Player Comments on The End of Creation

This warning wasn't needed in my review of the other game, but despite my best efforts THIS REVIEW WILL EVENTUALLY HAVE SPOILERS, so you'd best bugger off if you haven't read the game yet. Really, if you haven't read the game, what the fuck are you doing?

I think in many ways this might be a perfect sequel. Basem, as a worldly and travelled character, provides for this world the thing that the kind of hintful darkness of the first game left me thirsting for-- Not necessarily answers, but context, details, a wider picture, and even more things to wonder at than when I started. The best worldbuilding is the kind that is never just fulfilling requirements or coloring in blank space-- The truth is always more nuanced and complicated than the assumption, and everything revealed reflects that.

When the reader first meets Julian, we're only given hints of the depths of a very rigid and dogmatic education, the edifice of which is revealed only in glimpses as Julian applies it to his surroundings. As Basem's world is colored in from numerous gray areas and direct experience with all corners of the world, so much more information is relevant to the present tense of the story and comes forth with just enough elaborateness to be satisfying. Basem is definitely one of the more fleshed out and idiosyncratic protagonists I've seen in a CYOA on this site, revealing much about the world through his thoughts and opinions-- And that's absolutely to the story's benefit. It's a relatively common practice to leave a lot up about the protagonist in storygames the air, up to projection, and that's fine and dandy when done well. But, this is the first game that really feels like I'm *exactly* the character I'm supposed to be. Like, this story puts you in *the* front seat for the conflict of the story as it develops. There's no person here who would have a more interesting perspective, and more agency in his decisions going forward, than Basem.

That's not to say anyone else in the story wouldn't have an interesting perspective, quite to the contrary. As is a recurring Malk motif, everybody with a speaking role, even if you rarely see them for more than one scene, even one or two that don't have a line of dialogue, have something about them that's memorable. Pasha Mehmet felt like a transient, incidental presence, and yet what details he has remind me of one of my coworkers and it feels wrong calling him a minor character. I think it says something that I can specifically recall his name even 2 obese paragraphs into writing this review.

I've probably said this before about Malk's style, but it always feels like you're passing by numerous other, intersecting stories on your way through each path, but it just makes sense that you're the protagonist of this one in particular. Basem feels like the only perspective character that makes sense for this game, and that's a feeling I don't know how to describe other than that, despite it being a factor that technically applies to most other games. Like yeah, if you work out the narrative calculus, *most* second-person storygames would only make sense from the perspective of the PoV character, but Basem just feels like the *only* way to experience this game. The same events in anyone else's shoes would leave too many things missing, like an allium flower without the onion.

The End of Creation is also an excellent evolution on the themes and tone of the first game. Despite having a comparable wordcount, and both games being easily devoured in a blink for readers possessed by the right hyperfixation, it somehow makes Prayer for Destruction feel small. An aperitif sweetened by humor for the next course, where shit starts really hitting the fan. It's never completely without the dry humor of the first game, but it's used much differently here. The tone is definitely dramatic once things begin to evolve and the story begins to let you in on the plot of, well, *the universe*. Basem's pithy, pragmatic, and worldly point of view makes the whole unfolding of events feel almost like the Conan/Lovecraft-Mythos Crossover that Robert E Howard would sometimes tease at but never brought to bear. Basem might not literally be grappling with the things from Yuggoth, but he and the reader are certainly confronted with one of the oldest examples of Cosmic Horror: The Gnostic theory of God! And yet it doesn't boil a single thing down.

If I had to say these games so far had a single weakness, it's that I can definitely pick some major paths out as my favorites from the others, and one of the endings of PfD is almost definitely canon in TEoC. But just because the hilarious Massacre of Edelrach *probably* isn't how Julian came to these realizations, I certainly understand the choice-- This twist is by far the more interesting one for this game. If this ever happens to become a trilogy, though, I know which ending I'm rooting for.

The abundance of historical and religious references to this story is so great-albeit with a fantastical twist-that it merits being labeled as historical too. For future readers, consider the advice of reading the prequel, as its "true" route serves as a prelude to the events in "The End of Creation".

The core theme here, as well as in the prequel, was religion. While it's easy to dismiss the verses at the very start of each of the stories, if analyzed, one would understand their importance. If the verses on "A Prayer for Destruction" are biblical verses, "pure" Christian or what is considered mainstream Christianity to symbolize Julian's (the protagonist in the prequel) religious fanaticism, the verses with which "The End of Creation" starts with, are verses from the Gospel of John. These verses are part of the non-mainstream theology, gnosticism, symbolizing Julian's change, in both personality and way of thinking.

