Of Most Interest To Those Who Have Followed Me And My Work Obsessively For Years and Years
You know, like, there are maybe 4-6 of you? When I’m drunk enough to have double vision, I mean. : P
Also, in the off off off off off off off off off chance that you’re Kevin Siembieda and you’re currently on shrooms and reading this in a good mood, I’m sure this all makes perfect sense to you.
I’m aware that without context all of the following sounds super duper crazy, like time cube crazy. But if you don’t have the context of knowing that, for instance, Earthdawn and Shadowrun exist canonically on the same timeline and that in my own head-canon my alternate RIFTS setting (nee stand-alone experimental LARP) “The Last Day” follows Shadowrun, then this probably isn’t for you. That’s okay, you can still look at it, and it’s still kind of neat looking.
For what it’s worth, this isn’t SOLELY my being a creative monomaniac. The text and subtext of RIFTS explicitly says that it contains every other possible world. So does the text and subtext of The Dark Tower. So does the subtext, at least, of The Magician’s Nephew. Therefore it blatantly refutes the text of these works to say that they don’t contain and connect to each other, and to all others (like, even to fucking Star Trek or whatever), even if you personally think “The Dark Tower is the shit and RIFTS is stupid and no they’re NOT set in the same universe I can’t hear you lalalala”.
It also helps if you have recently read either The Magicians or The Chronicles of Narnia, and therefore understand what the “Neitherlands” or “The Wood Between The Worlds” is. If you’ve ever talked to me seriously off-camera about SPLINTER, you understand that the SPLINTER is a manifestation of the same exact concept. If you raced up the Tower of Heaven pursued by the Pulsarians/demons during the end of Systems Malfunction Third Edition, then you probably understood the Tower of Heaven as a manifestation of the same multiversal “axle”.
This infographic shows how the “worlds” of my different game campaigns, published and unpublished game universes, and (unfinished) novels intersect (and who can move freely between worlds) in the form of a multiversal or metaversal Venn Diagram. In very fannish terms, it is the closest you are going to get to a CAT scan of my head-canon.
In the upper circle–“THE CYBORG MANIFESTO”, the creative mega-meta-narrative I have been working on since I discovered the creativity-enhancing properties of cannabis circa 2008 (ah, there’s the rub!) contains a large number of recognizable logos for other peoples’ intellectual properties.
I am not claiming ownership of these by placing them in my multiversal map. That would be rude and stupid.
Even though the text and subtext of several of these works–RIFTS and arguably Dungeons & Dragons and certainly The Dark Tower explicitly state that they contain and transcend all possible fictive worlds–I am talking solely about my own campaigns using these game systems/IPs, not the IPs themselves.
The lower circle is simpler, coming from a time when I was younger and smoked less pot. The isolated circles to the lower left and lower right are self-contained universes that are not connected to anything.
But the middle sliver of the Venn Diagram still connects it to all of the others, by virtue of the pesky buggers that can “walk between worlds”. Many of whom are names to run away from really fast. Of course, you can neither run, nor hide, because they can follow you from one universe to another as easily as you could go from your bedroom to your bathroom.
Final note: no, I will not EVER explain who “geraldine” is. That one is just for Mikaela.
My brain is experiencing a literal storm,
– D. T. O.
P.S. No relation to this, except the name. If you want to know why the more recent “multiverse” is and always has been called that, I’ve finally figured it out. However, your best chance to learn this secret is if I get hired by Palladium, write published things for RIFTS, and Kevin give me PLENTY of rope by which to hang myself from the crazy tree.
P.P.S. If for some bizarre reason you want to see the hideous mess that was my conceptualization of this same thing circa 2011, I’ll show you that infographic. But only in private. It’s really confusing and ugly.