned). This is ca lled rotation. When An:Net reaches 1000 something cards, and the 8th pack is released, 240 is subtracted, and it is down back to an avearge of 750 cards. Intresting. FFG says "Rotation only happens when games reach maturi ty." Netrunner has found it's maturity. The sweet spot is at least 800 car ds. 800 cards means maturity, 1050 cards means excess. FFG only has to go now is get consumers into the game when the game is already mature. That is a hard thing to do. Is it possible? Will a game "grow" with its audein ce overtime if the card base always remains 800 but no greater than 1000? 

This is strange. FFG can introduce formats to make use of old cards. Maybe. Cards don't even have resell vaule. Doomtown, Conquest, Thrones, impossible to sell collections online. Make little money as possible. Maybe Netrunner will have worth. Not sure. It's like paper with colored pictures on it from China. Now, Original Netrunner had a card pool of about 600 cards . Good. That is another sweetspot number. Some games, like Magic, can real ly only have a card pool about 300 cards. I like that too. So, somewhere between 300, 600, and 800 is the sweetspot of any CCG. Recently, Doomtown Reloaded has been canceled. DTR had a card pool of about 600 cards. That's good too. 19 products ins existence with Doomtown labels (12 smaller ones , 5 expansions, 1 big box). 18, almost 20. It makes me think about my own product I would make as a CCG. 

For example, an expansion with 160 cards, 4 copies of 40 original cards. No need to buy extra cards. Three expansions a year every 3 and a half mo...

No need to buy extra cards. Three expansions a year every 3 and a half months. 120 cards a year? Do this for about 4 years and thats a CCG life ti me. 12 expansions and core set, 13 products. 480 + Core set cards of maybe 120... 600 cards! That's a sweet spot. Oddly enough, Doomtown has only be en existence for two years. August 2014 to October 2016. That is such a sm 

all time. I remembered every second of the game. - 





Asian “Fetish" in White Nayionalism. Is it real? 

Jared Taylor, John Derbershire, Robert Weissberg, Buckley guy that denies 9/11, maybe even Andrew Anglin. 

Then, there are these terms: White Nationalist, White Advocate, Alt-righer, and Identetarian. WN being the most crudest and Identarian being a pseudo-academic kind. 

The Hapa reddit is intresting. The blog Stuff Eurasian People like. This must be looked more into. White Male and Asian Female, WMAF, is no good accordingly. 

I don't have my glasses on and I am typing this in bed with bending over. Taking a short break... Fingers hurt when I type on the edges of the key 

s and not get the center. Must learn to touch type... ---



I thought about how I can think. How ideas come to me right away and how I have the Freewrite and Reason (music) to write it down. It seems like th e center of creativity is capturing thoughts that second and getting it on 

to campus. Art, Writing, and Music work this way. Even if it is "improvis ion," the final result transform pass the medicore style of a draft or dem o. Once it's down, there is no reason to put it down again. Creativity is 

a result of taking down the infinite thoughts in the mind. Whatever is th ese thoughts are good or bad. The first technigque to do this well is Viri gina Woolf's "Stream-of-consciousness" style. Every occuring thought in th e mind must be written down. She stood while she wrote. Making writing as if it was an energize and improvise art. A writer cannot "wordsmith" that is, edit and write, while writing. This lacks in everything. Wordsmiths a re scientist and forget about the natural flow how art is written. There is not special, unique, or even talent, that comes when getting art down. There is differnt styles for everyone. Some advice and wisdom is good. No 

There is differnt styles for everyone. Some advice and wisdom is good. Not all of it. Picasso once said, "Bad artist imitate, great artist steal!" 

I believe that reading works the same way as creating art as well. Recent ly at Impact thirft, I bought a few books for $4.95. The Bell Curve, Dolp hin Diaries, Shadowrun pulp, and The Wonderful Flight To The Mushroom Plan et. These genres and audeinces clash with each other. An adult cannot swit ch between reading the Bell curve to Dolphin Diaries. But... I can. I see 

the text as inspiration. Strange. I think most people might see this way in a age of illiteracy. Some text can work with me, and some I love to co nsumer. Consume! That is what reading is, right? Consuming? How can a arti st create if he only consumes? Consumes other people's art? Some intellect s spend their life consuming than of creating. Copying and pasting selecti ng passages and arguing agiasnt others through lanaguage... throuigh consum ing (disguise as reading). Can I really learn through text that can make m e consume? I am not so sure. I don't think so. A consumer just becomes mor e of an exploited object and less of a human. Therefor, it's hard to real ly to learn wisdom, advice, and words from certain text. It's why the int ernet remains much more of a liberation than physical books will have. Boo ks are only loved now by the Babny boomers and Gen-Xers. I collect books t o read about the past and make esoteric arguments about those which is not 

understood. Books have an underground appeal. Some exist wihtout purpose and need to be "read." Not consumed. There is wisdom, advice, words, and c oncepts in the most underground pulp. If the text cannot be read however, just throw it away. Most of academics is equivlant to Car Salesman anyway . Lowlife chumps. 