So as to clarify my point from the above paragraph, the verses serve two purposes:
1. To signal Julian's transformation in both character and religious approach. I will touch more on this later in the review.
2. To explore the historical theological conflict between Christianity and Gnosticism.
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So, in stark contrast to the prequel, we encounter an open-minded protagonist who has travelled much around the world as a pirate and has the same indifference towards religion as the modern human today. If Julian represents one side of the coin, Basem represents the other.

News has arrived that our dear old faceless knight, Julian has declared war on the Royal Family, so Basem is sent to scout the area and act as the Sultan's representative in the North. Now I'll deviate a bit here and just advise readers to go through Julian's route as that appears to be the only true route in this story. There is less branching routes than there were in "A Prayer for Destruction" and they are less developed.

a. Historical References
As stated above, there are numerous historical references, but so as not to ramble on and on about them, deviating from the purpose of this review, only the relevant ones are mentioned below.

1. If the North (where Julian resides) worships martyrs, saints and the Necessary one (well there are pagans, but we won't mention them here), reminding the reader of Christian Europe, the Sultanate of Hasanat, as indicated by the name, are also monotheists whose manner of worship is eerily similar to the islamic one. It clearly draws inspiration from the medieval “oriental” part of the world, as can be seen from the existence of slave warriors (Skadras) similar to the Mamluks or Ghulams (Great Seljuk Sultanate), the throne room decorations being the holy titles and verses from their book and the pompous manner in which the sultans are addressed as. What both the North and Sultanate of Hasanate have in common is the usage of the concept “divine right to rule as God’s representatives on Earth”.

2. Eunuchs. There is not much explanation needed here as most people know about them. Considering how they often appear in political intrigue ploys to enthrone or dethrone princes, kings and emperors in Chinese history, or how they were historically used in Muslim royal courts.

3.As the Northern religion allowed the worship of saints and martyrs alongside the Necessary One, churches and monasteries gave the faceless knights the names of these saints, such as Julian and Constantine the martyr from a Prayer for Destruction. Julian’s name might have been derived from Saint Julian of Le Mans, a key figure in the spreading of Christianity in Le Mans. While in the “End of Creation”, his name might be linked to emperor Julian the Apostate, considering his rejection of the church’s theology (basically if you reject the mainstream theology = apostate by the church).

4. The “trident of skirmishing”: raping, thieving and burning of barns, as Eriksson so delicately puts it, was a real tactic used in two cases: during raids on the enemy supply line/camp or raids on villages in the surrounding area of the besieged castle to resupply and use scorched earth tactics to strike fear in the enemy’s heart and to leave them with no choice, but to surrender or die due to starvation.
The faceless knight Sybil. This name derives from the pagan title of women who were believed to have prophetic powers. Early Christian authors, such as Lactantius and Augustine, included references to the Sibylline prophecies in their works.

5. During early Christianity, Gnosticism arose as an opposing school of thought. Therefore there was a fierce theological debate between what was considered mainstream Christianity and Gnostics from the 1st century AD to 3rd century AD. Gnosticism was supressed successfully by the church and branded as heretic, which could explain the “automatic death sentence” for anyone consulting elves or the allowed extermination of elven race by the church in northern lands (A Prayer for Destruction).
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Now, remember when I said: Basem and Julian are two sides of the same coin? Well, there is an intriguing element about Basem, namely the voice which almost guides his actions and saves his life by giving words of warning: inside his head. Using the metaphor/idiom "two sides of the same coin" or even the duality concept in gnosticism, Julian appears to be the champion of the True God while Basem the champion of Demiurg (if going against Julian). Now let’s discuss the points made priorly.

1. To signal Julian's transformation in both character and religious approach. I will touch more on this later in the review.

Julian was a Christian religious fanatic in the prequel, who considered himself God’s judicial sword, reminding me of inquisitors or crusader knights (well the ones who went crusading for “the sake of God”, not the common thieves and pillagers). In spite of being depicted as having the common disease of fanaticism, the signs were there: He studied his religion before, but unfortunately didn’t use his rationality.

His practical side showed when he worked together with Lelit to defeat the demon “Laughing Goat” and then didn’t kill her, which kind of makes me wonder what the hell happened to his oath. But it’s clear that the trigger to his “conversion”, was the vision he saw during their battle, since he went to Cadras-Under-the-Shadow to study knowledge falling under the heretical category + he considers the elf’s advice (remember the death sentence part?).

What I mean, is that Julian has changed in his approach to religion. He seeks knowledge, even those considered heretic or barbarian, just as gnostic teachings commend: seeking salvation through esoteric knowledge. The elitist nature of this school of thought, might explain the transmission of the blood memory through the wine of truth.
He has also changed in character: from an arrogant, self-righteous prick who considered anyone beside his race and brothers-in-faith as worse than shit, he has mellowed out and treats his brothers-in-arms alongside his guests.

