IT CAME FROM NETFLIX! Judge Dredd

IT CAME FROM NETFLIX! Judge Dredd — Blue Ink Alchemy

(apologies to Mr. Poledouris whose name I horribly mispronounce.) [audio:http://www.blueinkalchemy.com/uploads/judge_dredd.mp3] There's a part of me that's glad I didn't get into writing for comic books. More than likely, I'd have had to cut my teeth on an established title, continuing a storyline that's been running for months if not years. And if I wanted to spread my wings a little, get a bit creative with character beats or backstory exploration? Whoo, boy. That would invite the ire and derision of a group I know well enough to fear for I once counted myself among them: the comic book fanboy. It's the penchant for exaggeration, lionization of established canon and somewhat skewed expectations that caused such a group to call Judge Dredd nothing less than a cinematic aberration conjured from the depths of their sweatiest nightmares. It isn't that bad. Then again, it isn't all that great, either. In the wake of nuclear near-annihilation, the survivors of humanity with anything resembling wealth or influence huddled together in titanic Mega-Cities, leaving the have-nots in a barren wasteland called the Cursed Earth. Humanity stifles and chafes in close quarters, so law and order collapsed as people fought for every scrap they could get their hands on. This lead to the rise of the Judges, imposing and implacable members of an elite order who served as both police, officers of the court and executioners of the lawless. The most famous, most feared and most implacable of them is Judge Dredd. He doesn't just serve the Law - he IS the Law. So much for the premise, taken from the pages of the 2000 AD comics in which Dredd was the biggest star. A British mag with a dark sense of humor and a penchant for violence, 2000 AD wasn't interested in making their characters shining beacons of heroism or even nice guys. Judge Dredd hunted the bad guys, and when he found them he tended to make the Punisher look like a reasonable, well-balanced fellow. He didn't smile, or take off his helmet, or give the bad guys much of a chance to try and beg for mercy. As you can imagine, he was pretty popular, which is why they tried to make a movie about him.
"Admit it, you just wanted to do something like Demolition Man again." Of course, this was before writers and directors really started to get comic book movies right, so the film adaptation of Judge Dredd plays more like a video game than it does a gritty, post-apocalyptic exploration of a rather extreme version of law enforcement. The humor isn't dark or ironic but mostly superficial and one-note. In fact, "superficial" is a great adjective for this flick. On the surface, the names, costumes, weaponry and locations are those from the comics, but the attempt to include as much cool stuff from the funny pages as possible results in what would charitably be considered a tangled, nearly incoherent and badly paced mess. It's pretty clear that we're not working with high concept art here, nor are we being terribly loyal to the source material. By now I'm sure at least one Dredd fan is wishing I hadn't brought up the memory of this movie in the first place and is about to knock on my door in their replica Judge costume to tell me how I violated the Law. While the writing is a hot mess and the direction's pretty turgid, the movie isn't without merit. Sly Stallone in the title role gives Dredd a practiced stoic distance that erodes as circumstances remove him from the daily routine of shooting block war perpetrators in the face. Max von Sydow and Jurgen Prochnow take the opportunity to have a little fun with their Chief Justice characters, which I suspect is something you have to do when you need to slog through something like this. Armand Assante, however, takes the prize as the actor who took the most bites of the scenery. His portrayal of the 'perfect criminal' Rico is delivered with such malicious mayhem and over-the-top physicality that you almost forget how badly this plot rolls over the premise. It pushes Judge Dredd very close to the line of "so bad its good."
"You mean I can't just act like a schmuck the entire time? But... that's hard..." A rousing score from Basil Poledouris makes this movie sound a lot more grandiose than it really is. Diane Lane gives us a relatively strong female lead who feels like a visitor from a better film, while the 'Angel family' in the Cursed Earth takes the flick into the realm of the weird for a moment and are quickly forgotten. I would be remiss, however, if I did not give Judge Dredd what I feel is the greatest compliment I have for it. This film, for all its flaws and blatant disregard for source material loyalty, characterization, plausibility and good taste, is the one time I have not completely loathed Rob Schneider. And any film that can do that, I feel, is worth at least a cursory glance on your Netflix queue. I wouldn't go so far as to say it's a good movie. However, unless you're one of the aforementioned Judge Dredd fans about to burn my house down, I'd say it may just entertain, even if you just laugh your ass off at how much these veterans of the silver screen ham it up. It may not be the best comic-book action-adventure ever made, but as long as X-Men: Origins: Wolverine is out there, you could do a hell of a lot worse than Judge Dredd. Josh Loomis can't always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it's unclear if this week's film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain... IT CAME FROM NETFLIX.

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Blue Ink Alchemy

The Nostalgia Factor

The Nostalgia Factor — Blue Ink Alchemy

Yesterday on The Big Picture, MovieBob brought up the recent incarnation of Transformers on the big screen. He wondered why the bulk of both films seemed much less concerned with the mythology, characterization and interaction of the titular characters than it did with Shia LeBeouf allowing millions of frustrated teenagers to vicariously court Megan Fox. It's relatively common knowledge that the Transformers grew out of a toy line from the 80s, and the animated series primarily aimed at moving more of those toys spawned a movie of its own. It was certainly no great gift to cinema or even to genre fiction, but at least it let the Transformers be the actual stars in a Transformers movie, instead of shoving them aside for gratuitous shots of US military hardware, misfiring bodily humor and Ms. Fox or some other walking wank material providing shallow titillation. Let me reiterate that. The original Transformers movie was slightly better than the modern movies, but it still wasn't all that great. I mean, sure, I can watch it and smile but that's mostly due to the memories. I can remember being a child, clutching a plastic toy, eyes full of the characters I retreated to daily coming to life. I spent even more time in my head back then than I do now, and seeing things I'd only imagined manifesting in front of me with full stereophonic sound and professional voice acting blew my adolescent mind right out of the water. Nowadays I'll pick apart the plot, shake my head at the silliness and laugh at the effects, the acting or both. But there's still a part of me that wants very badly to love the movie. It's the part of me that's never grown up. The Randal Graves part. Just because something was first experienced when we were young does not necessarily mean it's better. We just remember it fondly as a bright spot in a more innocent time. We didn't have responsibility, the weight of obligation or the guilt of past transgressions getting in the way of our joy. We didn't have to suspend our disbelief because, for the most part, we didn't have much disbelief yet. I'm sure there are some kids who are growing up skeptical, questioning and very smart. This is a good thing, don't get me wrong. Some of us just didn't come into our critical thinking skills until later. And we look back on the times before those skills developed, on what we enjoyed, and don't necessarily apply our critical minds right away. In a way, we don't necessarily want to. Case in point: Tron. The original Tron as one of the many, many films that debuted in 1982, the year for genre films. I was introduced to many of the titles of that year at a very young age. When I first saw Tron, nothing like it had been seen before. The special effects employed laid the groundwork for the plethora of CGI methods to come, and many digital artists in cinema and video games today owe much of their craft to some of the techniques pioneered by works like Tron. The concept of a world inside a computer, populated with programs capable of interacting like people and battling it out in disc duels and lightcycle wars was overwhelming to my young mind. That idea stuck with me and colored my recollection of the film even as I re-watched it a few times. Things have changed for me. I can tell you that the original Tron suffers from badly aging effects, some questionable acting and characters that are nearly non-existent. You can name them and know them by sight, but you don't get a really good sense of who they are. Now, compare it to Tron: Legacy. The concept of a living world inside a computer remains intact and gets a lot of fleshing out, but more importantly, we have characters who are not only given depth but also come across as somewhat realistic. The leads have good chemistry reinforced by solid writing, the effects look gorgeous and the score is absolutely phenomenal. The execution still isn't airtight and it feels at times like the film is more concerned with either invoking old-school fans' nostalgia or trying to lay the groundwork for sequels than remaining in the story in front of us. While this is also a problem in a movie like Transformers or G.I. Joe: the Rise of Cobra, Legacy pulls it off a hell of a lot better than either of those two. I wasn't wondering when they'd get to 'the good stuff' or why we should care about the lead protagonist. It's not great, but it's very good. It's no Inception but it's far, far better than many other attempts to revitalize older concepts and play upon the nostalgia factor of nerds like myself. It shows that the techniques of modern storytelling, from cutting-edge digital tools to the experienced hand of a writer concerned with character and pacing instead of merely concept, are superior to those used years ago. In other words, if you want to create a story with its roots in something that's come before, you must remember that the nostalgia factor should only be an incidental concern, not an overriding or guiding principle. Or as Yahtzee put it once, "Nostalgia's a mouthful of balls."

