The Sinking World (YA Fiction)

During my Masters degree in creative writing, I wrote a YA novel set in contemporary Japan. The story followed teenager, Shoki Nakamura, a girl who could see the spirits of the recently deceased and quickly became entangled with the yakuza and ghosts hellbent on revenge.

The novel is currently in limbo, between agents and without a home. I feel it would make for a compelling tabletop RPG and I’d like to adapt it down the line, but for now I’ve decided to share it with those visiting the site.

I will update the page with a new chapter each month.

Enjoy reading.

Unable to complete this heavy task for our country
Arrows and bullets all spent, so sad we fall.
But unless I smite the enemy,
My body cannot rot in the field.
Yea, I shall be born again seven times
And grasp the sword in my hand.
When ugly weeds cover this island,
My sole thought shall be the Imperial Land.

General Tadamichi Kuribayashi
Battle of Iwo Jima
March 17th, 1945

1

Ninja

Police Sergeant, Masaru Tanaka was unclogging the lawnmower, wondering why he should spend his free time maintaining an artificial roof lawn, when his wife approached to hand him his pager. After rummaging through their freshly laundered clothes she had found it still clipped to the hem of his trousers. Now it displayed an unusual dispatch code reserved for matters of national security, and though Masaru assumed it had malfunctioned in the wash, he could not take that chance.

As was typical, he arrived first on the scene, parking behind a row of immaculate topiary bushes resembling horses in mid jump. Masaru believed his promotion through the ranks had as much to do with punctuality as with anything else. He found modern methods of law enforcement insufferable and was forever ripping textbooks from the hands of rookies in favour of a night patrol. Out there, driving beneath city lights whilst the swarm of human suffering and inhuman crimes crackled through the scanner, he could tell precisely who was cut out for the job.

He switched off the engine and opened the glove compartment to remove a pistol. Having only ever fired the weapon in practice it acted more as a deterrent, but he still kept it clean, oiled and stocked just in case.

Masaru had contacted dispatch on route, but they had given him very little to go on. And according to the code streaming across his pager, backup was still fifteen minutes shy of the country estate. For now he was on his own.

Taking a few deep breaths, he stepped from the car and moved immediately up the driveway to find cover behind a large stone urn. Disturbed by his presence, ants emptied from a gaping crack in the base. Some attempted to scale the thick rubber soles of his boots while others disappeared beneath the tread as if fishing trawlers passing through the Ebihara Marina tunnel.

Masaru leaned out a fraction to view the forecourt. Nothing moved. He expected to see birds occupying the central lawn or drinking from the twin fountains at either end, and there were none roosting in the trees which remained as still as torii gates at the entrance to a shrine. The silence too was unearthly. Having tolerated ear-splitting sirens for years, Masaru’s hearing was admittedly poor, but this was different; he felt like he was trapped in a Polaroid.

As if to justify his unease, a few feet shy of the house there lay a body. Masaru recognised the individual. Shigeo Kasai had been in every paper that week. He was the sole financer for the recently elected city Governor, the same city Governor now facing allegations of corruption. Maybe this was a matter of national security? Mr Kasai’s left leg was resting at an unnatural angle and dry blood had formed a broad halo around his scalp.

Keeping low, Masaru moved across the forecourt, his pistol bobbing left and right to track his eye movements. Reaching Mr Kasai, he crouched to check the man’s pulse. There was a rapid but shallow beat, like the sensation of lifting a hamster from its cage. Without medical attention he had around half an hour to live, maybe less. Masaru hoped his backup would arrive with paramedics in tow.

It looked like a clear-cut suicide attempt: open elevated window, no signs of tampering, injuries consistent with a fall from that height. And yet Masaru had that ache in his gut he had learned to trust over the years, that ball of undigested instincts that now directed him to the house.

In place of a traditional Japanese entranceway constructed of sliding panels, the Kasai family home was American in design with a single hardwood door. As Masaru approached, he felt his anxiety increase with each step. He was not afraid for his life; he had always been a little too willing to risk that. Instead it had to do with his impending retirement and a feeling of inevitability. That this was the end of things.

The door had not been forced. He turned the handle and used the barrel of his pistol to ease it open. The same stillness he had felt outside was present here; a kind of mantle draped over the realities of time and space.

A lavish chandelier hanging above the entrance hall illuminated many canvases of modern art lining the walls. With their clashing colours and chaotic brushwork, Masaru could not discern them from the artless daubs of a toddler, yet he had little doubt selling a single piece would double his retirement package. Beneath the canvases were sealed display cabinets containing antique ceramics of Chinese origin. Anybody could tell their considerable value and he was almost saddened to see a toppled cabinet and fragments of the ancient porcelain scattered across the floorboards. Saddened, that is, until he noticed the bodies.