But one thing has not changed in him, the fanatic disease. He just changed its direction from his religion to another, especially after discovering "the truth" over Demiurg, the world and the Almighty. Similarly to how the converts or reverts nowadays appear to be more religious and sometimes turn to fanatics in protecting or spreading the "truth" they have discovered.

2. To explore the historical theological conflict between Christianity and Gnosticism

During the transition period between paganism and christianity, for the "western world" aka Europe, there was a significant amount of pagan references used to explain and make Christianity more digestible theologically for the population. This led to the birth of a number of schools of thoughts and sects which would be considered outright pagan and heretical by the mainstream christian theologians. One of them was gnosticism, in whose teachings, the vision Basem sees, alongside Julian and every single person who drinks the wine of truth, find direct references to: Lesser Flawed God Demiurg + the Almighty transcendent God (elements of polytheism), the concept of the physical world being a lesser shadow of the shadow of the true world. This and more. If you are interested on them, just google search them.

For around 2 centuries these knowledge was violently rejected until it faded completely in the background around 3rd century AD, as Julian states to the knowledge Basem and he had gained as: "the knowledge of the ancients which the church tried to eradicate completely".
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a. The writing was better and more... simplistic and interesting for the average reader to enjoy and read through, since they can relate to the main protagonist, Basem, but subjectively speaking, I liked the prequel and Julian more.
b. As a history and philosophy junkie, I loved the references used here, as can be seen by the review itself.
c. Skadras is a scumbag who deserved to be hanged by modern standards, but he is a loyal slave, so to quote Reddington from the Blacklist: "Value Loyalty Above All Else".
d. That cunning celibate scholar was an interesting and amusing character. It was clear he was lying about something early on, during the interrogation, so the minor plot twist of him being Julian's agent rather than ally was a welcoming surprise.
e. I did not care about any other side characters introduced besides the ones mentioned. Probably due to their small role in the events.
f. Proofreading was done well, but there are still instances of misspellings here and there.
g. There were many theories I had about the towers based on the material they were made, namely the black stone. The material might be a reference the black basalt which has been used for centuries for fortifications or aesthetic purposes or the black stone in Mecca. Or the towers are directly referencing the ziggurats or temples. On the other hand, they might just be the fictional creation of the author.
h. The politics and battle formations were entertaining. The author has a gift of writing battle scenes.
i. Absolutely loved how the story comes full circle from the prequel's true route to the sequel.
j. The main criticism is the lack of development for the other routes, compared to "A Prayer for Destruction".

Anyway, this review has gone for too long already and might bore some due to its length, so I'll finish it here with the overall rating I gave it: 7/8.

Review 12: The End Of Creation
This will be more of a companion review and sequel to the one I’ve written about A prayer for destruction. So I’ll be comparing them a lot with each other.

In a lot of ways I like the story a lot more than the prequel. The worldbuilding was conveyed a lot neater and was woven more seamlessly into the narrative. Despite the story description urging the reader to first read the prequel, I think that you could also start by reading this story and if you want more clarification you can then read the prequel. So far the story is pretty easy to follow even if you haven’t read a prayer for destruction.

I also like the side characters in the End of Creation a lot more. There is also a lot more variation and flavors of them and many of them are very memorable. John, the scholar, who longs to touch a woman; Skadras, a simple man with simple desires and is able to fight pretty well; the bloodthirsty captain Zweihander, the changed man and leader of the rebels Julian. Although they don’t develop as much as characters, I find them a lot more endearing than the few characters shown in the prayer for destruction. The biggest reason is, is that the end of creation also leaves room for more lighthearted banter between the characters, something we didn’t get in the prequel.

On that note, I do think that Basem is less of an interesting protagonist as Julian. Julian in the first story has a very clear inner conflict besides the literal conflict within the city. His inner conflict is his own newfound understanding of the world and in particular elves vs his previous religious beliefs. At the end of the main route, his choice whether or not to break the rule his religion enforced upon them cements the end of his character development (and his change in the kind of person he becomes). With Basem you have that way less since he is much more a pragmatic and calm guy all things considering.

One bonus you do get with reading the prequel first is also wondering whether the faceless knight who is leading the rebels is really the knight you played as in the Prayer for Destruction since they are so different in demeanor and personality. It is quite a nice touch that we do know for sure it is indeed him when he calls his horse ‘dirt’ in one of the last pages.