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Blue Ink Alchemy

The Nostalgia Factor

The Nostalgia Factor — Blue Ink Alchemy

Yesterday on The Big Picture, MovieBob brought up the recent incarnation of Transformers on the big screen. He wondered why the bulk of both films seemed much less concerned with the mythology, characterization and interaction of the titular characters than it did with Shia LeBeouf allowing millions of frustrated teenagers to vicariously court Megan Fox. It's relatively common knowledge that the Transformers grew out of a toy line from the 80s, and the animated series primarily aimed at moving more of those toys spawned a movie of its own. It was certainly no great gift to cinema or even to genre fiction, but at least it let the Transformers be the actual stars in a Transformers movie, instead of shoving them aside for gratuitous shots of US military hardware, misfiring bodily humor and Ms. Fox or some other walking wank material providing shallow titillation. Let me reiterate that. The original Transformers movie was slightly better than the modern movies, but it still wasn't all that great. I mean, sure, I can watch it and smile but that's mostly due to the memories. I can remember being a child, clutching a plastic toy, eyes full of the characters I retreated to daily coming to life. I spent even more time in my head back then than I do now, and seeing things I'd only imagined manifesting in front of me with full stereophonic sound and professional voice acting blew my adolescent mind right out of the water. Nowadays I'll pick apart the plot, shake my head at the silliness and laugh at the effects, the acting or both. But there's still a part of me that wants very badly to love the movie. It's the part of me that's never grown up. The Randal Graves part. Just because something was first experienced when we were young does not necessarily mean it's better. We just remember it fondly as a bright spot in a more innocent time. We didn't have responsibility, the weight of obligation or the guilt of past transgressions getting in the way of our joy. We didn't have to suspend our disbelief because, for the most part, we didn't have much disbelief yet. I'm sure there are some kids who are growing up skeptical, questioning and very smart. This is a good thing, don't get me wrong. Some of us just didn't come into our critical thinking skills until later. And we look back on the times before those skills developed, on what we enjoyed, and don't necessarily apply our critical minds right away. In a way, we don't necessarily want to. Case in point: Tron. The original Tron as one of the many, many films that debuted in 1982, the year for genre films. I was introduced to many of the titles of that year at a very young age. When I first saw Tron, nothing like it had been seen before. The special effects employed laid the groundwork for the plethora of CGI methods to come, and many digital artists in cinema and video games today owe much of their craft to some of the techniques pioneered by works like Tron. The concept of a world inside a computer, populated with programs capable of interacting like people and battling it out in disc duels and lightcycle wars was overwhelming to my young mind. That idea stuck with me and colored my recollection of the film even as I re-watched it a few times. Things have changed for me. I can tell you that the original Tron suffers from badly aging effects, some questionable acting and characters that are nearly non-existent. You can name them and know them by sight, but you don't get a really good sense of who they are. Now, compare it to Tron: Legacy. The concept of a living world inside a computer remains intact and gets a lot of fleshing out, but more importantly, we have characters who are not only given depth but also come across as somewhat realistic. The leads have good chemistry reinforced by solid writing, the effects look gorgeous and the score is absolutely phenomenal. The execution still isn't airtight and it feels at times like the film is more concerned with either invoking old-school fans' nostalgia or trying to lay the groundwork for sequels than remaining in the story in front of us. While this is also a problem in a movie like Transformers or G.I. Joe: the Rise of Cobra, Legacy pulls it off a hell of a lot better than either of those two. I wasn't wondering when they'd get to 'the good stuff' or why we should care about the lead protagonist. It's not great, but it's very good. It's no Inception but it's far, far better than many other attempts to revitalize older concepts and play upon the nostalgia factor of nerds like myself. It shows that the techniques of modern storytelling, from cutting-edge digital tools to the experienced hand of a writer concerned with character and pacing instead of merely concept, are superior to those used years ago. In other words, if you want to create a story with its roots in something that's come before, you must remember that the nostalgia factor should only be an incidental concern, not an overriding or guiding principle. Or as Yahtzee put it once, "Nostalgia's a mouthful of balls."

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Blue Ink Alchemy

The Art of Thor: Introduction

The Art of Thor: Introduction — Blue Ink Alchemy

The general who wins a battle makes many calculations in his temple ere the battle is fought. The general who loses a battle makes but few calculations beforehand.

I want to be a better player of StarCraft 2. The first step in achieving a goal is having that goal in mind, stated as simply as possible. I've managed to get where I am today by keeping such goals simple and doing my best not to lose sight of them. I want to be a bestselling (or at least decently selling) novelist. I want to hold down a decent job in a good town. I want to not eat frozen pizza, ramen and PB & J every day. Such goals are oriented towards changes in career, income and lifestyle. We also set goals for ourselves in our leisure, or at least we can. Sitting through the entire March Madness tournament is a worthy goal for some, while for others it's beating the pants off of a beloved family member in chess or checkers or Magic or hold-'em poker. For me, delving more deeply into the underlying mechanics and strategies of StarCraft 2 has given me the motivation and desire to become a better player. First and foremost it's because I really enjoy the game. Even when I lose, I can see how an opponent stopped my offensive dead and came out of nowehere to gut my economy. Sure, it's frustrating to lose. But as my goal is to become a better player, not necessarily to win, I use that frustration to teach myself. It's a subtle difference. Instead of walking away and doing something less irritating, I make myself watch the replay, look for flaws in my play, see what the opponent's up to and what they're thinking. Enemy psychology comes into it more than you might think. Not just their strategies and methods of play, but our means of anticipating, reacting to and, eventually, manipulating them. It may only be computer simulation of science-fiction armies blasting the snot out of each other on distant planets, but it's still warfare. And Sun-Tzu has a few things to say on that subject. I played the original StarCraft and its expansion, and while I liked the mentality and characters of the Terrans, there was something missing from their army list I couldn't put my finger on at the time. I opted to play Protoss more often than not for the short time I was involved with multiplayer. But I never really committed myself to being a better player - I simply had other things on my mind at the time. StarCraft 2's Terrans have quite a few new tricks up their sleeves, from the hulking Marauders to the transforming Vikings to the mighty Thor. It's such a signature Terran unit - covered in angular armored plate, tough, versatile and most of all, really big and really loud. So as I progress and continue to improve my StarCraft 2, I'll reflect on how the observation of both success and failure will contribute to both my enjoyment and the evolution of my playstyle. Due to a lucky break in my placement matches, I'm a Silver League player, better than Bronze but not as good as Gold. I want to get to the Gold level at least, and ideally move on to higher levels. I'll apply Sun-Tzu's teachings where I can and I'll be sticking with the Terrans. I do like the other races, but this time around the appeal of the cowboys in space is undeniable and while every strategy may not involve a Thor, I have one or two in mind that I hope to refine as time goes on. Hence... The Art of Thor. Not to be confused with the upcoming movie from Marvel Studios. I may post video supplements to go with the lessons I learn, and I'm going to be reading a lot of the Team Liquid wiki & forums as well as watching TotalBiscuit and Day9's videos on the subject. I highly recommend anybody interested in being a better player do the same, as well as watching this space. Even if I only do it in screenshots, I'll be showing the impending and quite possibly painful process of learning not to suck at StarCraft 2.

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Blue Ink Alchemy

A Beginner's Guide to Westros: Gods Old and New

A Beginner's Guide to Westros: Gods Old and New — Blue Ink Alchemy

The Game of Thrones is now showing on HBO. The production and promotion of this series has been fantastic, but not everyone tuning in may be familiar with the series of books upon which it is based. A Song of Ice and Fire, currently spanning four expansive novels, introduced us to the world of Westros and provides a plethora of extensive information. Presented here is a bit of that information to help newcomers to this lush and living world get and keep their bearings. All information is presented free of spoilers and describe the circumstances at the beginning of the series... The Seven Kingdoms of the Andals have endured for thousands of years. Their peoples have often turned to forces of creation and destruction for guidance and inspiration. Faiths old and new mix throughout the Seven Kingdoms and the gods of foreign lands also linger on the fringes of the world, not as well-known but just as powerful. What follows is a brief look at the principle faiths of the Kingdoms and one or two gods of note whose power resides across the Narrow Sea.

The Old Gods

When the First Men came to the Westeros, they tried to drive out the spirits of the forest worshiped by the natives. They failed, and as part of the peace they sought with the children of the forest, they pledged to cut down no more weirwoods, large trees bearing the faces of those same spirits. When the Andals came, they called these spirits the Old Gods. As kings came and went and long after Aegon the Conqueror brought the Seven Kingdoms to heel under his rule, the godswoods remained, an indelible reminder of the roots of many noble Houses. Faith in the Seven has replaced the respect and worship given to the Old Gods, but in the North, the House of Stark, many of its sworn bannermen and the men of the Night's Watch hold their prayers and swear their oaths in the godswood among the roots of the heart tree.

The Seven

Quickly becoming the largest faith in the Seven Kingdoms, the Seven are worshiped in buildings called septs, ranging in size from small houses to lavish structures rivaling the halls of great keeps like Casterly Rock and the Red Keep of King's Landing. Septons guide the faithful's prayers and take their donations. Each sept includes a representation of each god making up the Seven: the Maiden, the Father, the Mother, the Warrior, the Smith, the Crone and the Stranger. The septons tend to act as advisers to lords and knights in the manner of maesters, and while militant branches of the faith have existed in the past, the edicts of previous kings have kept these branches confined to the pages of history and the stories told by the faithful who feel powerless before the changes that sweep through the Kingdoms.

The Drowned God

Worshiped exclusively on the Iron Islands, the Drowned God is said to lurk in the darkest depths of the sea. While not as well-known as the Seven, the Drowned God has no less influence given the part it plays in the ways and means of House Greyjoy. It is said that only one whose faith in the Drowned God is unquestionable may sit the Seastone Chair that is occupied by the leader of the Iron Men. While the pirates and reavers of the Isles would not admit it, the Drowned God and its drowned faithful are something of a frightening presence. Fearless and wild, they go into the sea normal men and come out quite different. They drink seawater, eschew ostentatious trappings and murmur the words of their faith: What is dead can never die but rises again, harder and stronger.

Lord of Fire

From across the Narrow Sea come the red priests and priestesses of R'hllor. They call him Lord of Light, the Heart of Fire, and the God of Flame and Shadow. His is a faith that has not taken much hold in Westeros, but with darkness seeping into the world with the coming of winter, his time may soon be approaching. If you would like to know more, please consult the official HBO viewer's guide or the Wiki of Ice and Fire (beware of spoilers). Also, if you find anything amiss or incorrect in these guides, please inform me.

