Ahahaha. Let this be a warning to all fanfiction characters in Tamriel: Claude Maric is one slippery son-of-a-witch. One of my own characters ran afoul of him; he and his cronies are fun to play with, and even more fun to chuck fireballs at.
I noticed you not-so-subtly hinting that you wanted a critique, so I'm here to offer my services. To be honest, the longer a fanfiction is, the more intimidating it is to me, since I like to go over things with a fine-tooth comb. I break a lot of combs on long fanfictions.
But I sat down and read yours, and I have to say... I
love this.
Orcs are the race that attracts me least of all. Call me a racist, but the general stigma of Orcs as big brutes just doesn't appeal to me--I like my characters subtle, graceful, and intelligent... which is usually why I go for elves.
I was therefore pleasantly surprised to find myself becoming fond of Garzog. Hearing his life's story and watching his sad exchanges with Owyn tugged at my heartstrings, and made me feel for a guy who wanted nothing out of life other than to smash a couple faces in. I never thought I'd be rooting for that, but a dream is a dream.
Personally, I find I enjoy your characterizations. Garzog is, of course, the best constructed (as he should be, as the main character!). You never come out and start describing anyone's personality, but let each character become known through their words and actions. This is done beautifully; you've obviously grasped the "show, don't tell" concept that many writers (including myself) struggle with.
I'm also impressed with your mastery of plot tension. Things keep building for this guy; first, he has to fight for his life in what is esentially an execution, and then he's escaping to the shouts of Legionnaires behind him, and then he runs into Claude Maric (who is notorious for the double-cross he pulls in the game) and an old friend who carries an equally old grudge... and all the while, the knowledge that the Legion could come swooping down on him hangs over the reader's head. This is suspense at its best, and definitely keeps the reader reading.
Your fights scenes are pretty good as well (although I'm sure D.Foxy could give a more technical breakdown of them). I found them, overall, easy to imagine, and exciting to boot. You pay a lot of attention to where everyone is and what they're doing, which does well to help us out. Things get a bit confusing when he goes into berserker mode, but I suspect you were going for that effect anyway.
I did notice you used a couple cliches. Usually, I wouldn't mention it (I'm known to rely too much on cliches myself), but I feel free to nitpick. It's what you get for having no glaring errors I can lay into.
This phrase, in particular, made me wince:
I could not tell how much time it took before my mace swung down once more, but it felt like an eternity
Unfortunately, the phrase "it felt like an eternity" has been used so many times that it's completely lost all meaning. There are plenty of other, more creative ways to say "a short time felt like a long time." Maybe... something like, "as my mace swung down once more, I could smell the fetid corpses of the Necromancers' experiments. My opponent's blood dripped out of his wound like molasses. I heard a bone crack on impact, the sound cutting through my haze and being swallowed by it."
Which I suppose brings me to another point: description. You're like me; you don't describe as much as you probably should, instead focusing on words and actions to move the story along. But it's not as immersive that way; a bit more sensory description could do very well to help pull the reader into the world. Remember that there are five senses, and they are working all the time. Every once in a while--when things are getting slow, or when you catch yourself using a cliche--stop and ask yourself what Garzog is hearing, smelling, and feeling (as in touching). These sense can get buried under thought and sight, and that makes each reference to an alternate sense very poignant.
Hello pot, this is kettle.
But all that is really a pittance, anyway. These are the sorts of things that are good to be aware of, but practice is pretty much the only thing that can fix them. So, obviously, keep writing.
The main spot I could see improvement is actually in the punctuation department. You love the comma, and make liberal use of it, and there is nothing wrong with that. Commas are wonderful tools. But like any tool, they can be used incorrectly. You'd never try to tighten a bolt with a screwdriver, right?
Here are a couple misuses I noticed:
His look of annoyance increased, I could tell he didn't believe me.
This was the most common mistake I saw: two independent clauses (phrases that could stand alone as sentences) being strung together without a conjunction (and, if, but, because, etc). While it's a good idea to vary your sentences like that, they should not be connected like that.
There are four wonderful punctuation marks that could be used to connect these two clauses together: the colon (: ), the semi-colon (; ), the em-dash (--), and the elipse (...). All four can be used to connect two independent clauses without a conjunction, and to convey different meanings about the connection to boot.
His look of annoyance increased; I could tell he didn't believe me. This is the most straightforward of the four punctuation marks. The semi-colon exists to seperate things the comma is too weak to handle on its own, including two independent clauses. Use this when you can't use a comma, but don't want to use a period. I noticed you started slipping these into your later chapters; that's a good sign. Don't forget the other three, though.