Notes
- Already, this story starts off way stronger than the first installment. It has about as much exposition as the first one, but it is delivered in a much more natural way. The way The end of Creation does it, is to also insert the beliefs and actions of the protagonist Basem into every piece of information about the world. Like when he talks about that he has traveled a lot, it is natural for him to describe the lands he has seen; indirectly also a great way to show a tidbit of the worldbuilding. The sultan summoning him causes him great concern, because he knows about the instability of the north and briefly elaborates on it. The climate of the region is also described a lot more clearly; dates, salt, coffee; it is a lot warmer area.
- Also fun easter egg with this line Men live in fear of gargantuan knights who take the heads of heretics
- I find the Velene scene a bit boring and not adding a lot to the story. He also doesn’t become relevant in the story again.
- Heretic knight and his elf consort. Is this the protagonist of the prayer for destruction? Hahah.
- THE JULIAN ROUTE
- I like the banter Basem has with Skadras. It also makes him a direct foil of the protagonist in the first story, who is a lot more outwardly nastier towards people he thinks of lesser than him.
- John the Sage is also a nice foil to Skadras, being the smarter ones of Basem’s men, but a lot weaker in strength. There is also very wholesome banter about John not having a lot of experience with women and Skadras commenting on it.
- Oh man, Julian, the protagonist of the first story did a whole face heel turn between a prayer for destruction and the end of creation, discovering that the Necessary One is a false God and not the true god of creation.
- The way that Julian chilled down a ton compared to his first appearance is almost like night and day. He even treats the men beneath him a lot better. He’s a lot more likeable now.
- I find it very amusing how quickly the Basem recovers from this revelation though I have to admit that Basem isn’t the most pious kind of person seeing that he tolerates his buddy Skadras more pagan habits.
- THE ELF ROUTE
- I like the interconnectedness of the two routes. The rebels shout for example things like “The father of Beginnings”, “fear not the agents of Demiurg”. Terms that are properly explained in the Julian route.
- And again, Basem would have been killed if he faced Julian in a one to one fight. That the faceless knights could only be felled by canons is a clever idea.
- I think this route is a lot weaker than the Julian route, but the idea of him becoming the same mindless slaughterer of men like Julian was when he slayed the elf is interesting. In retrospect it does make the other route hit harder this way, just knowing what kind of person Basem will become were it not for Julian’s influence.

General Recommendation & Preview: Playing as a lord in the Sultan’s service, your investigations into the religious civil war ripping apart the northern kingdom will have cosmic implications for your world. Highly recommended! Be aware that the maturity ratings are not exaggerating.
And make sure you read the first installment before this one!

=SPOILERS BELOW=

General notes:
I really liked this game. It’s not often I run across a game that scratches both my political intrigue and cosmic horror itch at the same time, but this game certainly delivers.
My biggest complaint: I want more! The game’s main route ends on a cliffhanger, feeling more like the end of part one than a complete story. I hope Malk plans to revisit this world and these characters.

The story stands on it’s own, but it’s also in conversation with A Prayer for Destruction. The game both compliments and builds on its first installment.
!) The first story hinted at a wider world, while this one expands it and throws it into sharp focus. Some of this might be due to the difference in protagonist. Our last narrator was narrowly focused on accomplishing the task he was sent to perform—an avenger, not an observer. Basem, however, is a politician, and when he does fight he does so pragmatically. He likes to carefully consider every facet of the world around him before acting. As such, far more attention is paid to the vivid world the story takes place in.
!) At the end of the last story I was eager to see what direction Julian’s story would go in. While a more direct sequel certainly could have started with him and let the reader take the reins, this story takes full advantage of the reader’s curiosity about his fate. We’re as eager to learn more as Basem is. When we do find out what has happened to Julian, it’s quite satisfying. The cosmic horror aspect drives the plot, but I’m also pleased to see the more egalitarian nature of Julian’s camp, and his behavior towards Basem. I hoped after the last story he might question some of the harsh principles he was taught, and it appears that he has.

Basem is an excellent protagonist. I already liked Julian’s gradiosity, but I think I enjoyed Basem’s craftiness even more—it was just so refreshing to get in the head of a politically savvy character. They’re tricky to write well, but a blast to read. I believe I said this with Julian as well, but Basem’s success can be traced in large part to Malk’s skill with wordcraft. Portraying a realistically intelligent character means showing how smart people think. Malk does a great job with this by harnessing Basem’s observations of the world around him to make a point about his mindset. (More on this in the wordcraft section.)
This game really makes me wish we had more well-written political intrigue stories. They fit the branching format so perfectly. This is a grimdark story, and Basem works very well as a protagonist for it, but I’d be just as happy to read a series of short games featuring him dealing with various challenges of court intrigue.

Many of the scenes in this story I would love to see filmed. The visuals are so evocative, with interesting choreography and the opportunity for excellent performance from the actors. (I wonder how one would go about filming a storygame…) The dialogue was so consistent to each character, I felt I could hear some of the quality of their voice.

As many other comments have pointed out, this story clearly draws on real-life history in some interesting ways; Gnosticism speifically. As someone who knows almost nothing about Gnosticism, this story makes he want to learn more. For historically-inspired stories like this, it would be neat if it came with a reference page that briefly discussed the historical references, and pointed the reader to further resources. There’s a lot of depth here, and it’s easy for people to miss how much care went into it.