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Blue Ink Alchemy

IT CAME FROM NETFLIX! Blazing Saddles

IT CAME FROM NETFLIX! Blazing Saddles — Blue Ink Alchemy

{Audio returns next week.} Hatred is, unfortunately, nothing new. There are people even today who have built their lives, fortunes and reputations around rhetoric that perpetuates ignorance and blind intolerance. From the Spanish Inquisition to the Nazis, the Crusades to Mao's Great Leap Forward, sooner or later somebody somewhere is going to react in a violent and ugly fashion to somebody who's different. It falls to those of us with tolerance, love for our fellow man and enough wherewithal to keep the things that actually matter in mind to combat this fear and hatred any way we can - even if it's just by taking the piss out of those cretins. Hence, Blazing Saddles. The year is 1874. The location, an unnamed territory of the American West. The attorney general of the territory, Hedley Lamarr (no relation to the similarly named actress of the 70s), wants to cultivate the land with railways to earn himself even more wealth than he already has. Standing in the way of his railroad is the quaint frontier town of Rock Ridge. When their old sheriff is murdered in an attack by Lamarr's goons, they wire the governor for a new one. In his effort to drive out the people, Lamarr conscripts a man named Bart. Bart, incidentally, is black. At its best, comedy is a way of holding a mirror up to the more absurd aspects of modern life, calling attention to stupid things we take for granted or as the status quo through way of parody or satire. For a long time, the western was seen as perhaps the manliest of the movie genres, with rough and tumble two-fisted fighting men gunning their way to victory. Nearly every single one was white. Moreover, this was a time when minorities were just beginning to come into their civil rights, yet still had to deal with a great deal of hatred, pre-conceived notions and harsh epithets. Enter legendary comedic film-maker, biting satirist and prominent Jewish-American Mel Brooks. It takes perhaps a particular kind of genius or insanity to look at the litany of Western cinema up until this point, and say "You know what? Why don't we have a black guy in the lead role?" You can guess how some people reacted. This is a point covered in the movie, and in fact directly addressed in an exchange between Bart, played quite well by Cleavon Little, and the always memorable Gene Wilder as Jim the Waco Kid. I won't spoil the line, as it's one of many great ones in the flick, but suffice it to say Jim hits the nail directly on its racist head. The very notion of the black leading man with a white sidekick can be amusing enough to consider on its own, but with these two actors the combination's dynamite. They have great chemistry which only makes the punchlines funnier. Considering the amount of comedic firepower Brooks had at his disposal it's no wonder Blazing Saddles is thought of by many as his best work. Harvey Korman adds the perfect mix of presence and insanity to Hedley Lamarr, the townsfolk of Rock Ridge are great and Madeline Kahn nearly stops the show as Bavarian bombshell Lily von Shtupp. Not because she's devastatingly sexy, though she is in her prime here - it's because she is, like so many other things in the movie, pointing out something just a tad absurd. Like stopping in the middle of a rustic narrative to have a good-looking woman do a song and dance routine. It's out of place in most serious films; but here, with Lily sounding more like a dying badger than a breathless lady of the evening, it's just funny. It takes talent to sing; it takes real talent to deliberately sing this badly. If Blazing Saddles has a flaw it doesn't manifest itself until halfway through the third act. A sprawling, rolling fistfight for the fate of Rock Ridge spills out of the town - and into a neighboring movie studio. What follows is one of the most complete evaporations of the fourth wall I think I've ever seen. Chaos is unleashed upon Warner Brothers studios even going as far as the famous Grauman's Chinese theatre in Hollywood. It's known that Brooks was sat down by studio executives before the film was released and given a list of changes they wanted him to make, toning down the racist language and otherwise de-fanging all of the humor. Brooks, who had final say in the cut of the film, diligently took notes at this meeting, and when it was concluded, threw his notes in the garbage. This sudden shift at the end of Blazing Saddles could be Brooks taking a shot at the excesses, expectations and general idiocy he saw in the studio system. Or he could just have trouble ending his movies. Either way, Blazing Saddles is hysterical from beginning to end. A tightly-written script assisted by Richard Pryor (excepting perhaps that last bit) is packed with humor ranging from the aforementioned epithets to what some consider the very first cinematic fart joke. This stands with his History of the World Part 1 and Young Frankenstein as some of the funniest parodies ever made. So powerful was the imagery, humor and outright Western silliness of Blazing Saddles that it was many, many years before another serious Western was made in Hollywood. For all these reasons and more, it's a movie that belongs on your Netflix queue. If you ever look around the world at crimes perpetuated for the sake of hate based on the color of a victim's skin, their gender or the people with whom they fall in love, I suggest you watch Blazing Saddles. Not only will you find yourself laughing, you'll be reminded that people who act, think and speak based on such hatreds have ignorance and ignorance alone on their side. Mel's filmmaking, jokes and excellent cast will show you just how short-sighted, misinformed, brutish and downright stupid those morons are. And there's a pretty great pie fight at the end, complete with Adolf Hitler. Don't ask. Just watch the flick. Josh Loomis can't always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it's unclear if this week's film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain... IT CAME FROM NETFLIX.

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Blue Ink Alchemy

Don't Stop Not Caring

Don't Stop Not Caring — Blue Ink Alchemy

Last night at the Old City Creative Corridor meeting, I had the privilege of listening to Rakia Reynolds, a creative ambassador of Philadelphia. She spoke about branding ourselves as creative natives of this great town, and one thing in particular she said stuck out in my mind. I'm paraphrasing, here, but it boils down to this: "If you can find what you want to do, do what you want." I issue this challenge to my fellow writers. Walk into a bookstore. I mean, physically. Make the effort to get out in the world and walk amongst the shelves populated by the works of those who've already made their mark in our rarefied field. Take a look in your area of interest - speculative fiction, biography, self-help, instructional books on Twitter, whatever. Chances are you're likely to find something that may, in passing, resemble what you want to do. The thing is, though, it's not exactly what you want to do. So, go do exactly what you want to do. Then, shop the hell out of it. Sooner or later, all of the rejection and all of the negativity you feel you're coming up against will wash away in the wake of one, just one, person giving you an enthusiastic response: "I like this idea. I am ON FIRE about it. Tell me more." I say 'rarefied' because not everybody feels they have what it takes to put words to paper in a coherent way that's easy to read. It's like everybody else who shares our interests knows something we don't. And maybe, on a basic level, we know it too. The difference is, to put it bluntly, we just don't care. If you start something, if you embark on a new creative endeavour, you're going to run into static. There will be resistance. Practicality and logistics will rear their ugly heads to tell you the myriad ways in which what you want to do can't be done. The work of others and a litany of failures will present evidence illustrating why your idea might not be a very good one. What separates the people we envy from the people we've never really heard of is that the people we envy didn't let that static or their own failures stop them from reaching the heights to which they aspired. Being great and making a difference aren't really a matter of doing something entirely new or different. It's a matter of being willing to fail, and making the most of success when it happens. And that willingness, that hunger to capitalize, comes from doing what you want, what you love. As Howard Thurman said, "Don't ask yourself what the world needs. Ask yourself what makes you come alive and then go do that. Because what the world needs is people who have come alive."

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Blue Ink Alchemy

Writing as Mortar

Writing as Mortar — Blue Ink Alchemy

Pop quiz, hotshot. You're not ready to be a professional writer. You want to keep a steady paycheck, which means a steady job, which means no solid blocks of writing for you. You've checked Chuck's list and felt the crushing weight of reality telling you that being a professional writer just isn't going to happen. But the need is still there. That thing that makes you want to put words on paper for people to read for no other reason than they make sense, possibly to entertain, and definitely because nobody else in the world writes exactly the way you do. What do you do? What do you do? You find a way to keep writing. Writing as a skill, especially one aimed at earning a living, is like any other. It takes practice, experimentation, practice, failure and even more practice. Training your ability to write is like training a muscle group in your body. You pick up the weights and repeatedly use the muscles to lift them, or you run in a circle or bike the same route over and over again. The more you do it, the easier it becomes and the more you can do at one time. However, if you have somewhere else to be or something more urgent to do, you can work in a quick burst here and there. It's the same with writing. Even if you're not doing it to earn a living (yet), you can find ways to keep that intellectual muscle in shape. Lunch breaks, mass transit commutes, commercials during a favorite show, loading screens - that's just a few examples off the top of my head. During any of these snippets of time, you can write. It doesn't have to be anything earth-shattering or the next bestseller, but it might lead to something earth-shattering or the next bestseller. You won't know till you try. Anybody who works out can tell you that having a regimen or a trainer is the best way to stay on track with your goals and remain motivated. For the writer, that means feedback. There are quick, dirty ways to get that, too. Find a forum in your field or genre and see if they allow sample or snippet posting for peer review. Facebook notes are good for this, especially if you have friends following you willing to tell you when something stinks to high heaven. If you're feeling up to it, start a blog. Just like when the trainer yells at you to keep you motivated, a peer giving you feedback probably isn't looking to erode your self-esteem. The abuse is for your benefit. It might sting and you might resent them in the moment for it, but when the end result turns out looking much better than your initial effort, you'll be thankful for the harsh words. Try not to take things too personally, unless the critic actually starts attacking your person. Remember, friends don't let friends publish crappy writing. Most of us can't become professional writers right out of the box, and some of us just aren't ready to make that leap yet. We need to lay bricks instead of writing to make a living. However, there's no reason we can't work our art into the mortar between those bricks. If you look at a building held together by mortar, some of the gaps between the bricks or stone are larger than others. It adds character to the building. Again, so it is with writing. Some of our stretches of writing between shifts, tasks and days will be longer than others, and some will be far too short. But the overall effect will be a richer life and one that gives us more motivation, as we seek the next gap between bricks to fill with our mortar of words. The most important thing is to write, and to not stop writing.