As part of his captaincy training, Masaru had undergone regular psychological appraisals. One of these sessions was used to evaluate a candidates’ reaction to violence. He had been shown war photos taken during the Nanjing Massacre followed by slide after slide of disturbing images: starving prisoners, mutilated bodies, mass graves. At the time he had responded calmly and assuredly, never believing a police officerwould witness such brutality.

He was wrong. This was another massacre. The Shiranami Massacre.

The door came to rest against a chauffeur in a grey suit. The man’s peaked hat lay crumpled under his matted hair and the right lens to his sunglasses had split, revealing a deep, bloody cavity. Further in lay a young man whose tennis whites were now utterly red. Another body was slumped at the base of a door like a draft excluder and two more were sprawled on the staircase, their contorted expressions sharpened beneath the glare of the chandelier.

There were more victims, but Masaru had stopped looking. He was doubled over with his hands on his knees. To stop himself from vomiting, he allowed a string of saliva to fall slowly from his lips.

What was he dealing with here? Masaru had a keen interest in history and as he gathered himself to survey the bloodbath once more, he was reminded of mercenary ninja from the Sengoku period, adept killers who required but a single opportunity to dispose of a target. And as the floorboards creaked beneath his boots, he half expected a throwing star to spin out from the shadows towards his throat.

The scene before him was preposterous. And if it were not for the homeowner lying outside, he would have considered himself the victim of a practical joke. But this was no retirement stunt. His colleagues were not waiting to surprise him. The bodies would not miraculously get to their feet to remove wigs, makeup and prosthetics.

The whine of distant sirens made him breathe a little easier.

Then she appeared at the top of the staircase.

He nearly dropped his pistol. Her eyes! Full. Feverish. Feral. Masaru had seen eyes like those before, but never on a person. They belonged to trainee attack dogs confined to kennels during the starvation phase. Blood glistened through her hair and streaked her knitted cardigan. It was thickest along her right arm, unbroken crimson to the very tip of a kitchen knife she held.

She approached, making no effort to negotiate the bodies on the stairs, her eyes fixed on the open door.

Masaru heard the skid of tyres on gravel.

In any other circumstances, he would have assumed the girl a lucky survivor. Knife to be used only if the Sengoku ninja discovered her hiding place. Except, Masaru realised, she was the ninja.

“Drop the knife,” he demanded.

She kept coming, eyes never straying from the door.

He aimed his pistol at her shoulder. “I said, drop the knife!”

Surely escape wasn’t on her mind? Maybe she wanted death? Maybe a bullet was preferable to the alternative?

Masaru turned to acknowledge his colleagues, the briefest of movements, but enough for a ninja. She was on him before he could even cock his pistol. The knife flashed and he felt the punch, the spike of pain, and then nothing.

As he collapsed, his colleagues opened fire. The girl flailed her arms as she was sprayed with bullets, her fingers refusing to surrender the weapon even as she hit the deck.

From the floor, Masaru tilted his head towards her. He watched the hunger leave her eyes with the last of her breath. Then something else left her. Like steam from a rice basket. It formed in the air above her, at first hazy and indistinct, then crystal clear. A figure. A woman. Torn stockings covered shapely legs, slender hands ended at crudely broken nails, and a white shirt hung loose exposing a filigree bra and a necklace of bruised finger-marks.

Masaru was rolled onto his back and an oxygen mask placed over his nose and mouth. He tried desperately to turn his head, to look upon the woman’s face, but the paramedic was stronger. Masaru felt a needle in his shoulder followed by the sting of drugs entering his bloodstream. Then he was lost. Covered by the mantle. Lost in time and space.

Monday 10th June

Hatchlings had their 6th session over the weekend as they arrived in the City of Splendours, Waterdeep. This was their introduction to Wizards of the Coast‘s module Waterdeep: Dragon Heist and boy was it dramatic. Only a few of the post-session questionnaires had been completed, so I sent the group home with fresh copies. Hopefully they’ll give me some feedback in a few weeks, otherwise I may have to rethink handouts.

For Inspirisles, I completed an introduction and a creation myth. I also finished pixel art for the eight races and added quotes to text. For the week ahead, I’ll be pixelating the four deities using free art package, GIMP and fleshing out the Questing segment to offer ideas for players to create their own stories in my world. I’ve also created a Project Plan list, which I can strikethrough when elements of the setting are complete.

For Deafness & Dragons, I’ve decided to create a BSL alphabet but for D&D monsters and spells. I’ve added some example photos and explained the process.

Go to relevant pages for these updates.

Artist Criteria

HATCHLINGS is developing at breakneck speed, with any energy not reserved for family life and earning money being poured directly into the projects. I now have a working document for INSPIRISLES (see Project Planner post), which I am gradually moving through, however something I’ve lacked from the very start is a satisfying visual aesthetic. I’m a confident writer and designer, but my limited ability as an artist has always proved frustrating.

