Tabletalk: The Variance Question

Tabletalk: The Variance Question — Blue Ink Alchemy

On top of everything, that hack Robert Wintermute killed Venser... A quick note before we begin: the movie I've been asked to review isn't available yet. It should be later in the day, but for now we're going to swap the review with Tabletalk for this week. Okay? Okay. Magic... it's time we talked. I've been playing you for years. Decades, even. And there is a lot that I like about you. Your planes are rich with game and story potential. You show interesting design choices at every turn. Memories of tournaments, drafts, and throwdowns with family are evocative of good or even excellent times, and I will never forget them. But, to be honest, I've been seeing other card games. I don't want you to feel like you've done anything wrong. I don't think it's your fault. I am, in all honesty, just a little tired of some of the things that throw me off when it comes to you. I certainly don't agree with all of your design choices, and I know that no cycle of cards lasts forever outside of Legacy. You may see me coming back to a local gaming store in the future. The big problem, though, is the irritation I have with variance. I like games that are different every time you play them. They add variety and make me want to play more. The thing is, though, that a deck of Magic has a level of variance that tends to be rather high. While this can be mitigated with good deck construction choices, the bottom line is that the resources you need to play the game - your land - are dispensed to you entirely at random. You could have everything necessary in your hand to make a clutch play or escape a tight situation, but you can't do anything because your land has not deigned to show up yet. It sucks for me when it happens, and it sucks for my opponent, too. When my opponent gets screwed on their mana, I feel bad on their behalf, since it doesn't feel like we're playing the game on equal terms, and that's not fun for anybody who wants to have fun playing. I mean, if you care only about winning, then yes, you want your opponent to have every disadvantage possible, but that to me is not very sporting. Call me old-fashioned. Some people like this. They like the extra challenge it presents, and the fact that games are not predictable. That's fine. I can understand that. I personally feel, however, that games like Hearthstone and Netrunner are spoiling me, since my resources are not tied to random chance. We'll talk more about that next week. For now... I don't hate you, Magic, but to be honest, I don't think you're my favorite anymore. It's not you, it's me.

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Blue Ink Alchemy

Tabletalk: The Variance Question

Tabletalk: The Variance Question — Blue Ink Alchemy

On top of everything, that hack Robert Wintermute killed Venser... A quick note before we begin: the movie I've been asked to review isn't available yet. It should be later in the day, but for now we're going to swap the review with Tabletalk for this week. Okay? Okay. Magic... it's time we talked. I've been playing you for years. Decades, even. And there is a lot that I like about you. Your planes are rich with game and story potential. You show interesting design choices at every turn. Memories of tournaments, drafts, and throwdowns with family are evocative of good or even excellent times, and I will never forget them. But, to be honest, I've been seeing other card games. I don't want you to feel like you've done anything wrong. I don't think it's your fault. I am, in all honesty, just a little tired of some of the things that throw me off when it comes to you. I certainly don't agree with all of your design choices, and I know that no cycle of cards lasts forever outside of Legacy. You may see me coming back to a local gaming store in the future. The big problem, though, is the irritation I have with variance. I like games that are different every time you play them. They add variety and make me want to play more. The thing is, though, that a deck of Magic has a level of variance that tends to be rather high. While this can be mitigated with good deck construction choices, the bottom line is that the resources you need to play the game - your land - are dispensed to you entirely at random. You could have everything necessary in your hand to make a clutch play or escape a tight situation, but you can't do anything because your land has not deigned to show up yet. It sucks for me when it happens, and it sucks for my opponent, too. When my opponent gets screwed on their mana, I feel bad on their behalf, since it doesn't feel like we're playing the game on equal terms, and that's not fun for anybody who wants to have fun playing. I mean, if you care only about winning, then yes, you want your opponent to have every disadvantage possible, but that to me is not very sporting. Call me old-fashioned. Some people like this. They like the extra challenge it presents, and the fact that games are not predictable. That's fine. I can understand that. I personally feel, however, that games like Hearthstone and Netrunner are spoiling me, since my resources are not tied to random chance. We'll talk more about that next week. For now... I don't hate you, Magic, but to be honest, I don't think you're my favorite anymore. It's not you, it's me.

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Blue Ink Alchemy

Dimensional Characters

Dimensional Characters — Blue Ink Alchemy

Weeks after seeing it twice, I find myself still thinking about Captain America: The Winter Soldier. Not just because of how its events will change future Marvel movies and TV shows, but also because its writing is so rock-solid. I've examined it from multiple angles, like a tourist circling a free-standing work of art in a museum, and while it's not completely flawless, it's so good that other comic book movie franchises that will remain nameless should be ashamed of themselves. One thing that Marvel movies do with surprising adroitness and consistency is deliver characters with depth, nuance, and multiple dimensions. No single member of the Avengers cast feels flat or one-note. The only character who comes close to falling into that trap is Thor, and yet despite his Asgardian gravitas and hyperbole, there's quite a bit to him. He loves his brother (even if he is adopted), he still revels in fighting, and he has a great deal of compassion for someone who's primary means of interaction is hitting stuff with a magic hammer. This is even more evident in Thor: The Dark World, where he and Loki are the real highlights of the film and demonstrate that they have both grown as characters. But that's a horse I've ridden before. Getting back to Cap, I've written at length about the character before, and Winter Soldier delivers on a lot of the character's promise. He is a man out of time, and out of his element, without a concrete villain to fight and ultimately betrayed by those he trusted. While he is learning and adapting to modern life, he is also holding onto his principles and his world-view, which he may personally admit is old-fashioned and even a little hokey. Yet those things are him, part of who he is, and part of what make his character so compelling. Even more interesting is the character of Natasha Romanov, the Black Widow. Here is someone used to keeping people at arm's length, lest she add more red to her ledger. We've seen her work undercover and in conjunction with a team of super-heroes, but Winter Soldier expands greatly on the other dimensions of her character. We see her expertise in action. We come to understand just how far ahead of the curve she operates. She's a character who thinks on her feet, takes action in spite of her fear, and gets caught off-guard when people genuinely trust her. The fact that Scarlett Johansson pulls this off through facial expressions and posture as much as she does with dialog and action is just icing on the cake. Marvel has always had a strong emphasis on interesting characters who are just as much human as they are super-human. Their Cinematic Universe is no different. With Agents of SHIELD going strong, and Guardians of the Galaxy coming this summer, I expect this trend to continue. It's a very, very good time to be a fan. It's also quite satisfying to tell people, when asked about good character-building and dialog, to say "You know that movie about the guy wearing the American flag who tosses a shield around? Yeah, watch that, and you'll see what I mean."