His look of annoyance increased: I could tell he didn't believe me. This indicates a somewhat higher connection between the two clauses. My high school composition teacher (who you all have to thank for my obsession with mechanics... lucky you :twirl: ) always said that if the first clause posed a question that was answered by the second clause, a colon was best. But, really, the colon and the semi-colon can be used fairly interchangeably.
His look of annoyance increased--I could tell he didn't believe me. The em-dash is just a line the length of a letter "m"... but dashes don't show up on this forum, so I use two smaller dashes to indicate them. The em-dash is best used for parenthetical statements (which I'll talk about shortly), but can also be used to seperate independent clauses. When you use an em-dash, it's usually best if there's some sort of logical turn, since the dash can be a bit jarring. It seems to denote a longer pause than the colon or semi-colon (no surprise, since it's physically wider), but nonetheless indicates a connection between the clauses.
His look of annoyance increased... I could tell he didn't believe me. I suspect old Frodo would have had my hide for even suggesting this one, but he's not around, so nya.
The elipse can be used to indicate some sort of trailing off, usually indicating unsurety or thought. It's very conversational, and the least technical of the four punctuation marks. I tend to over-use it, since my own style is fairly conversational.
Really, you can use any of the above fairly interchangeably. Play around with them, and figure out which works best for you.
Next, there's the matter of lists with comma-filled phrases in them:
With that the Breton walked past S'razirr, who eyed him maliciously, myself, who was still eying S'razirr, and Malene, who was just now walking down the rickety wooden steps to see what all the commotion was about.
In this case, you have two types of commas--you have the commas in a list, and commas as parts of descriptive phrases in that list. One of the lesser-known rules of punctuation is as follows: any time a list has commas within it that are not part of the list, the listing commas become semi-colons.
So, in short, the above should actually be the below:
With that the Breton walked past S'razirr, who eyed him maliciously; myself, who was still eying S'razirr; and Malene, who was just now walking down the rickety wooden steps to see what all the commotion was about.
This seperates the descriptive phrases and lessens the confusion. That said, it could still be a bit confusing when you stumble into that first semi-colon... so perhaps a re-wording is in order instead.
And finally, we come to the issue of parenthetical phrases.
However, one of her friends, the Khajiit stopped me three steps down.
In this case, you're actually lacking a comma. If you look at the way the sentence is structured, the subject is actually "one of her friends," not "the Khajiit." This means that "the Khajiit" is actually a parenthetical phrase, so the sentence should actually be written like so:
However, one of her friends, the Khajiit, stopped me three steps down.
Obviously, that's too many commas in a row, and confusing to boot. To lessen the confusion, there are a couple things other than commas that you can use to seperate the parenthetical phrase: parentheses, em-dashes, or elipses.
However, one of her friends (the Khajiit) stopped me three steps down. Parentheses are the literary equivilant of a whisper. They're fast, and readers move over them quickly, so they are best used as reminders or as asides. I don't think it fits this situation, but it's important to remember that it is an option.
However, one of her friends--the Khajiit--stopped me three steps down. This one is my personal favorite, and the one I'd use in this case. It pauses the flow of the sentence long enough to expain that the friend is the Khajiit, but then sends the reader back into the sentence right away afterward.
However, one of her friends... the Khajiit... stopped me three steps down. This should be used sparingly, and only as part of a character's voice. It indicates sluggishness and unsurety, and can be very unsightly to read in a straight narration.
Oh, and one more note. When you have dialogue, you should always use some form of punctuation. So
...the Nord woman obstructed my way "You're new, and S'raz hasn't told us much about you, so I'll tell you now.
should be
...the Nord woman obstructed my way. "You're new, and S'raz hasn't told us much about you, so I'll tell you now.
...and...
...but [I] was disappointed when she exclaimed "Four! We'll arrive by the fourth day, a few hours before noon."
should be
...but [I] was disappointed when she exclaimed, "Four! We'll arrive by the fourth day, a few hours before noon."
There are some cases where this isn't always true... but use it as a rule of thumb until you can find out what those exceptions are. :dance:
Okay, I think I'm done, then. My best advice is to play around with your punctuation... you need not rely only on the comma and period to get you through a sentence. It's like trying to fix a table with a hammer and a screwdriver; let's get some wrenches, levels, and sanders into your toolkit too, just in case you need them. :goodjob:
Oh, and as to your question, I'd say leave it in. I don't like to see events edited after they've been put in, because every experience effects a character in little ways. The thing with the Necromancers, for example, shows how Garzog is willing to help out, even when Claude and his crew aren't. Also, it gives him at least one person who thinks favorably of him (Malene). The interaction with Malene snatching Rigmor's mace right off the table is hilarious.
So no, don't cut it out.
Overall, I'd say you've got good literary instincts and a great deal of skill. Your growth as a writer should now focus on refining your style and hammering out those little weaknesses that are more annoyance than hindrance. Oh, and writing just because you love it, of course.