I would like to commission an artist for my work, but the financial implications of this are impractical. Therefore I am looking at a collaborative hobbyist to take on the Inspirisles project and make it as much theirs as my own. Once my Patreon begins and the intended Kickstarter down the line, they can expect royalties and a share of the proceeds.

If you are an up-and-coming TTRPG visual artist and wish to cut your teeth on this worthwhile project, please get in touch.

Rich

Introducing Inspirisles

Welcome to the Inspirisles, a campaign setting for teens using a simplified version of 5e Dungeons & Dragons. This unique guide will incorporate an educational toolset and inclusive options for deaf players.

The world I’m crafting was inspired by my upbringing in windswept, beachcombed Cornwall and time spent exploring those magical coastlines through the lens of a fantasy-obsessed kid.

I have been playing D&D since the late 80s, and in early 2019, thanks to local community project, Community@67, I had the opportunity to run my first group for teens. And so Hatchlings was established with seven local children and without fail we’ve met every fortnight since.

I decided to create Inspirisles after my beginner Hatchlings were struggling with the extensive rules in the official Wizards of the Coast books. I knew if I wanted to nurture them into future dungeon masters, I would need to strip things back to basics.

A homebrew setting would allow me to adapt the rules, would give my Hatchlings ownership over a world they had contributed to, and would give me something to share or sell to the wider tabletop community.

Alongside the Hatchlings, I work for the deaf charity, Action on Hearing Loss. Many of my colleagues play tabletop games, but not a single one is deaf. I wondered if the same pattern applied to the larger community and discovered there were practically no opportunities for people with this disability to play.

After contacting a local deaf school, they expressed interest in bringing D&D to their students. And so was born Deafness & Dragons, a project to establish an inclusive platform for the deaf community to enjoy what I believe is one of the most beneficial hobbies in the world.

Contained within these pages you will find an alternate United Kingdom full of mysterious cultures, otherworldly magic and frightful monsters. You will visit places from Celtic legend and discover ways to bring your own stories to life. If you are an educator, there will be toolsets to encourage learning and development. And if you are deaf, you’ll have everything you need to enjoy this wonderful experience many people take for granted.

Rich Oxenham

Patreon

Patreon Introduction.

I want to set up some form of crowdfunding for my projects. After talking with my Twitter followers, they have suggested Patreon. Having built a Kickstarter from the ground up for an indie video game, I feel confident I can make the Patreon campaign appealing to my backers.

As of Sunday 9th June, my Patreon is active. To support my work and ensure its longevity, please visit:

patreon.com/hatchlings

Project Planner

Over the next 3 months, I will be tackling each section on the below list, starting with an introduction page this weekend. Once the Patreon is set up, I’ll look to hire a pixel artist and graphic designer on the road to publication. I will strikethrough sections as I complete them.

  • Contents page.
  • My introduction, including Deafness & Dragons project.
  • BSL alphabet with key monster signs.
  • BSL cards for key magic spells and skills.
  • Brief History of Inspirisles, ancient and modern.
  • Questing the Inspirisles.
  • Inspired and their descriptions + symbols.
  • Friends and their bios/pics.
  • Paths and their descriptions.
  • Inspirisles Character Sheet.
  • Societies, their purpose and key members + symbols.
  • World Map, locations and story hooks for low, mid and high tier play. Pepper with NPCs, proverbs, magic items, currency, languages etc.
  • Additional Path options.
  • Inspirisles artefacts (Caliburn).
  • Additional rules such as human interactions, BSL at the table and educational milestones.
  • Monsters of the Inpirisles.
  • Famous Friends.
  • Famous Foes.
  • Index.
  • Acknowledgements.

Monday 3rd June

As HATCHLINGS have their week off, I’ll be concentrating solely on the INSPIRISLES setting, and as of now, its inclusion of the DEAFNESS & DRAGONS project and the deaf BSL lexicon I aim to produce. At some point it’s clear I’ll need a professional artist to complete the work to a publishable standard and the help of a deaf friend at the charity. These collaborators will need paying, so I’m starting to think about crowdfunding options such as Kickstarter, Patreon or Ko-fi.

Go directly to the pages for the updates.

Project Status

With careful consideration and after receiving no replies from my charity, I have decided to combine DEAFNESS & DRAGONS with the teen setting INSPIRISLES. This will mean any work I complete on one project will in turn further the other. It also means my contacts at the school and with Bristol Council are now paramount to its success.

I will get Inspirisles written, illustrated and produced with the educational milestones AND sign language elements in place. Then I’ll approach the council for funding and the school for the group.