Usually writing advice will recommend you hook your reader with a character problem. This story, I think, succeeds in hooking the reader in an entirely different way: with the language. I’m primarily engaged by Basem’s narration, and curiosity about the world’s mysteries. The plot works chiefly because these elements are so good—with a less well written game, I’d be annoyed by the lack of closure. But here, as Julian says, we’re willing to get used to not knowing.
If I had to nitpick a plot element, I’d say the reveal that John is working for Julian, while being logical, takes away some of Basem’s agency. The player has more control over the story if they actually changed things by bringing Basem here.

In sum: Loved it! Hope to see more stories in this world, and more stories with well-written protagonists like this in general.

Specific notes:
= Knowing Malk, I figure there’s a decent change biblical quotes are from the actual bible; but I know Philip isn’t one of the four gospel writers. Glad I googled it—for those unaware, the Gospel of Philip is a Gnostic gospel from the 3rd century. Cool! EDIT: I wonder if this is meant to refer to the change in cultural focus for this story. The quote at the start of the last story was biblical; this one is from a lesser known interpretation.
= Retellings aren’t always an effective hook, but the first sentence here does a good job grabbing me. I want to know why the narrator is still dreaming of the tower eighteen years later.
= Since this is a sequel, people are going to be asking quickly how this relates to the prior story. A reference to knights beheading heretics in foreign countries tells us pretty clearly that we’re somewhere else now.
= I particularly like how well the description is weaved into the plot. For example: “In the distance, you hear the call to prayer; the seventy-five thousand souls of this city will wash and prostrate themselves before the Almighty in short order. You will not.” Now we know something about the city & world; but we’re keeping it relevant to the narrator while simultaneously hooking the reader.
= Again, we’re getting a lot of good information about the world’s religious practices by keeping it relevant to the narrator’s questions about their faith.
= I’m getting strong Dune vibes from this story. Part of it’s the setting, but I think it has more to do with the narration style & the nature of the political intrigue. One of the fun things about Dune was the way every character was constantly overthinking the meaning behind everything people said and did socially, and we see that here too.
= This is a very refreshing protagonist. I’m a big fan of political intrigue stories, particularly those with a politically savvy protagonist. It’s tricky to convincingly write someone who thrives in these environments, but it’s a lot of fun to read.
= Oho, “some kind of heretic knight, and his elf consort.”
= I also like the intersection between Basem and the story’s focus on different religious beliefs. He’s a pragmatic man, not inclined towards faith, but attending to anything that might give him an edge or risk harming him.
= There are a couple references to Basem’s past days as a pirate. This adds another layer of complexity to him. He’s a politician, but he’s not just a politician. His decisions are informed by his experience—brutal experience—in the wider world. I get the impression in these early pages that he’s very restrained and well-controlled. I hope we’ll see the mask come off later on.
= I appreciate the memorable details for the different characters here, like Kurzun’s disdain for his sons.
= This first choice is one of the better dilemmas I’ve seen recently (but again, that might just be because I like political stories). Ordinarily I like to pick the more cautious, investigative, and diplomatic option. But this story is making me choose between investigation and diplomacy. I’m going to go for investigation, because I’m curious, but it was a tough call.
= Lol, “send your daughter, not the lackwits.”
= Lol, “If they wish to execute me a second time, that is their business”. I like this guy. I hope we won’t have to kill him.
= Interesting that the librarian uses “it” to refer to Julian. It’s not yet totally clear which ending is canon for the last story. And the librarian’s characterization of Julian as being quiet and not quoting maxims contrasts his behavior in the last story. Things have changed.
= Colossus towers, I assume, is related to the tower from the first paragraph, and poassibly the one from the last story.
= Lol, “None taken.” This guy is appealingly honest.
= I like the outside look we’re getting on the faceless knights here; particularly Julian. It casts the prior story in an intriguing light.
= Basem’s description of the war camp—jovial, relaxed, with no dead deserters—says as much about him as it does the camp.
= Interesting whispering voice. We had some of that last story with the corruption in the tower. Let’s be on guard.
= It’s interesting seeing how Julian has changed since the last story. Much less haughty. And I get the sense, much craftier.
= Nice, I was right about the Colussus tower being the same thing. And this is a good way to get in more of Basem’s backstory. The whisper earlier was described as coming from his own mind—perhaps his past with the tower has something to do with that.
= Not surprised to learn John and Julian are more in league than declared; I suspected as much.
= This backstory makes me think of writing on a meta-level. Yes, worlds like this are the creation of a creation, made for the entertainment of their makers. I don’t know yet if the story is going in that direction, but it’s a premise as interesting as it is tricky to handle. Either way, reminds me a bit of Steve’s prophesy story.
= Lol I like that you can just choose to go crazy.
= Julian’s switch makes sense, with his internal justification that he is serving the true almighty.
= I like that Basem sees being referred to as a cynic as a compliment. It’s very in character.
= I like that we’re heading back to Edelrach, it’s a nice way to tie the stories together.
= Hey, it’s Dirt!
= …that’s it? We end here? Well I hope to see more stories set in this world following this narrative.
= I want to like Skadras, but the rape thing is a bit too much for me. He’s entertaining as he is, but this thread reflects poorly on him, and the people who associate with him, including the protagonist. Of course, this is a personal opinion.
= Lol, “Not many barns at sea.”
= Damn I’m surprised the knight went down so easily.
= Hey, gunpowder! Nice.
= Lol, “I’ll offer you a choice, then, since you seem to be a man accustomed to making those.”
= I like the portrayal of Basem’s instinct when he realizes the shot is coming. (If it isn’t something else.) This is a very well written fight scene.
= And here’s that strange voice again, using the royal we. Is this supposed to be Demiurg, or something else?
= I like that in this path we get to see Basem in thie thick of the fight and hunt, something that was really only foreshadowed in the other path by his musings about his days as a pirate.
= This is a good contrast to the other paths about fighting Demiurg; one of the strengths of the cyoa format is that it lets you explore multiple sides of a conflict like this. I want to know more about Demiurg’s motives, and I hope Malk keeps telling stories in this world.
= It’s interesting to see the way the rebels conflict plays out depending on what side you are. In the Julian path, we learn that the rebels have far more knights than the enemy, and things look like they’ll go in the rebels favor. In this path, we learn that the loyalists have gunpowder, which can take down a faceless knight. Ultimately however, it looks like neither of these is the true deciding factor—the side that wins is the side Basem chooses to support.