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Blue Ink Alchemy

Dragon Tales: The Mistress of Secrets

Dragon Tales: The Mistress of Secrets — Blue Ink Alchemy

Emperor Lysander has a great deal of tools at his disposal. Vicious mercenary bands like the Iron Circle supplement the Imperial Army he is forming in the capitol city of Nerath. He also employs insidious spies, deadly assassins and priests of Bane. Some of his agents serve multiple roles, such as the author of the following correspondence. This report speaks of the foreign powers surrounding the Empire and seeks to inform and advise the Emperor, even as he considers how to weed out the dissenting element in the Nentir Vale: Andrasian the elvish warrior, Krillorien Brightsong the eladrin priest of Pelor, Melanie Good-Melons of the Arcane Tower, and Lyria Thorngage of the Junction Thorngages. Your Most Exalted Majesty, What follows is my accounting of the foreign powers that lurk on the outer fringes of our mighty Empire. Rest assured that I have done all in my power to bring to you any and all answers for questions I anticipated you having. Should you find this information inadequate or incomplete, allow me to first convey my sincere apologies and know that I will either answer whatever questions remain vague in your mind or hunt down further expansion upon the information provided. But I ramble overmuch. Let us begin. The dwarves of Hammerfast remain the most credible threat to the Empire. While they remain quiet within their underground city for now, they made it no secret that they do not recognize your legitimate claim to the lands of the Empire, nor your audacity and courage in crushing all who oppose you. Were our Imperial forces in stronger, better-trained numbers, I would recommend an immediate invasion to excise this dangerous, festering postule from the underside of your Empire. However, seeking new recruits for the Iron Circle and your own Imperial Guard has taken precedence, which I completely understand. To strike without our full strength would be foolish. To the west, the elves of the Feywood have kept their own counsel. We have taken pains not to encroach upon their forests and they in turn have not meddled in our affairs. It is an uneasy peace, and I am afraid I cannot accurately predict how long it will last. The deaths of many of the 'free land owners' who traded with the elves has deprived them of certain goods and crops, and while we have provided them many opportunities to purchase these goods (albeit with an appropriate amount of Imperial taxation) they seem more interested in brooding in the boughs of their trees. Should they become an irritant I recommend as much magical and alchemical fire as possible lobbed into their woods from a good safe distance. Their cousins, the eladrin, continue their practice of trade with the likes of Daggerport and Southport. Their ship captains are courteous to our customs agents but reports indicate that any stoppage beyond a routine check raises a considerable amount of ire. This has lead to a handful of ships being impounded by the Imperial Navy. To their credit, the customs agents are as expedient as they are thorough, and only a few eladrin have been held indefinitely while most are released after receiving a heavy fine and probationary status. I have it on authority that dignitaries from their cities, Meloravia and Sehavia, will soon be in the capitol to discuss the held eladrin with Your Majesty. TO the north the situation is more vague. Beyond the Nentir Vale is a harsh, unforgiving tundra and several rocky passes leading into the Frostjaw Peaks. It is said the Peaks are ruled by a figure known only as 'the Winter King,' and a cadre of frost giants do his bidding. There is also a large tribe of orcs in that area that once swept down the passes into the Vale but have not been heard from in some time, since before Your Majesty made the crossing to reclaim the Empire. As I was unfortunately unable to treat with any of these orcs, I cannot say how willing they would be to assist Your Majesty and Lord Vhynnk in conquering the Nentir Vale. I know you await the return of our ambassadors from the Caliphate of the Seven Stars to the south with as much eagerness as I. In closing I would once again voice my opinion to Your Majesty on the subject of the Iron Circle. You are the final arbiter of who serves the Empire and in what capacity, and Bane shows His favor to those who are uncompromising in their conquest of the weak. But Lord Vhynnk and his converts are not followers of Bane. His patron, Asmodeus, is a dangerous and ambitious god, an aspect shared by the Iron Circle. Should he gain enough numbers and favor, I fear he may move to depose Your Majesty. I feel I would be remiss if I did not mention that Vhynnk was overheard expressing dismay at your agent dispatching the troublesome Dar Gramath and nearly slaying the quartet of troublemakers who came to the aid of the Harkenwold. Rest assured that my next task will be to seek all I can on these four, and discern fact from fiction for Your Majesty. You should know at full who might stand in the way of your rightful conquest. If they be a worthy challenge, we will bring them to Your Majesty to further prove your might. And if they seem too dangerous, Bane will see them cleared from your path before you ever leave the capitol. I remain your humble and devoted servant. Quenora of Avernus Sworn Sword of Bane Imperial Mistress of Whispers All locations, NPCs, spells and equipment copyright Wizards of the Coast unless otherwise noted.

---

Blue Ink Alchemy

Dragon Tales:

Dragon Tales: — Blue Ink Alchemy

Emperor Lysander has a great deal of tools at his disposal. Vicious mercenary bands like the Iron Circle supplement the Imperial Army he is forming in the capitol city of Nerath. He also employs insidious spies, deadly assassins and priests of Bane. Some of his agents serve multiple roles, such as the author of the following correspondence. This report speaks of the foreign powers surrounding the Empire and seeks to inform and advise the Emperor, even as he considers how to weed out the dissenting element in the Nentir Vale: Andrasian the elvish warrior, Krillorien Brightsong the eladrin priest of Pelor, Melanie Good-Melons of the Arcane Tower, and Lyria Thorngage of the Junction Thorngages. Your Most Exalted Majesty, What follows is my accounting of the foreign powers that lurk on the outer fringes of our mighty Empire. Rest assured that I have done all in my power to bring to you any and all answers for questions I anticipated you having. Should you find this information inadequate or incomplete, allow me to first convey my sincere apologies and know that I will either answer whatever questions remain vague in your mind or hunt down further expansion upon the information provided. But I ramble overmuch. Let us begin. The dwarves of Hammerfast remain the most credible threat to the Empire. While they remain quiet within their underground city for now, they made it no secret that they do not recognize your legitimate claim to the lands of the Empire, nor your audacity and courage in crushing all who oppose you. Were our Imperial forces in stronger, better-trained numbers, I would recommend an immediate invasion to excise this dangerous, festering postule from the underside of your Empire. However, seeking new recruits for the Iron Circle and your own Imperial Guard has taken precedence, which I completely understand. To strike without our full strength would be foolish. To the west, the elves of the Feywood have kept their own counsel. We have taken pains not to encroach upon their forests and they in turn have not meddled in our affairs. It is an uneasy peace, and I am afraid I cannot accurately predict how long it will last. The deaths of many of the 'free land owners' who traded with the elves has deprived them of certain goods and crops, and while we have provided them many opportunities to purchase these goods (albeit with an appropriate amount of Imperial taxation) they seem more interested in brooding in the boughs of their trees. Should they become an irritant I recommend as much magical and alchemical fire as possible lobbed into their woods from a good safe distance. Their cousins, the eladrin, continue their practice of trade with the likes of Daggerport and Southport. Their ship captains are courteous to our customs agents but reports indicate that any stoppage beyond a routine check raises a considerable amount of ire. This has lead to a handful of ships being impounded by the Imperial Navy. To their credit, the customs agents are as expedient as they are thorough, and only a few eladrin have been held indefinitely while most are released after receiving a heavy fine and probationary status. I have it on authority that dignitaries from their cities, Meloravia and Sehavia, will soon be in the capitol to discuss the held eladrin with Your Majesty. TO the north the situation is more vague. Beyond the Nentir Vale is a harsh, unforgiving tundra and several rocky passes leading into the Frostjaw Peaks. It is said the Peaks are ruled by a figure known only as 'the Winter King,' and a cadre of frost giants do his bidding. There is also a large tribe of orcs in that area that once swept down the passes into the Vale but have not been heard from in some time, since before Your Majesty made the crossing to reclaim the Empire. As I was unfortunately unable to treat with any of these orcs, I cannot say how willing they would be to assist Your Majesty and Lord Vhynnk in conquering the Nentir Vale. I know you await the return of our ambassadors from the Caliphate of the Seven Stars to the south with as much eagerness as I. In closing I would once again voice my opinion to Your Majesty on the subject of the Iron Circle. You are the final arbiter of who serves the Empire and in what capacity, and Bane shows His favor to those who are uncompromising in their conquest of the weak. But Lord Vhynnk and his converts are not followers of Bane. His patron, Asmodeus, is a dangerous and ambitious god, an aspect shared by the Iron Circle. Should he gain enough numbers and favor, I fear he may move to depose Your Majesty. I feel I would be remiss if I did not mention that Vhynnk was overheard expressing dismay at your agent dispatching the troublesome Dar Gramath and nearly slaying the quartet of troublemakers who came to the aid of the Harkenwold. Rest assured that my next task will be to seek all I can on these four, and discern fact from fiction for Your Majesty. You should know at full who might stand in the way of your rightful conquest. If they be a worthy challenge, we will bring them to Your Majesty to further prove your might. And if they seem too dangerous, Bane will see them cleared from your path before you ever leave the capitol. I remain your humble and devoted servant. Quenora of Avernus Sworn Sword of Bane Imperial Mistress of Whispers All locations, NPCs, spells and equipment copyright Wizards of the Coast unless otherwise noted.

---

Blue Ink Alchemy

A Beginner's Guide to Westeros: Great Houses

A Beginner's Guide to Westeros: Great Houses — Blue Ink Alchemy

The Game of Thrones is now showing on HBO. The production and promotion of this series has been fantastic, but not everyone tuning in may be familiar with the series of books upon which it is based. A Song of Ice and Fire, currently spanning four expansive novels, introduced us to the world of Westros and provides a plethora of extensive information. Presented here is a bit of that information to help newcomers to this lush and living world get and keep their bearings. All information is presented free of spoilers and describe the circumstances at the beginning of the series...

