To My Dear Wife

You wouldn’t have wanted me to do this, I’m sure. You were always so optimistic. Even in those final days, you still tried to get me to smile, to laugh. And I did. But who is there to get me to smile now?

So today… Today I will do something. If there is a god in heaven—and how can there be otherwise since He sent you to me—I must trust that He is merciful. I must trust that He knows my weaknesses, and that He will forgive me.

So here I am on our back porch, shotgun on my knee. I’m switching the safety off.

I remember you as I first met you, with golden hair, sparkling green eyes, and the most radiant smile I had ever seen. I never dared dream that I would be waking to that smile for the next fifty years, but even at first meeting, I knew those eyes would never leave me.

Ah, those eyes. I remember when we went to Ireland for your friend’s wedding. I had heard it called the Emerald Isle, but all the green of Ireland couldn’t compare to your breathtaking eyes.

And that hair—spun gold like straw fresh off Rumpelstiltskin’s spinning wheel. It didn’t last much longer than my own unruly mop, but even when your gold turned to silver, you were still as beautiful and radiant as the sun.

I remember that radiance when I sit at a table suddenly much too large, sleep in a bed much too cold, live in a house much too empty. How can I help but remember, when every corner of every room is filled to overflowing with you? We built this home together—brick by brick, memory by memory. How can I stay in it alone?

I almost never cook now. I used to love cooking, but then, I always had someone to cook for. Somehow it rarely seems like it’s worth the effort anymore.

I know what you would say. You would tell me to get up and do something. You would tell me to go for a walk or paint or fish or garden. You would tell me to try a new restaurant or read a book or go see the fall leaves.

But I’ve tried all those things, and I remain empty inside. No, not just empty, but incomplete. All these years I’ve been part of a “we.” A beautiful, wonderful “we.” And I can’t go back to being an “I.”

So I raise my gun.

 

And lower it again. Put the safety back on. Set down the gun. My hands are trembling.

I rub the wooden armrest of the porch swing, worn by the years, and looking at the empty seat next to me, I can almost see you there, reading. I look out at the yard, covered with leaves ready for the raking, and can almost hear your feet crunching the leaves underfoot. I feel a sharp gust of wind and can almost smell the scent of your apple pie, tantalizingly close to being cool enough to eat carried on the breeze.

And I know I can’t do it. I can’t leave all this behind.

There are tears running down my cheeks and I don’t know why. I desperately want to see you again, but not right now, not this way.

I hope my time comes soon. I miss you terribly. But for now, it’s starting to get dark, and it’s about time I start cooking dinner.

Outstanding Games: Castlevania: Symphony of the Night

For my second entry in my Outstanding Games series, I’ve chosen Castlevania: Symphony of the Night. I’ve known for some time that this would be the next entry in the series, but I’ve struggled with how exactly to present it.

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For those who may be unaware, Castlevania is a long-running and successful series of video games, and Symphony of the Night is widely regarded as one of the greatest entries in the series. That said, Symphony of the Night is the only game in the series I’ve played any significant amount of. So I am in the problematic position of looking for something interesting to say on a topic that has been extensively talked about and on which I have a limited knowledge. That said, Symphony of the Night definitely deserves to be on my outstanding games list, and I have very little reputation to destroy by saying something stupid, so I might as well go forward. But before I embarrass myself with an attempt to extol the game’s virtues, I think I’ll give a basic overview of the game for those who are even less informed than I.

Castlevania: Symphony of the Night, like most entries in the series, deals with defeating Dracula. The main character, Alucard, is Dracula’s half-vampire son who hates his vampiric heritage. The entirety of the game takes place within “Castlevania”–Dracula’s magical castle which appears every hundred and which has mysteriously reappeared, even though it just disappeared 4 years ago. Alucard is concerned about this and enters the castle to find out what’s going on.

The gameplay largely consists of exploring the castle, killing monsters, and picking up items that make Alucard more powerful and allow him to access new parts of the castle. The game is a 2-D platformer, with the action consisting of running around, jumping, and hitting things with a sword. This game, by the way, with its emphasis on exploration and character improvement helped to establish a genre which is now called metroidvanias.