Grammar:
Good.
Mastery of Language:
Extremely good, and efficient too. Once again I am extremely impressed with Malk’s prose. Malk’s descriptions are evocative without using more words than necessary. This is a pleasure to read. The mastery of subtle irony is particularly good.
I love the pace & flow of the sentence structure; particularly the dialogue. It’s oozing in subtlety and characterization. The style is formal and archaic, but in a way that enhances the story rather than falling into any of the pitfalls common to this style.
This language is also very good at multitasking, such as dropping in worldbuilding, description, and characterization without slowing down the story.
I also get a great sense of Basem’s cynical personality through the description, the word choice, and the things he notices about the world around him. The use of titles in particular says a lot about his mindset; and frequently feels ironic. Another couple good examples come in the conversation with the sultan: His reflection on the nature of oaths, and the way the hall is built to amplify the sultan’s voice. Both show an awareness of—and appreciation for—the way the appearance of power can be cultivated without needing to actually have it.
Little things also show off his political savvy and attention to detail, such as his remark about brining wines as a diplomatic technique, and noting that the folk symbols in the mayor’s hall are designed to be easily disguiseable. It’s a useful trait for the story since it allows Malk to drop worldbuilding in an engaging way, and it’s fun to read too. This is the right way to portray an intelligent protagonist.
This extends to side characters too; their personality shows through their dialogue, and each one is memorable, despite the relatively low word count. Their banter with Basem adds levity to the story.

Branching:
Pretty good, for such a short game.

PERSONAL EXPERIENCE:
I first reached the ending where you begin the charge against Edelrach.

CONCLUSION: 8/8

It's alright, I think you have an excellent concept here, but the story is far too short. the storygame was written perfectly, please GIVE ME MORE!

***DISCLAIMER*** to the author, It should first be stated, that you should NOT take anything i say with a grain of salt. Everything i say i mean, and i mean it with my chest puffed out, so, take everything i say to heart. To the readers, this review will contain lots of spoilers, so I suggest you read the storygame first.

The End of Creation opens with a quote that immediately sets the philosophical tone of the narrative:

"Light and Darkness, life and death, right and left, are brothers of one another. They are inseparable. Because of this neither are the good good, nor evil evil, nor is life life, nor death death. For this reason, each one will dissolve into its earliest origin. But those who are exalted above the world are indissoluble, eternal."

This profound statement introduces the central theme of duality and interconnectedness, challenging the reader to reconsider the very nature of good and evil, life and death. The idea that all things dissolve back into their origins, except for those exalted above the world, foreshadows the book’s exploration of transcendence and the eternal. This is not just a thematic cornerstone; it’s subtly mirrored in the protagonist’s journey as he grapples with his own disillusionment and the relativism of beliefs formed through his travels.

From the second page, the book excels at worldbuilding. The author skillfully avoids the trap of heavy-handed exposition, instead immersing us in the protagonist’s disillusionment and the complex cultural tapestries of the world. We learn much about the universe and the protagonist’s past without it ever feeling forced or out of place.