House Baratheon

Sigil: Stag Words: Ours Is The Fury After the deposing of long-standing House Targaryen, it could be said that the words of House Baratheon should become 'To the victor, the spoils.' It was Robert Baratheon, roused in his anger over the death of his beloved Lyanna Stark, who rallied the nobles of the Seven Kingdoms against Mad King Aerys. Boisterous both in battle and out, Robert swept from his ancestral home of Storm's End to take his vegeance. When it was over, he had won the Iron Throne. He wed Cersei Lannister to ensure that House's allegiance and named his mentor Jon Arryn the Hand of the King. His elder brother, taciturn Stannis, held the former Targaryen keep of Dragonstone, while his young brother, the dashing Renly, remained at Storm's End. Baratheon is a popular house, now more than ever, and while King Robert is perhaps not the most subtle when it comes to statecraft, he does his best to be a king of the people.

House Lannister

Sigil: Lion Words: Hear Me Roar! When Robert Baratheon rode out to take the Iron Throne, the Lannisters of Casterly Rock answered his call. Tywin Lannister, lord of the House and feared by many, perhaps caught the scent of opportunity in the campaign of man with the appetites and aptitude of Robert. His twins, Cersei and Jaime, indeed played a great part in the fall of House Targaryen and the rise of Robert. Jaime, a member of the elite Kingsguard, was responsible for Aerys himself falling under the sword, an act which earned him the dubious nickname "Kingslayer." Bearing such a title is something Jaime shares with his younger brother, Tyrion. It is unclear if Tyrion is referred to as "the Imp" due to his dwarfish stature or the keen, conniving nature of his mind. Either way, both he and Jamie came to reside in King's Landing with their sister, who has become Queen of the Seven Kingdoms.

House Stark

Sigil: Direwolf Words: Winter Is Coming The history of House Stark stretches back far beyond the unification of the Seven Kingdoms. It is said that they still bear the blood of the First Men, the mysterious people of the North who have all but vanished from Westros. Starks are known for quiet resolve, unyeilding strength and uncompromising honor, and no Stark better embodies these qualities than Eddard, Lord of Winterfell and Warden of the North. His sister, Lyanna, was taken from both him and her beloved Robert Baratheon long before her time, and when Robert took up arms to right this great wrong, Ned was right beside him. After it was done, however, he returned to Winterfell, dwelling here with his wife, Catelyn of House Tully, and their children - Robb, Sansa, Arya, Bran and Rickon. Among his household is also his bastard son Jon Snow and his ward, Theon Greyjoy. Ned feels his duty is to the North, to support the Night's Watch and maintain the vigil of Winterfell. After all, winter is coming...

House Targaryen

Sigil: Three-headed Dragon Words: Fire & Blood For many years, the Targaryen kings ruled from the Red Keep in the capitol of King's Landing. It was Aegon I, after all, who used his dragons to bring the Seven Kingdoms to heel. Since then, dragons have passed out of common knowledge into myth, and the descendants of Aegon have mostly married within their own House. This had lead to members of the family sometimes displaying rather eccentric personalities. Aerys, the last Targaryen King, was called 'mad' for this very reason, and many who knew him, from Jaime Lannister to Eddard Stark, would tell you exactly why. Aerys' eldest son, however, was apparently free of the taint of madness. Rhaegar was a bookish but valiant and capable knight whom several believe would have made a better king, had he not been born second and had he not absconded with Lyanna. When Aerys fell, his younger children were spirited across the Narrow Sea to Pentos. Viserys is very much Aerys' son, from his countenance to his mentality, while Danaerys is a young and untested princess who has always been under the unkind hands and darkening shadow of her brother. If you would like to know more, please consult the official HBO viewer's guide or the Wiki of Ice and Fire (beware of spoilers). Also, if you find anything amiss or incorrect in these guides, please inform me.

---

Blue Ink Alchemy

A Beginner's Guide to Westeros: Great Houses

A Beginner's Guide to Westeros: Great Houses — Blue Ink Alchemy

The Game of Thrones is now showing on HBO. The production and promotion of this series has been fantastic, but not everyone tuning in may be familiar with the series of books upon which it is based. A Song of Ice and Fire, currently spanning four expansive novels, introduced us to the world of Westros and provides a plethora of extensive information. Presented here is a bit of that information to help newcomers to this lush and living world get and keep their bearings. All information is presented free of spoilers and describe the circumstances at the beginning of the series...

House Baratheon

Sigil: Stag Words: Ours Is The Fury After the deposing of long-standing House Targaryen, it could be said that the words of House Baratheon should become 'To the victor, the spoils.' It was Robert Baratheon, roused in his anger over the death of his beloved Lyanna Stark, who rallied the nobles of the Seven Kingdoms against Mad King Aerys. Boisterous both in battle and out, Robert swept from his ancestral home of Storm's End to take his vegeance. When it was over, he had won the Iron Throne. He wed Cersei Lannister to ensure that House's allegiance and named his mentor Jon Arryn the Hand of the King. His elder brother, taciturn Stannis, held the former Targaryen keep of Dragonstone, while his young brother, the dashing Renly, remained at Storm's End. Baratheon is a popular house, now more than ever, and while King Robert is perhaps not the most subtle when it comes to statecraft, he does his best to be a king of the people.

House Lannister

Sigil: Lion Words: Hear Me Roar! When Robert Baratheon rode out to take the Iron Throne, the Lannisters of Casterly Rock answered his call. Tywin Lannister, lord of the House and feared by many, perhaps caught the scent of opportunity in the campaign of man with the appetites and aptitude of Robert. His twins, Cersei and Jaime, indeed played a great part in the fall of House Targaryen and the rise of Robert. Jaime, a member of the elite Kingsguard, was responsible for Aerys himself falling under the sword, an act which earned him the dubious nickname "Kingslayer." Bearing such a title is something Jaime shares with his younger brother, Tyrion. It is unclear if Tyrion is referred to as "the Imp" due to his dwarfish stature or the keen, conniving nature of his mind. Either way, both he and Jamie came to reside in King's Landing with their sister, who has become Queen of the Seven Kingdoms.

House Stark

Sigil: Direwolf Words: Winter Is Coming The history of House Stark stretches back far beyond the unification of the Seven Kingdoms. It is said that they still bear the blood of the First Men, the mysterious people of the North who have all but vanished from Westros. Starks are known for quiet resolve, unyeilding strength and uncompromising honor, and no Stark better embodies these qualities than Eddard, Lord of Winterfell and Warden of the North. His sister, Lyanna, was taken from both him and her beloved Robert Baratheon long before her time, and when Robert took up arms to right this great wrong, Ned was right beside him. After it was done, however, he returned to Winterfell, dwelling here with his wife, Catelyn of House Tully, and their children - Robb, Sansa, Arya, Bran and Rickon. Among his household is also his bastard son Jon Snow and his ward, Theon Greyjoy. Ned feels his duty is to the North, to support the Night's Watch and maintain the vigil of Winterfell. After all, winter is coming...

House Targaryen

Sigil: Three-headed Dragon Words: Fire & Blood For many years, the Targaryen kings ruled from the Red Keep in the capitol of King's Landing. It was Aegon I, after all, who used his dragons to bring the Seven Kingdoms to heel. Since then, dragons have passed out of common knowledge into myth, and the descendants of Aegon have mostly married within their own House. This had lead to members of the family sometimes displaying rather eccentric personalities. Aerys, the last Targaryen King, was called 'mad' for this very reason, and many who knew him, from Jaime Lannister to Eddard Stark, would tell you exactly why. Aerys' eldest son, however, was apparently free of the taint of madness. Rhaegar was a bookish but valiant and capable knight whom several believe would have made a better king, had he not been born second and had he not absconded with Lyanna. When Aerys fell, his younger children were spirited across the Narrow Sea to Pentos. Viserys is very much Aerys' son, from his countenance to his mentality, while Danaerys is a young and untested princess who has always been under the unkind hands and darkening shadow of her brother. If you would like to know more, please consult the official HBO viewer's guide or the Wiki of Ice and Fire (beware of spoilers). Also, if you find anything amiss or incorrect in these guides, please inform me.

---

Blue Ink Alchemy

A Beginner's Guide to Westros: Great Houses

A Beginner's Guide to Westros: Great Houses — Blue Ink Alchemy

The Game of Thrones is now showing on HBO. The production and promotion of this series has been fantastic, but not everyone tuning in may be familiar with the series of books upon which it is based. A Song of Ice and Fire, currently spanning four expansive novels, introduced us to the world of Westros and provides a plethora of extensive information. Presented here is a bit of that information to help newcomers to this lush and living world get and keep their bearings. All information is presented free of spoilers and describe the circumstances at the beginning of the series...

House Baratheon

Sigil: Stag Words: Ours Is The Fury After the deposing of long-standing House Targaryen, it could be said that the words of House Baratheon should become 'To the victor, the spoils.' It was Robert Baratheon, roused in his anger over the death of his beloved Lyanna Stark, who rallied the nobles of the Seven Kingdoms against Mad King Aerys. Boisterous both in battle and out, Robert swept from his ancestral home of Storm's End to take his vegeance. When it was over, he had won the Iron Throne. He wed Cersei Lannister to ensure that House's allegiance and named his mentor Jon Arryn the Hand of the King. His elder brother, taciturn Stannis, held the former Targaryen keep of Dragonstone, while his young brother, the dashing Renly, remained at Storm's End. Baratheon is a popular house, now more than ever, and while King Robert is perhaps not the most subtle when it comes to statecraft, he does his best to be a king of the people.