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So what is it about Symphony of the Night that makes it stand out? The plot is simple and relatively uninspired, some of the mechanics, such as the magic system, are hideously awkward (enter button combos to do spells, most of which are useless!), much of the game is not particularly well-balanced, with weapons and techniques that make the game easy (there are two of these that I can think of off the top of my head, and if I think a little more, I’m sure I can come up with at least a couple more), and the voice acting is hilariously bad (I love the voice acting, but it’s terrible). That said, there are at least two things about this game that are outstanding.

The first thing that makes this game stand out is the art style. Symphony of the Night has a wonderful Gothic aesthetic. I love Alucard’s pale skin, flowing hair, magnificent cloak and elegant movement. Meanwhile, the backgrounds are rich, with fancy oil lamps and marble walls.

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What stands out to me even more, though, is the exploration aspect of the game. Symphony of the Night is as much about finding items that allow you access to new parts of the castle as it is about killing monsters. There are many times when there will be a part of the castle that can’t be accessed because it’s behind a locked door or past a jump that can’t be made. Then you pick up an item which allows you to double jump or open locked doors, and suddenly large portions of the map that were previously inaccessible open up to you. Added to that, the castle is full of secrets, with hidden rooms and items, all of which gives the game a much greater complexity. But the game’s biggest secret goes far beyond a hidden room or interesting item. While I don’t want to spoil it for anyone who hasn’t played the game but plans to, let me just say that the game is about twice as big as it pretends to be, to the extent that one can finish the game without ever realizing how much more to the game there is.

Finally, of course, Castlevania: Symphony of the Night is fun. It plays well and offers a pleasant diversion. And it has enough extra hidden stuff that if you want to, you can continue to fruitfully play it for a considerable period of time.

The Book of Lies

Far away from any city, in a land dominated by mountain peaks and inhabited largely by goats is a small valley. Completely surrounded by inhospitable mountains, this valley is nevertheless, by some miracle of earth or heaven, a fertile place. A small river runs through the valley before disappearing underground, and there is a grove of wild apple trees. Largely isolated, this vale has few visitors. However, tucked away in this mountainous Eden, there is a building.

Some of the few who know of the valley say that this small wooden structure is as old as the mountains surrounding it—older—and that the mountains themselves are nothing more than a garden wall erected by whatever god first built it. Others say that the humble construction is the house made by our first parents before they left the valley or were driven therefrom. What all agree upon is the building’s ancient origin. Indeed, this solitary structure has been in the valley for as long as the collective memory of song and story.

Whatever the building was when it was first framed, it is now a shrine. The few scattered tribes who know the valley call it holy, and to them the shrine is more—a holy of holies. Every spring for the equinox, the local tribes come together to the valley, where they make sacrifices and celebrate together. They fix whatever damage the shrine has incurred over the past year, and they coat all the beams with a lacquer to prevent future wear. Then, on the night of the equinox, the oldest elder among them enters the shrine. From within a secret hiding place within the shrine, he withdraws a scroll and, standing upon the porch of the shrine, reads aloud from the scroll to all assembled.

The contents of the scroll are marvelous, for this scroll is but one volume of a vast book, each volume of which tells all of the events of a year. The scroll which the elder reads is that of the year which is to come. As the elder reads, all which is to come until the next spring equinox is revealed. He then carefully hides the scroll away and leaves the shrine for another year.

When the elder has finished his reading, a great feast is held, and all assembled drink deeply. As the night wears on, all in the valley grow weary from their revelry and fall into a deep sleep. When they have awoken, then, the events of the previous night, including the reading of the scroll, seem little more than a dream. Their annual ceremony done, the tribes scatter to their individual stretches of mountain.

Some may wonder why, after hearing of the events of the coming year, the people then engage in such revelry as to forget most of it. Many stories are devoted to explaining this. One is about a pair of brothers who were prophesied to kill each other and did so over the revelation. Another story tells about a couple who heard about a mild winter and so didn’t prepare enough.

However, by far the most common explanation is wrapped up in what the tribes round about call the book itself. For among them it is referred to as the Book of Lies. It may seem strange that a book telling all things in history should bear such an appellation. Certainly it might be said that such a book contains more truths than any other. However the tribes name the book not because they disbelieve its words, but for a deeper reason:

The people of these mountains hold to one belief above all others: that no one story can tell the whole truth. And that a book, no matter how complete, can never fully capture what is real. This makes the Book of Lies, by its seeming completeness, more dangerous and, in a way, less truthful than any others.

And yet, they still cannot reject such a sacred gift. So they do what they can: they learn, and then they forget.