Characterization and Atmosphere:

The characters in The End of Creation are intricate and multifaceted. For example, Skadras, described as both a formidable warrior and an awkward servant, presents a fascinating duality. Velene, on the other hand, is obsequious yet cunning. These characters are not just plot devices; they are deeply integrated into the fabric of the world, each with their own unique voices and motivations.

The author’s descriptive prowess is evident, particularly in the atmospheric depiction of settings. The Sultan’s palace, with its marble throne, stained glass skylight, and the shadows of God’s names cast on the floor, is rendered in vivid detail, immersing the reader fully in this richly imagined world. This attention to sensory detail extends beyond visuals, engaging all the senses and pulling the reader into the experience.

The Uniqueness of Civilizations
One of the most remarkable aspects of The End of Creation is how distinct and vividly realized each civilization and its people feel. The different cultures the protagonist encounters are not merely variations on a theme; they are fully fleshed-out societies with their own customs, beliefs, and ways of life. Whether it’s the strict, honor-bound traditions of one group or sodomy and debauchery loving of another, each civilization/faction feels authentic and deeply rooted in its own history and worldview. The rituals, languages, and social norms vary dramatically from one culture to the next, giving each encounter a fresh and immersive quality. This diversity in customs and cultures adds a rich layer of authenticity to the world, making it feel like a living, breathing place where different peoples have developed their own distinct identities over time.

Intrigue, Pacing, and the Role of Julian:

Political intrigue is woven deftly into the narrative, with espionage and power dynamics adding layers of tension. Dialogue feels natural, revealing character traits and advancing the plot without ever feeling contrived. The pacing is generally smooth, balancing action, dialogue, and description to maintain interest, though some readers might find the dense worldbuilding occasionally overwhelming.

Julian emerges as one of the standout characters, bringing a charismatic and almost sage-like presence to the story. He often outshines even the protagonist in their interactions, offering wisdom and insight that ground the more fantastical elements of the plot. His role is crucial in both the philosophical underpinnings and the emotional depth of the narrative.

The Villainy of Demiurg:

Demiurg, as the primary antagonist, is portrayed as an "evil for evil's sake" villain, a fitting archetype given the story’s setting. His role as a demon masquerading as a god adds a layer of existential dread to the narrative, raising the stakes beyond mere physical conflict. The "blood dreams" further enhance the perception of Demiurg as a corrupt and defiled being, making the struggle against him not just a battle for survival but a fight against cosmic malevolence.

Critique of Narrative Agency and Ending:

One of the major critiques of The End of Creation lies in its narrative structure. While the story is beautifully crafted, it is essentially linear, with little room for true decision-making or branching paths. This lack of agency can make the reader feel as though their choices have minimal impact on the outcome, detracting from the immersive experience. For instance, the automatic death route if you attempt to fight Julian after speaking with John the Sage feels restrictive and undermines the sense of interactivity that could have been more engaging. Instead, it would be more engaging if there was some way we could win that fight and get an alternative epilogue.

The ending, while not abrupt, leaves much to be desired in terms of closure. The narrative stops at a point that feels acceptable, but the absence of a resolution to the larger conflict with Demiurg leaves a lingering sense of incompletion. If this is a setup for a sequel, it would be understandable, but as a standalone story, it misses the mark of delivering a fully satisfying conclusion.

Conclusion:

Overall, The End of Creation is a masterfully written tale with some of the best worldbuilding seen in recent memory. The characters are vividly portrayed, each with their own distinctive personalities and complexities. The depiction of differing cultures and beliefs across the world adds a rich layer of authenticity to the setting. Demiurg stands out as a compelling villain, raising the stakes to an epic scale that draws the reader in deeply.

However, the story's linearity and the lack of a truly satisfying ending prevent it from reaching its full potential. While the philosophical depth and the intricate world are impressive, the limited agency and the unresolved ending leave a sense of missed opportunity.

Despite these flaws, The End of Creation remains a noteworthy read, especially for those who appreciate complex characters, rich worldbuilding, and philosophical explorations within their fantasy narratives. 7/8

The highest praise I can offer this storygame is that I took a break from playing Red Dead Redemption 2 to read it. Here's what I love about reading Malk's works: of course the choices are fun and even in a shortish game there's some interesting branching, but this game--like the very best of Malk's games, takes the time to give his world and his prose texture.

There's real time spent here thinking about how to evoke place and exotic culture; how to slow down the narration and revel in description and bits of dialogue that are meant to get across character, not just jerk the plot along like an ox in a yoke. This game is about the language and about masterful writing as much as the choices. I've read a lot of Malk's work, and this is the best one I've read so far. The figurative language in particular: that doesn't happen easily. I can see the hard work put into the craft here. Which were my favorite moments of prose? Weighing like a knight's greathelm on his head. The quibbling between "adjustment" and "ordeal." It is said they can't be killed. "Was said." Don't make me pick my favorite.