House Lannister

Sigil: Lion Words: Hear Me Roar! When Robert Baratheon rode out to take the Iron Throne, the Lannisters of Casterly Rock answered his call. Tywin Lannister, lord of the House and feared by many, perhaps caught the scent of opportunity in the campaign of man with the appetites and aptitude of Robert. His twins, Cersei and Jaime, indeed played a great part in the fall of House Targaryen and the rise of Robert. Jaime, a member of the elite Kingsguard, was responsible for Aerys himself falling under the sword, an act which earned him the dubious nickname "Kingslayer." Bearing such a title is something Jaime shares with his younger brother, Tyrion. It is unclear if Tyrion is referred to as "the Imp" due to his dwarfish stature or the keen, conniving nature of his mind. Either way, both he and Jamie came to reside in King's Landing with their sister, who has become Queen of the Seven Kingdoms.

House Stark

Sigil: Direwolf Words: Winter Is Coming The history of House Stark stretches back far beyond the unification of the Seven Kingdoms. It is said that they still bear the blood of the First Men, the mysterious people of the North who have all but vanished from Westros. Starks are known for quiet resolve, unyeilding strength and uncompromising honor, and no Stark better embodies these qualities than Eddard, Lord of Winterfell and Warden of the North. His sister, Lyanna, was taken from both him and her beloved Robert Baratheon long before her time, and when Robert took up arms to right this great wrong, Ned was right beside him. After it was done, however, he returned to Winterfell, dwelling here with his wife, Catelyn of House Tully, and their children - Robb, Sansa, Arya, Bran and Rickon. Among his household is also his bastard son Jon Snow and his ward, Theon Greyjoy. Ned feels his duty is to the North, to support the Night's Watch and maintain the vigil of Winterfell. After all, winter is coming...

House Targaryen

Sigil: Three-headed Dragon Words: Fire & Blood For many years, the Targaryen kings ruled from the Red Keep in the capitol of King's Landing. It was Aegon I, after all, who used his dragons to bring the Seven Kingdoms to heel. Since then, dragons have passed out of common knowledge into myth, and the descendants of Aegon have mostly married within their own House. This had lead to members of the family sometimes displaying rather eccentric personalities. Aerys, the last Targaryen King, was called 'mad' for this very reason, and many who knew him, from Jaime Lannister to Eddard Stark, would tell you exactly why. Aerys' eldest son, however, was apparently free of the taint of madness. Rhaegar was a bookish but valiant and capable knight whom several believe would have made a better king, had he not been born second and had he not absconded with Lyanna. When Aerys fell, his younger children were spirited across the Narrow Sea to Pentos. Viserys is very much Aerys' son, from his countenance to his mentality, while Danaerys is a young and untested princess who has always been under the unkind hands and darkening shadow of her brother. If you would like to know more, please consult the official HBO viewer's guide or the Wiki of Ice and Fire (beware of spoilers). Also, if you find anything amiss or incorrect in these guides, please inform me.

---

Blue Ink Alchemy

A Beginner's Guide to Westros: Great Houses

A Beginner's Guide to Westros: Great Houses — Blue Ink Alchemy

The Game of Thrones is now showing on HBO. The production and promotion of this series has been fantastic, but not everyone tuning in may be familiar with the series of books upon which it is based. A Song of Ice and Fire, currently spanning four expansive novels, introduced us to the world of Westros and provides a plethora of extensive information. Presented here is a bit of that information to help newcomers to this lush and living world get and keep their bearings. All information is presented free of spoilers and describe the circumstances at the beginning of the series...

House Baratheon

Sigil: Stag Words: Ours Is The Fury After the deposing of long-standing House Targaryen, it could be said that the words of House Baratheon should become 'To the victor, the spoils.' It was Robert Baratheon, roused in his anger over the death of his beloved Lyanna Stark, who rallied the nobles of the Seven Kingdoms against Mad King Aerys. Boisterous both in battle and out, Robert swept from his ancestral home of Storm's End to take his vegeance. When it was over, he had won the Iron Throne. He wed Cersei Lannister to ensure that House's allegiance and named his mentor Jon Arryn the Hand of the King. His elder brother, taciturn Stannis, held the former Targaryen keep of Dragonstone, while his young brother, the dashing Renly, remained at Storm's End. Baratheon is a popular house, now more than ever, and while King Robert is perhaps not the most subtle when it comes to statecraft, he does his best to be a king of the people.

House Lannister

Sigil: Lion Words: Hear Me Roar! When Robert Baratheon rode out to take the Iron Throne, the Lannisters of Casterly Rock answered his call. Tywin Lannister, lord of the House and feared by many, perhaps caught the scent of opportunity in the campaign of man with the appetites and aptitude of Robert. His twins, Cersei and Jaime, indeed played a great part in the fall of House Targaryen and the rise of Robert. Jaime, a member of the elite Kingsguard, was responsible for Aerys himself falling under the sword, an act which earned him the dubious nickname "Kingslayer." Bearing such a title is something Jaime shares with his younger brother, Tyrion. It is unclear if Tyrion is referred to as "the Imp" due to his dwarfish stature or the keen, conniving nature of his mind. Either way, both he and Jamie came to reside in King's Landing with their sister, who has become Queen of the Seven Kingdoms.

House Stark

Sigil: Direwolf Words: Winter Is Coming The history of House Stark stretches back far beyond the unification of the Seven Kingdoms. It is said that they still bear the blood of the First Men, the mysterious people of the North who have all but vanished from Westros. Starks are known for quiet resolve, unyeilding strength and uncompromising honor, and no Stark better embodies these qualities than Eddard, Lord of Winterfell and Warden of the North. His sister, Lyanna, was taken from both him and her beloved Robert Baratheon long before her time, and when Robert took up arms to right this great wrong, Ned was right beside him. After it was done, however, he returned to Winterfell, dwelling here with his wife, Catelyn of House Tully, and their children - Robb, Sansa, Arya, Bran and Rickon. Among his household is also his bastard son Jon Snow and his ward, Theon Greyjoy. Ned feels his duty is to the North, to support the Night's Watch and maintain the vigil of Winterfell. After all, winter is coming...

House Targaryen

Sigil: Three-headed Dragon Words: Fire & Blood For many years, the Targaryen kings ruled from the Red Keep in the capitol of King's Landing. It was Aegon I, after all, who used his dragons to bring the Seven Kingdoms to heel. Since then, dragons have passed out of common knowledge into myth, and the descendants of Aegon have mostly married within their own House. This had lead to members of the family sometimes displaying rather eccentric personalities. Aerys, the last Targaryen King, was called 'mad' for this very reason, and many who knew him, from Jaime Lannister to Eddard Stark, would tell you exactly why. Aerys' eldest son, however, was apparently free of the taint of madness. Rhaegar was a bookish but valiant and capable knight whom several believe would have made a better king, had he not been born second and had he not absconded with Lyanna. When Aerys fell, his younger children were spirited across the Narrow Sea to Pentos. Viserys is very much Aerys' son, from his countenance to his mentality, while Danaerys is a young and untested princess who has always been under the unkind hands and darkening shadow of her brother.

---

Blue Ink Alchemy

IT CAME FROM NETFLIX! Shutter Island

IT CAME FROM NETFLIX! Shutter Island — Blue Ink Alchemy

{No audio this week, still adjusting to the new work schedule.} I'm sure that most of the people reading this review have at least one dog-eared copy of a paperback novel lying around somewhere. Let me ask you something: why have you read that book more than once? I'm willing to hazard a guess. Even though you know how the story ends, the telling of the story is still a worthwhile and entertaining experience. That, in a nutshell, is how I would describe Shutter Island. Set in the mid-50s, the eponymous island is home to an asylum for the criminally insane. One of the inmates has escaped and there's a gigantic hurricane bearing down on Boston. Enter US Marshall Teddy Daniels and new partner Chuck Aule, arriving on the island just before the storm. As much as their primary purpose is to find the missing crazy woman, Daniels is also looking for something, or someone, else. And on this island, it seems like everybody has something to hide, including Teddy himself. Now, it's a year on from when this movie came out, and it's highly likely you've at least seen a trailer, or gotten the twist ending spoiled for you. No, I'm not going to spoil it here, but even if you have figured out how this one is going to end, that doesn't mean you shouldn't watch it. Like that beloved paperback, Shutter Island is less about telling a new story and more about telling a good one. And cinematic storytellers don't come much better than Martin Scorsese.
Some of these visuals are just stunning. It's no secret Scorsese has an eye for talent. He's worked with editor Thelma Schoonmaker since Raging Bull. He made eight films with Robert DeNiro, including the aforementioned Raging Bull which DeNiro convinced Scorsese to do for reasons that may have saved the director's life. And here, in Shutter Island, we have his fourth collaboration with Leonardo DiCaprio. Once again, Scorsese gives Leo an opportunity to show his chops as a wise-cracking tough guy, an emotionally scarred and troubled man, an intelligent detective and even a veteran. Pulling off these disparate beats while keeping the character consistent and compelling is no mean feat, but DiCaprio inhabits his role perfectly. In addition to this strong lead, Shutter Island features a fantastic supporting cast of character actors. While Mark Ruffalo, Ben Kingsley and Michelle Williams do a great deal of the heavy lifting in this tale, there are some small or even one-scene performances that stick out in one's mind, speaking to the power of these actors in their roles. Ted Levine, Jackie Earl Haley and Elias Kostas do such a fantastic job nailing their characters down in just a handful of lines - or, in Kostas' case, about two lines and some very effective leering - that they're likely to be remembered long after the credits roll.
Forgive me, it's Sir Ben Kingsley. All of this great acting is framed in the extremely atmospheric setting of Shutter Island itself. Between the old Civil War construction, the archaic equipment and the period dress of the 1950s, the film takes on a noir detective feeling that works as a great, concrete counterpoint to the psychological horror that is the crux of the narrative. As much as Daniels begins to question and cling to his sanity, so does the audience attempt to hold onto the mystery as it was introduced, even as a new mystery slowly emerges to take its place. Granted, some viewers will have seen the 'new' mystery coming from the beginning, but as I said before, this is a yarn more concerned with telling the tale well than the tale being told. In that aspect, the only real flaw that can be pointed out in Shutter Island is the nature of the plot that makes the twist at the end, in some measure, predictable. For a movie that seems to be aiming to be equal parts Inception and old carnival spook house (a comparison that wouldn't have made sense when the movie came out), the lack of screenplay contrivance can seem incongruous, like it's too straight-forward in the telling. The film, however, plays this weakness as a strength, making the plot just about the least important thing about it. The talent, artistry, atmosphere and characters completely overwhelm the plot and construct a very good storytelling experience. It belongs on your Netflix queue if you're a fan of any of these actors, detective stories right at home in a Lovecraft anthology, old-fashioned head-screwy horror or, it goes without saying, Martin Scorsese. The man's proven over and over that his talent for telling stories through film is peerless, and Shutter Island is no exception. Josh Loomis can't always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it's unclear if this week's film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain... IT CAME FROM NETFLIX.

