I started reading the classic works of Sword & Sorcery about four years ago and found it to be a kind of fantasy that is just the type that really matches my tastes in fiction. It’s about adventures in fantastical places and, above anything else, encounters with strange supernatural beings and phenomena. It also has its moments of savagery with no pretentions of violence being a noble thing, and plenty of horror elements that give it a serious and somber tone. Its storytelling conventions and structures also lead to lengths of work that are a good match to my reading habits. Each story can be read in one sitting or two and even when they form episodes in an ongoing storyline, you can still enjoy them one by one, in any order, and all of them together can generally fit into a single book. It is this format that realy got me thinking that this is something I could do too. A thousand page trilogy seems too daunting to me as I am a person who needs a goal in sight to get anything big done. And I actually don’t much like reading them either. After a good deal of initial research I lost sight of it for a while but got back into it a few months ago and my ideas are getting more and more into a clear shape.
From my years in cultural studies and communication at university I’ve took away a lot of knowledge and understanding on a wide range of topics like East-Asian history and culture, buddhism, shinto, existentialism, Greek religion and philosophy, cross-cultural interactions, and perceptions and experiences of the foreign. We even had our small informal bucircle of two teachers and about eight students who you would find in one or two classes about buddhist or existentialist topics every semester. There was rarely anyone else in those classes and most times only two or three students handed in a paper at the end to get a grade. The rest of us were just there for some oldschool academic philosophising, as it has once been the regular expectation at universities. I used to feel a bit down that I eventually left without a degree even after having been granted an extension past the regular semester number. But know I know that working in academia probably wouldn’t have worked out for me anyways, and I think that these classes were actually much more valuable than if I had studies literature and arts. It didn’t provide me with technical knowledge but with a vast pool of knowledge to draw from, which I think is much more useful when you want to actually write and not analyze.
Kaendor is meant to be the world of a Sword & Sorcery series in the classical format. Works of 20,000 to 100,000 words with a single plot line. Loosely connected by the setting and characters, but each being a fully developed story with its own beginning and end that doesn’t require any specific order to be fully comprehensible. Sword & Sorcery is a genre that has grown out of the pulp environment and has a somewhat trashy reputation. And when you look at the works of Leiber, Carter, and de Camps, or any movies from then 70s and 80s, it’s understandable where this perception comes from. It’s silly fun for casual audiences. But Sword & Sorcery has endured as a serious genre because of writers like Robert Howard, Michael Moorcock, and Karl Wagner, who took their stories deeply serious and filled them with a lot of philosophical ponderings. The ponderings of violent and evil men, fighting for their own place in violent and evil worlds. These are embedded in plots that mirror the classic hero tales from the dawn of storytelling. A hero travels into the underworld and returns with something. Something he needs to fix a problem, or some kind of insight and increased understanding. The only author I have encountered yet who has taken this classical tradition into our more contemporary world to make new observations about power and identity is Andrzej Sapkowski with his Witcher stories. I see this as a field with great potential that nobody really is trying to write in these days. But it’s precisely what I want to read. And as the wise saying about writing goes, “Write what you would want to read.”
Kaendor is not one epic story, but rather an environment that serves as the stage for stories that go into things that I regard as meaningful. It’s a world that has room for many protagonists and antagonists, and my approach is to create stories that have real effects on individuals while leaving the world intact. But that is potential options for the future. For the immediate present, my efforts are concentrated on creating A Wanderer of Kaendor, the adventures of a single protagonist who has various encounters with the supernatural that are shaping her as a person throughout her life. Her adventures are tales that lead her into the otherworld that lies beyond the edges of civilizations, where she encounters supernatural beings that provide her with glimpses at a higher reality beyond the everyday experience of mortals. In her design, I was greatly inspired by three of my favorite characters. Indiana Jones, Zuko from Avatar, and Garak from Star Trek. What makes them so fascinating and appealing to me is their combination of incredible potential and very believable weaknesses. In their own way, they really want to do the right thing, but very often they fail and suffer greatly for it. They are magnificent scoundrels, but they never get anything handed to them. They struggle and they suffer, but they always presevere. They presevere because of a deeply felt belief that they have to and that giving up is simply not an option. Not for honor, not for fame, not for wealth. But because it is the right thing to do. Yet this comes with a self awareness of their own failings and shortcomings, that makes them so very sympathetic to me. This is the type of character I want to write about, and who I want to send on journeys of discovery into the realms beyond our own perception.
The world of Kaendor has its origins as a reaction to the omnipresence of fantasy that comes across as magically enhanced versions of medieval Europe by people who don’t really know anything about medieval society and culture. It is something that is so common that it is taken for granted as the default reference frame, to the point that the term “Standard Fantasy Setting” can be used completely unironically. It’s not that basing a fictional world on Europe or on the medieval period is any worse than basing it on any other place or time. But when I started to seriously think about worldbuilding, I got very curious about what you could end up with if you start with other reference points. In the end, two things came together. The Bronze Age of the eastern Mediterranean Sea, and the premodern periods of East Asia. Instead of putting them together side by side, Kaendor came to be as an attempt to combine the two and transform them into a new whole.
