Period Storytelling

Mark Ramsden marker at
Fri Dec 22 18:42:13 PST 1995

Greetings once again, friendly souls!

I am deeply thankful for all the responses I have received in regards to the
questions I posed earlier!

Tangwystyl verch Morgant Glasvryn is most wise when speaking of the loss
of acuracy and atmosphere in modern fantasy.. Lord of the Rings, Ivanhoe,
and other works have slowly disappeared from the collective memory of
fantasy readers/game players.  I myself am very nearly offended when a
fellow D&D gamer has never heard of hobbits.

To be truthful however, even LotR and other works remain seperate from tales
of old in my mind.  Let us consider them an entirely seperate genre.

Some may be quick to mention the creativity aspect of SCA, perhaps the most
important aspect of the famous acronym.  I fully agree: what is the worth
of a bard who is not willing to learn a new tale or sing a new song from time
to time?

>From what I have gathered, and learnt in my small experiences as a writer,
storylines are very rarely unique, and not the prime concern of the author.
The characters and the atmosphere demand the greatest art to form a successful

Atmosphere is the key difference between medieval tales, the classics,
and modern fantasy.  True, the magic and characters are different as well, but
I find that this shift in characters, magic, etc. is due to the change of the
atmosphere of the stories.

The point I wish to make, drawn out as it may be, *grin* is that while it
is important to somewhat retain period accuracy, it must be sacraficed
somewhat to allow for flexibility, while retaining the atmosphere.

The irony of this is that much of period accuracy must be used, at least known,
to convey the atmosphere completely. *grin*

Having now said my piece and a portion more, I offer my ideas for comment,
dissection, and slaughter as you all see fit! *grin*

Yours in Service to the Tale's End,
Mark Ramsden (marker at
This is your brain:   O
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This is your brain on SCA:
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