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Blue Ink Alchemy

Be Social, Be Real

Be Social, Be Real — Blue Ink Alchemy

I'm trying out HootSuite. These owls look like social creatures. I've always been more comfortable with on-line conversations than real ones. it might be because, for most online conversations one-on-one with people, I'm a known quantity. People know what to expect with me, and for the most part they like what they expect. There's a reduced amount of anxiety involved. I'm less concerned about embarassing myself with somebody I know than with a stranger, especiall a stranger I'd like to impress for one reason or another. I guess we can chalk that up under the heading "massive nerd" in my personality dossier. The meteoric rise of social media in all its myriad and ever-evolving forms has been a bit of a boon for people like me. It is easier than ever to put yourself and what you do out in front of an objective and potentially interested audience, where the true tests of your work's quality lie. For writers, the process of rejection and resubmission was the only real way to test their work for a very long time. It's still viable and I'm not going to discount how important it is to pitch as often as possible, but at the same time, you can start a blog, tweet your posts and get feedback for no investment other than time. And if your writing improves, it's time well spent. So it is with other creative professions, especially if they have anything to do with the Internet. Online designers and interactive developers need to discover and leverage the power of social media, if they haven't already. Freelancers can drum up work and established employees can cultivate business contacts and fellow online pioneers with the power of these tools. You might be surprised, but the feeds and tweets from those who might seem to be impersonal or even automated can lead to new, exciting places if you pay close attention to what's being said in which directions. Don't misunderstand, spam on Twitter or any other social media feed can be just as irritating as it is in your inbox. However, a Twitter bot or news feed from a company can be just as promising as a lead from a friend. Be it from a living, breathing person or a generated bit of data, turning an interesting bit of data into the next big thing takes the right timing, the right skill set, the right environment and the right need. Most of all, though, it takes you being there to take advantage of it. So it is with the real world. You never know when the next big thing is waiting for you in your immediate future unless you put yourself out there with an open mind to process what your eyes are seeing and your ears are seeing. I would not have a manuscript under review by two fantastic ladies in the publishing industry if I hadn't put myself out there. Getting that great job means showing up in person - not just for the interview but every day after. Don't just heat up the seat your in, heat up the whole environment. That's when you make your mark. That's when you become invaluable, and invaluable is what you want to be if you want more than just a job to fill the hours and occasionally pay you some money. It plays back into itself, as well. When you begin to inhabit a position, it pays to branch out from there. Both in social media and in person, if you know it or not, you're putting a face on the people for whom you work. In some circumstances, you might be working for yourself, which is cool. People like to know who's sending them hot new items in person instead of just reading text off of a screen. And if you're employed by another, your personality, geniality and willingness to step out and be seen & heard speaks to the trust, passion and drive of the people behind you. This isn't to say that every interaction with someone else in the industry you work in will reflect one way or another on your employers, but it is something to keep in mind when you approach the reception table, pin a name tag to your shirt and start shaking hands. Those people you exchange pleasantries with tonight may be people you tweet with in the days and weeks to come. And from those interactions, you may yeild more business. Conversion is conversion, no matter how it happens. Creative folks sometimes fancy themselves mavericks, loners, those wild people on the fringes of society with a glimmer in their eye and gin on their breath. But when you get right down to it, if you want to make a living doing what you love you have to take what you love to the people who'll love it and pay you to make more. That means bathing, brushing your teeth, shaking hands and becoming engaged in social activity. Social media has made it easier to do this, and expanded the possibilities far beyond what could have been considered just a few years ago. But it's still essential for there to be a person behind the feeds. When one of them grows from a simple tweet or comment to the next step on the road between where you are and where you want to be, it's going to require facetime. As much as social media has given us so many more ways to get to that next step, it's not enough to just be social. You need to be social and be real.

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Blue Ink Alchemy

DLC Review: Overlord & Arrival

DLC Review: Overlord & Arrival — Blue Ink Alchemy

Like an interplanetary Paul Revere, Commander Shepard has been moving from system to system, race to race, all but screaming "The Reapers are coming, the Reapers are coming!" His warnings have largely gone unheeded. Giant intergalactic Lovecraftian space-horrors? Pshaw! here's politics and racism to worry about. Even Cerberus puts the occasional science project gone wrong ahead of preparation for the Reaper's invasion. But Shepard never really liked those guys anyway... Two large, mission-oriented DLC packs had gone unplayed on my X-Box until recently. They couldn't be more different. Overlord has almost nothing to do with the overarching plot of the three Mass Effect games, while Arrival is meant to bridge the second and third games together. I did play through both of them, and it's worth noting that some points of truly challenging combat I encountered might have been due to me doing so with the difficulty set to Insanity. Overlord seems to be set before the end of Mass Effect 2's campaign. One of Cerberus' projects has gone awry, and the Illusive Man has tapped Commander Shepard and his team to get the science team back in communication and on schedule. All Shepard is told is that the scientists assigned to the project were pushing the boundaries of virtual intelligence (VI) technology. The remote facility is divided among several stations on the planet's surface, requiring the use of an overland vehicle to reach them all. Thankfully, the Normandy is equipped with a cutting-edge hovertank well-designed to handle anything a hostile planet can throw at it: the Hammerhead. If you didn't bother getting the Firewalker DLC pack, or weren't able to access it due to not being part of the Cerberus network, now's your chance to see just how much BioWare improved in vehicle section handling since the first Mass Effect. That is to say, "a little." The controls of the Hammerhead are still finicky, with the added third dimension of jumping making maneuvers slightly more complex. While using guided rockets instead of swapping between a big rail gun with a long cooldown and a coaxial machine gun simplifies combat, it's a bit too simplified as there is no shield or hull strength indicators. The Hammerhead will flash an flicker as it takes damage and a warning siren will sound, but it's hard to gauge just how much more punishment the vehicle can take before it pops, or when it's safe to emerge from cover. The worst, however, is having to do precision platforming with the damn thing. I'll say that again: precision platforming with a vehicle that handles like a flying redneck pickup full of Natty Ice kegs. Outside of the vehicle, we have a decent, well-paced story with some intriguing and downright creepy moments made of equal parts Harlan Ellison and a carnival spookhouse. I don't want to say too much more because it's worth experiencing, even if it ends up feeling somewhat superfluous. By the time I got to Overlord, most of my problems with the Geth had been resolved, and Legion had become a trusted friend and fellow sniping buddy. But even without my personal inclinations, Overlord is an inconsequential yet oddly entertaining extension of Mass Effect 2's gameplay. The other DLC is Arrival. Contacted by the somewhat enigmatic Admiral Hackett, Shepard is asked to personally liberate a friend of the Alliance flag officer's, one Doctor Kenson, from a batarian prison. She has apparently uncovered evidence of an imminent Reaper invasion. As the lone voice in the dark certain the Reapers are coming, Shepard is happy to help. There are two catches, however. One, Shepard must go in alone. Two, the good doctor has plans of her own... The early part of this DLC mission is something I really enjoyed. I'm a fan of stealth gameplay, and being able to circumvent, mitigate or barely avoid combat is an experience I can't help but enjoy. So when I heard that at least part of this mission featured Shepard alone, slipping through the prison undetected to break Kenson out of the lockup, I was eager to play it. While there were no cardboard boxes or many clever guard-distracting tricks to speak of, avoiding sight lines and overhearing conversations still had me smiling. After that it's a string of familiar combat encounters, a wickedly poised decision Shepard has to make, and one of the biggest letdowns in Mass Effect history. Up until the very end of Arrival, the Reaper known as Harbinger was an aloof, implacable and cunning villain. As opposed to Sovereign's blatant notion that Reapers are too unfathomable for puny, fleshy mortals to understand, Harbinger played its cards close to its metallic vest, working through intermediaries and seeking out Shepard directly through its Collector catspaws. That image was ruined by Arrival, when Harbinger appears to Shepard to dump an all-too-familiar "NOTHING CAN STOP US NOW" line of conversation on the long-suffering Commander. Somebody at BioWare needs to learn that villains only remain cool and interesting when they keep their big mouths shut. Only the arrival of Admiral Hackett himself in the epilogue, setting up the interesting circumstances for Mass Effect 3's opening, save this DLC from being a big letdown at the very end. All in all, the DLC packs weren't anything terrific, but each has its good points. Overlord's creepiness and harrowing final boss fight coupled with Arrival's stealth option made them worth the investment, and wet my whistle for Mass Effect 3.
Courtesy American Superman of DeviantArt We're waiting for you, Reapers. Bring it.