If enough pulp text is read, I can create art with it. Like bullets in a gun that can shoot. Words and the text create ideas and thoughts in the he ad. Like butterflies, they need to be caught. 

The discplene of capturing thoughts is the most hardest and requires discp line, not talent. The same goes for lifting weights. One does not grow mu scles without discplene of lifting weights. This task is hard and painful . Evne to call it, evil. It's why most people ignore the weights, the typ ewrite, the white canvas, the empty DAW program, the covered in the dust instrument that has lost it's purpose. Creating art turns to consumption, l ike that of reading. Reading and creation has became consuption. An artist 

does not consume. Bobybuilders do not eat McDonalds everyday. The artist must aesthically and improve oneself in power. A human being has an oppurt unity to do so. Most humans are born into a class system and live off that life. This is a tragedgy. An existenital crisis. Tiffinay Trump and Chelsea Clinto are living the greatest life ever lived. did they earned that life? no. They were born into it. (T.T and C.C.. funny) I cannot compare and contrast myself with TT and CC because I have not lived their lifes. They have cheated. Cheaters are always winners. In the primal world, to s uccessd, one must life-cheat-kill-steal-rape. This is unorhtodx to Christi an religion. But the ethtics of LIECHEATSTELAKILLRAPE )LCSKR are the tactics. I live in the bourgeois world. Outside of it, it shte Primal world. T he world of animals, jungles, and instinct. The natural way of living hum an beings have deinied through the ages of progression and technology and advance langauge. We are caught up everyday in the jail ssystem that is t he bourgeois world. I could some much greater potentnial, but I trapt in a 

mind trap. A society wihout purpose. I feel I am playing Morrowwind, and 

I am ultimaTLEY RESTING in a hut and refuse to go out and kill monsters, because I only have one life before its game over. No more. I have lost t he urge to become powerful, to go on an advneture. Like a mouse in a Skinner box, I have learned to press a red button everyday and eat free cheese . I feel people have better Skinner boxes too. 

...took a dump. Writing on the Freeewrite is like sitting down and playin g Doom 4 for towo hours. Writing it self is like a video game. 

Instead of consuming and buying unessisarty things to IMPROVE my creation , I need to work on the discplene of isntantly cpautring my thoughts na ge tting down on canvas IN LESS THAN 10 MUNITES. Afterwords, I coutnie the ar tistic process once it is written down. I feel right now I have got the th ought that I have saw in my head and now I have no aniexty or confusion t hat I got the thought down on canvas. The freewrite is a device that will encode every possible voice in my mind. This is the center and creation 

of art. When I had that vocal line in my head "Vacume Claner... 1 2 3 Van cume Cleanrer... 4 5 6..." I knew I want to also sing it in a Biutspeak p rogram of Phonetetic Prgoram. I must record that in reason once I get a ch ance. It haunts my mind like a melody I can't get rid of... a song that d osent exist... but will come into existence once I write it down. Also, I have thoughts about bandcamp and reuploading all the songs I wrote when I was 15-18. That would be nice. It's on that old laptop in my closet. I m ust use a usb stick and transfer the miles on to my macbook. Already, thos e thoughts are going a mile a minute and if i forget, they will not be do 

e thoughts are going a mile a minute and if i forget, they will not be do ne. It's on my "to-do" list. Also going to try and find that song I wrote onthe Future Retro Revoultion on the laptop too... if its there. I remebe r I brought that thing into school, haha. i was 19. Now that thought of ge tting the files of f the laptop becomes my duty of today. Summer days, is 

uncertain every day after. I don't have aplan. I wish to be uncertain al l the time. I find this enjoyable. However, the things I really want to d o, like find a girlfriend and get the files off the coputer, I am scarred . I am scared to experince a new feeling from this. I need guidenece and help. Unfrotuantley, I am not CC and TT. 

Well, I am getting hungry. I didn't have breakfast yet. Walked Lucy aroun d the farm for a bit. Got back and wrote this. My instinct guides me. I ne ed food.