Elvish for Goodbye

I'm pretty shocked EfG didn't get a top-twenty finish in IFComp 2022, and when I say top-twenty, I mean top-ten. I voted it top-two. It seemed very close to Prism in many ways in terms of building a distant magic city, though they were built in different ways. Prism was also in my top ten and likely well worth your time, but you get to see and imagine Prism, while you get to imagine and dream EfG. Perhaps it hit at the right time: I had gotten behind with my reviews, and here was a work about an interlocutor (there are three at the start--I'm not clear if they have anything different to say, but since there is enough to say in any one read-through, this doesn't matter,) with not much time to speak to me, and I had little time to consider what to ask him. After a few questions, my immediate reaction was: you know, as much as I'd love to hear about this city, others would deserve to, too! So I'd better ask good questions, even if the conversations took place across a few days in-work. My unexpected friend had a lot to offer, even if they were not part of the leadership, or movers and shakers in Wild Idyll, the city in question.

Perhaps playing EfG when I did was a happy accident, and I liked it more than I should have. And I've had my share of "how the heck did this place so low" or "I understand this placed low because it was unusual and the innovation isn't for everyone and it be remembered well post-comp" entries. But I've never felt, wow, this is really big, and I encourage a lot of judges who rated it low to go back and try to find the stuff I see. Maybe I'm off-base. I was almost scared to revisit it, because what if it didn't measure up? What if I was just making stuff up? I suppose part of EfG's thrust is to give you permission to make stuff up, or think of what your conversant would have said with more time.

That said, I don't know if I've ever enjoyed the difficulty of making choices as with EfG. I was devoid of the usual cynicism of how writers have to keep their work on rails to keep within the two-hour IFComp limit. And the thing was -- the question choices felt like quite possibly the best of that sort of thing I've read. Many very good and well-respected works give you a nice variety of choices to fit your personality, and you can clearly see the game design. You know which one you want to ask, or, if you're playing to win, you're pretty sure which one will give you an edge. Perhaps you will even remember something from your journey that helps you make the right choice, or you suspect you missed something that'd help give you information. But with EfG? Well, your friend seems to anticipate what you want, for instance when you slightly yawn and they change the subject to something else interesting. I often had a choice between three very, very good and quantitatively questions I wanted to ask all at once, and I couldn't. Many of them, I wish I'd thought of. They encouraged me, in fact, to ask more and better questions, or try to. I did so, for at least the next week.

I sort of cringed when my questions were technical, because they stopped well short of the author's goal, or one of them, which was giving free rein to imagine what could be, in as much or as little detail as you'd wish. And perhaps I saw where the ending was heading. (Don't worry, "the city was within you all along, if you just knew where to look" ain't it!) But I enjoyed the journey so much. And that, I think, was part of what the author wanted to get across. And thinking of EfG, I remembered all the Ink games (Ink works well with the narrative--it feels like a story flowing and not just text) where I figured, okay, this choice didn't matter, and neither did that one, and I usually tried some reverse-engineering. But I was too caught up in forgotten needs and desires and things I didn't know I wanted yet to do this sort of analysis. I've never had an IFComp entry do that. I've had ones give me something unexpected in a genre I hated, but this opened the floodgates and made me why I didn't want or question certain things before. I've never used psychedelics, but EfG feels like what some people hope the psychedelic experience is, and it does so without any of the old tired tropes or trying to shove anything in your face. It even managed to make a discussion of language interesting to me, skipping well beyond "where are the bathrooms?"

It's quite a wild ride, extremely ambitious, but it never throws its randomness or mythicness in your face or tells you how you are supposed to interpret it. It allows you to be skeptical and snarky with your questions. Even as it describes 497 ways the Elves said goodbye, you want to believe that happened, or could have. It regenerated me in a way that self-help books could only dream of, and not just for the final stretch of IFComp reviewing and judging. I was worried, coming back to it, I might not enjoy it the second time as much, as I had time to sit and be critical. Perhaps I would see proof that this work is really all just a pile of pretentious twaddle and I am a fool and sucker for enjoying it. I did not, but even if I did, I think I would still have enjoyed it immensely. It is the sort of work that should be intimidating, you feel, but it isn't, and it's about so many things that were lost, but you can't describe how or why or when, and you know even getting a bit of them back would be immensely valuable. And while a review can never nail down what a work is about, in this case I feel particularly disappointed and helpless.

Because a work like EfG certainly reminds me of all I want to do, as opposed to the stuff I take because it's there. I thought back a lot to CS Lewis's definition of Joy: a desire for something longer ago or further away or still "about to be." And this popped up throughout EfG. And I realized that even with a "well, the stranger was BS'ing you all the time" cop-out ending, that wouldn't change the things I'd forgotten about that I wanted to do or look at or that I believed were possible until I knew better. I remembered a few, because there is so much weird stuff we forgot we wanted, or weird stuff we might want once we understand. During EfG I thought about how hollow pop songs about saying good-bye or whatever were, or of summer days and nights that can't last, and of cliches like "the only constant is change." Those all felt dull compared to a surface EfG had helped me scratch, one I probably hadn't for a while, one I want to scratch at instead of clinging to old habits that aren't nearly as rewarding as they used to be.

This explains Wild Idyll. But the title? The title is given by your new friend's explanation that the Elvish language has 497 words for good-bye. At the end, of course, there's the big one: "This last 'goodbye' was a great equalizer-- ... this farewell was not one of decisive departure, but rather surrender to the inevitable: an abandonment of oneself to the force of fate." It feels a lot like that one work by Borges where a minor poet's one word destroyed a castle, though it felt less harsh than when people talk about the unspeakable name of God. I mean, after my brief time reading, I didn't want to let go, even though I needed to. I certainly wanted to remember crazy things I believed as a kid or wanted to talk about, or at least, I wish I had remembered them long enough to polish them. But then I got back down to earth: I was behind reviewing for IFComp, and I needed to pick things up, chop-chop, to find new stories and try to interpret them and maybe even fall asleep after a particularly odd one, to have weird dreams and wake up with new ideas, trusting the best would stick and saying good-bye to the ideas I loved that would not deserve to last, at least not with me, whether it was the ideas' shortcomings or mine for not being able to express them properly.

Physics searches for a GUT, a Grand Unification Theory. Literature searches for something that ties together our shared existence. I can't say EfG hits that, or that it does so better than anything else I ever read, but it gets up there and makes you aware of what could be. Perhaps it even makes you a bit more wary of literature that tries for the lowest common denominator. But it encourages you to find big stuff even in that. The climax of the story may be somewhat predictable from the title, but I don't think that's a spoiler (also, don't worry, Wild Idyll is neither the friends you made along the way nor something that had been in your heart all this time.)

Along the way you learn a lot, and I think each time I had a very different good-bye on finishing. While I won't have the 497 the Elves had, there will probably be more than 3 for EfG. I've certainly had gradated good-bye responses to all the IFComp entries I've seen. The total is probably around 497. But none made me realize as much as EfG that I needed to say good-bye if I didn't want to--to EfG, to this year's IFComp, or even to other things, and, of course, there were different ways I could, and should. Here, perhaps, it's an acknowledgement that whatever I go to next won't be as neat as EfG on its own, but perhaps with luck and persistence I will find another work very different from EfG that is still as satisfying and inspiring.