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Blue Ink Alchemy

Dragon Tales: The Captain of the Tower Guard

Dragon Tales: The Captain of the Tower Guard — Blue Ink Alchemy

It takes more than a few individuals to run a keep of any size. The small cadre of dwarves from Hammerfast have outdone themselves rebuilding the former Keep on the Shadowfell, its ten mighty towers rising up above the village of Winterhaven in the northwest reach of the Nentir Vale. A few volunteers have come to support, maintain and defend the Keep, which is now held by four known throughout the Nentir Vale as heroes: Andrasian the elvish warrior, Krillorien Brightsong the eladrin priest of Pelor, Melanie Good-Melons of the Arcane Tower, and Lyria Thorngage of the Junction Thorngages. The sun rises above the westernmost Frostjaw Peaks. There is a light coating of snow on the ground, a testament to the odd weather of late. While much of it will melt even as more falls, it adds an extra layer of chill to the men and women standing at uneasy attention in the courtyard in front of the main hall. As the sun's light spills over the walls and across the assembly completely, the doors open. Instead of the castle's masters, four unfamiliar individuals emerge. Leading them is a tall, broad-shouldered dragonborn, clad in a suit of plate and carrying a sword at his side and a shield across his back. His scales look as if they were hammered out of pure mithril, the way they catch the dawning light. Cool, emerald eyes look from one face to the other amongst the volunteers before him. When he speaks, his voice is rough and heard easily in every corner of the courtyard. "All right, recruits, listen up! My name is Silverscale, and you will refer to me as 'Captain Silverscale', 'Captain' or simply 'Sir.' I have been given the great honor of putting the defense of this Keep in order. You may be here because of the heroes who made this Keep their own, or because you've heard of the snow orcs or frost giants or the Winter King to the north. Frankly, I don't care why you're here. What I do care about is your performance as guardsmen, your dedication to the defense of this Keep and your willingness to die to defend those that dwell within it and in Winterhaven below us. If you don't believe you can do that, the gatehouse is immediately behind you. I'd rather see your backsides now than see them running away from us on the battlefield!" After a moment, Silverscale nods and looks down. Directly in front of him, arms crossed, is a dwarf in a very fine suit. His beard is immaculate, with a number of braids containing delicately-spun gold thread. He is, if possible, even less impressed with the would-be guardsman than Silverscale. "Immediately in front of me in Bensun Stonecarver, the Keep's seneschal. His dwarven crafts and craftsmen made this Keep what it is today. I'm sure a couple bards you might have heard may refer to Seneschal Stonecarver as a 'butler.' But he is in charge of the Keep when its masters are away, so when he tells you to do something, YOU DO IT." Bensun nods solemnly. Silverscale gestures to his left, where a young human stands, his face the only sympathetic one the recruits will find. Dressed in a smith's apron, a roughspun shirt and dark gloves, he looks like he was pulled away from either a hot forge fire before his work was done, or his bed at too early an hour. "His apprentice, to my left, is the young man who will be tending to your arms and armor when you go and get banged up. He comes to us from the Harkenwold, as do many of you. His name is Alton Gramath. He's also joining us on the Guard, but don't take it easy on him just because he's our smith or because his father died for defending your homes. You should be so lucky to leave this life the way Dar Gramath did!" Alton looks a bit sheepish at the mention of his father. He runs a hand through long-cut dark hair and manages to smile a little. On Silverscale's otherside is an older human, his grey-white beard spilling down to the embroidered breast of his arcane robes. He leans against a tall staff topped with a faceted crystal and decorated with runes another eldritch symbols. "To my right is Quillion of the Tower. He's a mage, a scribe and our Keep's local herbologist. He's here to study the interesting phenomena in the Keep's bowels, which brings up another point of order. The subterranean levels of the Keep are off-limits for those not on duty to guard the mage or any of his guests. If any guardsman is found below ground afer hours for any reason, you will answer directly to ME. Is that understood?" There's a murmur from the assembly. Silverscale scowls. "I didn't hear that." "Yes, sir." The response is half-hearted. Silverscale roars. "LOUDER!" "YES, SIR!" The dragonborn crosses his arms and nods. "Welcome to the Tower Guard. Your training begins NOW." All locations, NPCs, spells and equipment copyright Wizards of the Coast unless otherwise noted.

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Blue Ink Alchemy

Review: Dragon Age II

Review: Dragon Age II — Blue Ink Alchemy

I may very well be the last person in the world to review this game. There's already been a Zero Punctuation on the subject, as well as an Extra Punctuation that everybody should read. Just about everybody from top-tier professionals to amateurs with forum logins have gotten in on the act. My wife recently posted a rather balanced review, so it's far past time I did the same. Anyway, grab yourself a drink, let's get started.
Fenris is way ahead of you. Instead of picking up where Dragon Age: Origins left off, Dragon Age II actually takes us back in time, to the aftermath of the rout at Ostagar. As the tide of the Blight washes over the little town of Lothering, the Hawke family flees from the oncoming darkspawn. Helping their mother escape is Carver, the headstrong warrior; Bethany, the fearful apostate mage; and you. You are not the savior of Ferelden, a Grey Warden or anything else particular special. You are Hawke, and the game would have you believe your path is not determined, as this story is more personal and less sweeping. While the story does open up more of the world of Thedas, in the form of Kirkwall and some of the surrounding countryside, it also eliminates many of the features that made Dragon Age: Origins such a daunting, time-consuming and ultimately epic experience. The result is a game that is much shorter, but also lacking in many areas that, given more time, could have been fleshed out and made it an overall better experience.
Get used to the Wounded Coast. Hey, at least it looks nice. For one thing, just a little more time in development could have yielded some variations on the caverns, warehouses and basements you have to traipse through for various side quests. Changing the entry points and door locations doesn't make up for using the same map over and over, nor does BioWare get away with it because they hang lampshades on it. It's pure laziness, and one of the indications that this game was rushed out the door before it was really ready for play. I'm not just talking about things like bugs, either. The story needs work, as it's barely there. You have three strung-together acts with increasingly engaging subject matter. While the framing device works, it still feels like one act has almost nothing to do with the others. On a level, they almost feel interchangeable, with the exception of the very end of the game. While I feel the second and third acts had some decent story points, and characters changing over the years is always good to see, the first act felt particularly shallow and disposable, given the plethora of side-quests one has to engage in to get the appropriate amount of money to undertake the main quest to make even more money. I'd like to think, at least on my first playthrough, that there's more to Hawke than that.
He does look good in furs, though. While I'm still not entirely sure why the proportions of the elves had to be changed so dramatically to differentiate them from humans, most of the art direction in Dragon Age II is very well done. In addition to its looks, there's also a feel of actual life to Kirkwall. Hearing snippets of conversations from others and being greeted on the street lent the setting of the game a bit of weight and immersion that I appreciated. It gave me one more reason to power through side quests, other than being sick of the copy-pasted maps. I wanted to get back to Kirkwall, wander between its high stone buildings and listen to my party members banter. One of the true saving graces of the game is its characters. They're well-rounded and rather deep, as is appropriate for a BioWare game, but they all have very different reasons for supporting and travelling with Hawke. Another good thing is the somewhat simplified combat mechanics, coupled with a vastly improved skill tree system. I was very happy to not have to spend any skill points on Coercion, Herbalism or anything else that took away from my ability to melt faces. I played a mage, as I tend to do, and my skill points should go to magical skills, not potion-making. Speaking of mages, let's get back to the characters and one of the reasons I feel this game is worthwhile.
Hawke will stab you in the face, then melt it. As Dragon Age II carries on, you get to know the characters, develop friendships and even engage in romances. One of the things that the writers never forget is that everybody has disparate motivations for doing what they do. And sometimes, those motivations will test their relationship with the player. I encountered such a moment, right at the very end of the game. I won't say what happened, but the impact of the event was so great that I had to sit back, take my hands from the controls, stare at the character I considered a friend and weigh my options carefully as I would were I in that actual situation. That moment, that sort of immersion in the moment, making a decision that I felt had weight; that is what I want to take away from a game like Dragon Age II. A lot of what got me to that moment sucked, yes, but in the end, I have to say I felt it was worth the journey. Stuff I Liked: Replacing the Arcane Warrior spec with new staff designs and mechanics was a neat change, and I liked it. Kirkwall's a very cool fantasy city. There were some great nods to the previous game along with the usual BioWare shout-outs. Smooth combat and a simplified skill tree system. Neat 'crafting' mechanics. Stuff I Didn't Like: The copy-pasted environments. The look of elves kept throwing me off. The feeling that just a little more polish could have made the story more coherent. And why is there no isometric view anymore? Stuff I Loved: The characters, from the main party to the arishok and Flemeth. Getting pulled into the story when it bothered to be there. Hearing my party members banter. Bottom Line: Dragon Age II was something of a disappointment, as in there were a lot of things that could have been done better. That said, it's still a decent game with strong characters, smooth combat and enough good story points to balance out the negative, lacking aspects in the rushed design... but only just. I do plan on replaying it, and I'm more than likely going to enjoy those replays, which I guess makes this a game I would recommend. Be prepared, however, not to be entirely blown out of your seat. It isn't a great game, but neither is it a terrible one.

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Blue Ink Alchemy