I thought the hunting of the she-elf was a fun and creepy branch; I would have loved one more branch in there, one more choice to make to draw it out and make that bit a touch more interactive--when the arrows start flying, perhaps? Some tactical choice to make. But of course, I wanted lots of more of everything.

This is of course, in addition to Malk's usual wit and smuggling in the big ideas in a fast-paced action-adventure.

And because I can't resist a pedantic comment: it's "parley" and not "parlay" in spite of how people pronounce it.

The story does a good job of building on A Prayer For Destruction's story. This has definitely left me wanting for more details, particularly as to the nature of the empowering voice that strengthens your characters now and then. I really hope there will be more to come.

Not bad

There's something about Malk's prose that is so solemn, so irresistibly magnetic, that it draws you into the worldbuilding effortlessly.

The End of Creation and A Prayer for Destruction are, while set in the same world, different in nature. Contrary to when you played Julian, Basem is undoubtably weaker in battle. You tread more carefully as Basem, choosing your battles. To a degree, I might prefer it to the immovable, satisfying strength of A Prayer for Destruction.

The End of Creation also cements this setting by providing much deeper and vaster worldbuilding, expanding the scope of the stories.

I wait eagerly for the next sequel, and I absolutely recommend this to readers.

Very, very well-written. I truly enjoyed the prose and writing. The descriptions and details really drew me into the story, I did feel immersed in it. The details and descriptions also helped as I traveled, revealing and showing the world around. It was quite enjoyable.

Fun choices, as well. Each one had me thinking about the possibilities that would occur should I choose one over the other. There were clear reasons and support to pick each one (supported by the story previously), so it was difficult to choose just one. I must have made some good choices, my first time through I became a prophet of the Almighty.

I did go back and read a few other paths. They do diverge quite a bit, as might have been guessed by the choices. It was very enjoyable from all directions (even if I did end up dying more than once).

Wow! A must read. If you don’t read this, all there is to say is, “Shame, shame, shame, shamity-shame”.

To say this was really good is a huge understatement. It is fantastic. It is well written, descriptive, and the writing draws you through the narrative. No large info dumps, but the backstory and information was sprinkled throughout and was revealed organically. I enjoyed gaining insight into the situation along with the main character as he investigated what was going on.

The world building was very well done. The small details thoughout indicated a rich history and backstory with it having to be explained. The characters were well created and believable and I felt like I was tagging along on their journey. Revisiting the world of the Faceless Knights from an outsiders perspective was interesting and I liked seeing it from this point of view.

The branching was sufficient, and I didn’t notice any superfluous meaningless choices. Each choice took you down a different path, and also allowed you different insight or perspective on the situation. It seemed paced well, and the narrative appeared to be very well thought out.

Also, I believe this story could even stand on its own without having read its predecessor (Which I also really liked). There was enough detail about what happened in the previous story to let you know what was going on.

Overall a great story. If you like fantasy, you should read this. Actually, if you like reading you should read this. Excellent. Thanks Malk, nice work!

I was looking forward to a sequel for A Prayer of Destruction. This did not disappoint.

As a player who had already played the previous entry, I was drawn to follow up with the previous protagonist. It was interesting to see Julian's character development from a one-dimensional monster to a revolutionary driven by a deeper fervor for this world’s true god. After going through that route, I did feel a bit disinterested in exploring the other routes. I felt that I had gone through the one that had the most opportunity for further exploration as this storygame seemed to be a good second part to a series rather than one that could potentially be a self-contained story like the last one. However, I did explore the other options that the player could take and did find some good bits of story, like the bits that focused on the side characters and more elements of world building. I still think that this story could have been served better if it went a bit further in the Julian route, but there’s nothing wrong with leaving your audience wanting more if it’s appropriate, which I certainly still do.

Basem’s character reminded a little of Sinbad the Sailor, mostly for the fact that he was an explorer, coming from an Islamic culture, of strange and mystifying lands. Having him team up with, or face against, an unsettling zealous super-knight that reminded me of an Ultramarine was very entertaining. The side characters, especially Skadras and Eriksson. The world of this story series definitely took the time to flesh out the scope of this dark world.

The aspect of religion being explored further was a good choice for a sequel. Julian now leads the true believers versus the slaves of the Demiurg (not Demiurge?). The idea that truth lives in people eternally but can only be realized consciously through a sort of communion is inspired. Blood-memory is stirred through a substance seen as dangerous and primitive. Once one goes forward with seeking the truth, there’s no going back, but he becomes something more in touch with his natural self. Those who instead seek to do the will of the Demiurg become abhorrent aberrations in comparison, or literally, as shown in one route. It’s a very interesting spiritual dichotomy.

Overall, this was a very fun read. I can’t imagine that this series ends here, so I’m looking forward to another entry!