Similarly, there were other conventions about modern fantasy that I questioned and that had me curious to see what I could do if I tried to do something else. A major one of them is idea of the Past Golden Age. In the distant past everything was better and the present is just a faint echo of how great things used to be. There’s amazing past empires that left behind incredible ruins and wonderful magic that people in the present just can’t replicate. It’s a very old concept that is even found in pretty much all major religions and you find it everywhere in fantasy and even spacefaring science-fiction. I have various problems with that, most prominent of them the mindset that comes up in history again and again, that we have to restore the glorious past that we vaglue remember from our childhood by repressing everyone who isn’t just like me and has been ruining it all for everyone. There is also the hypothesis of Modernism that progress is an inevitable process that always goes up toward a single objective state of perfection. It’s the very basis for the entire idea of civilizing other people for their own good, even against their will. And of course, everyone is less civilized than us and our way is the only way. From my misgivings about these aspects that are found everywhere in fantasy, I created the concept of the Perpetual Apocalpyse. There is no progress, time is static. Not in a literal sense, but in the greater picture, nothing ever really changes in Kaendor. It’s a world in which civilization has always considered of small kingdoms centered around city states that prosper for a few centuries before falling into obscurity and being abandoned to be reclaimed by the forests. There are plenty of ruins everywhere and lots of useful and valuable stuff to find there. But they are not any better than what currently existing civilizations are able to produce. In a sense, Kaendor has no history. There are only personal life stories.
Connected to this approach to civilization and time is the idea that ultimately people don’t matter. The natural state of the world is wilderness. Civilization is a temporary aberration that always disappears just as quickly as it arises. There are always a few city states somewhere, but its not like people can ever really claim to have made themselves the masters of the world. In pretty much all philosophies and religions, humans are the peak of the hierarchy, everything else are lesser creatures. Not in Kaendor. Kaendor is a world of spirits in which people are just some higher group within the sphere of animals. The world is not about them, they merely exist in it. Now humans are clearly dominating the planet Earth and there are lots of people (particularly sci-fi writers) who assume that it’s a given that humanity will go on forever and cover the entire universe. I very much doubt that myself. At the grand scale of things, humans won’t leave any mark of significance on the cosmos. The Kaendor setting is designed as a place to explore these thoughts on a more human scale.
But let’s now come to the more concrete influences that should provide a much better impression of what I am actually going for. There are two main sources that pretty much define the overall look and feel of the world in my imagination. Star Wars and Morrowind.
Star Wars has had a massive influence on me from the first time I saw it and I think it really shaped me as a person. It was the starting point for me to really imagine other worlds way beyond the scope of the plots of the fantastic children’s book I had been exposed to before. It’s impossible for me to even imagine what kind of person I might have become if I didn’t have a passion for fantasy. Was it inevitable for a person like me to become hooked on it once I encountered any halfway decent work of grown up fantasy? Perhaps, but the work that did set me on this path was Star Wars. It was in particular The Empire Strikes Back and Return of the Jedi that came to define what I still consider to be the ideal feel and atmosphere for fantasy. Whatever I do, it must at least within my own perception, aim for this aestethic and mood. It is from my reception of Star Wars that I got the ideas for a world that lacks any direct references to the European middle ages, that is vast in scope and dwarfing any single person, and that appears to be disconnected from time and history. It’s at it’s very heart a pulp adventure. One that is full of ridiculousness but never falls into camp and always remains deeply and hearfelt earnest. (Of course only taking the three classic movies into account here.) I think the war between the Rebells and the Imperial forces has very little impact on my desire to emulate the overall style. As far as I am able to tell, there isn’t really anything of that in Kaendor. But it is also the world of smugglers and bounty hunters and that’s much more interesting to me. But the big one is obviously the Force, the Jedi, and the Sith. As dearly as I love these movies, these elements are only scratched on at the surface but hint at much greater depths. And the way in which these were exapanded on in the Expanded Universe do leave me rather cold. I would have done it differently. I am going to do it differently.
Morrowind is an incredibly fascinating game. I think as a game, it is actually rather poor. It doesn’t really do anything for me, just like all the other open world RPGs Bethesda has made. Meh. But it’s setting is simply out of this world. Much of the world of Tamriel is pretty generic standard stuff, but Morrowind is different. This is a corner of the world that is simply completely unlike anything else that has ever been created. I love this setting. There’s the Tribunal with its three living gods that rule like kings and popes, and its host of brass masked Ordinators that enforce their power. There’s the Ashlanders hiding in the volcanic mountains and sticking to their worship of the demonic Daedra and the secretive noble houses and tongs that really pull the strings in day to day life. Morrowind is a place where you won’t find and horses, cows, dogs, or bears. Instead it’s a place with mushrooms larger than trees and people riding on huge silt striders or having their carts pulled by dinosaurs. Morrowind is an alien world, but one realized entirely within a more conventional fantasy context, without the space ships and lasers that are ever present in Star Wars.