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Blue Ink Alchemy

Tabletalk: Strategies in Twilight Imperium

Tabletalk: Strategies in Twilight Imperium — Blue Ink Alchemy

The Strategy Cards, as compared to an ordinary Reference Paw. The galaxy is a dangerous place, Your Excellency, and it is always changing. With the Lazax Empire gone and so many leaders vying for power, the situation is as mutable as the stars themselves as they wheel in their courses. If you mean to prevail, you need to draw back from the tactical view and see the galaxy as a whole. You need to plan around and ahead of your opponents. You need the right strategy. Last week, we discussed the very basics of Twilight Imperium, in the form of Tactical and Transfer actions. But I also mentioned these large, trapezoidal cards that determine the order of play in a given round. These are Strategy cards, and they have a pretty large part to play as the game progresses. As previously discussed, you can activate your Strategy card when it's your turn instead of taking a Tactical action or using an appropriate Action Card. It does not have to be the first thing you do in the round. It is also worth noting that you cannot pass your turn until after you've activated your Strategy for the round. I'm going to go over the broad categories of each Strategy, and then highlight some specifics from the expansions. Note that most of these cards have primary and secondary abilities. While the primary ability usually applies entirely to the player using the Strategy, other players can use the Secondary ability, in clockwise order from the active player, usually by spending a Command Counter from their Strategy Allocation area. What follows is a breakdown of all 8 Strategies, what they do, and how you can benefit from taking the card in question.

1 - Initiative/Leadership

In most circumstances, the biggest benefit to taking this Strategy card is that it allows you to go first in the round. In the base game, Initiative lets you claim the Speaker token, which means you also go first when choosing the Strategy next round. It also saves you Command Counters when executing secondary abilities on other player's Strategy cards. Leadership, on the other hand, grants its user new Command Counters. The secondary ability lets all players spend Influence to pick up more, including the active player.

2 - Diplomacy

There are times when words are more powerful than weapons. Diplomacy allows the player to ease some of the pressure they may be feeling from their opponents in a direct fashion that does not involve combat. The basic game lets the player force a peace between themselves an opponent for a round, and allows the other players to refresh previously exhausted systems. The expansion's Diplomacy II instead allows the active player to establish a Demilitarized Zone for a round, marking a system so that NONE of their opponents can activate it. The card also allows for the peaceful annexation of an unoccupied system.

3 - Political/Assembly

Ah, politics. A process simultaneously more civilized and more vicious than warfare itself. In Twilight Imperium, there is a deck of Political Cards filled with agendas from bans on weapons research to dispensation of resources to another player. The basic Political Strategy lets the primary player manipulate the deck after they resolve the top card, as well as providing Action Cards and Command Counters. Assembly, on the other hand, offers the active player the choice of taking the Speaker token for themselves while naming another player to resolve an agenda, or resolving one of their own agendas while naming someone else as Speaker. This is also where players can refresh planets when using Assembly. And then, there's the option for Political Intrigue, which I will go into next week.

4 - Logistics/Production

Since the role of the Logistics card (providing Command Counters) is taken by the Leadership card in the expansion, we have Production instead. The active player gets to produce units at one of their space docks without activating the system. The secondary ability is similar, but limits production capacity. It's a very straightforward Strategy.

5 - Trade

The base game of Twilight Imperium and each of its expansions all have different versions of this Strategy. In all three of them, players negotiate to exchange Trade Agreements, and collect Trade Goods from those agreements to supplement their resources. The base game is a bit harsh in that players using that card's secondary ability must spend one of their precious Command Counters to get the goods. Shattered Empire does way with that portion of the card, and seems rather friendlier. Shards of the Throne includes Mercenaries in its Trade Strategy, and I'll give a primer on who they are and how they work next week.

6 - Warfare

War in Twilight Imperium is all about Tactical Actions, moving your fleets and armies into position for the perfect strike. The basic Strategy card lets you take back one of your Command Counters used for a Tactical Action, allowing you to use it again elsewhere, while secondary players can move some of their smaller ships. Shattered Empire instead introduces us to the High Alert token, a far more visible way to get your point across. Placing a system on High Alert means all ships in that system get bonuses to movement and space combat. The token can move with the fleet at the player's option, or it can remain there as a deterrent for any potential invaders. Secondarily, the improved Warfare Strategy lets players move ships, regardless of class but limited in number, without activating their destinations.

7 - Technology

This Strategy Card is how players expand the technological repertoire of their burgeoning empire. The card in Shattered Empire lets the primary player do so more quickly, while the secondary ability is cheaper for the other players. There is a simplified tech tree I'll make available to you, courtesy of someone over at Board Game Geek. You may find it useful for planning purposes.

8 - Imperial/Bureaucracy

Twilight Imperium is won by its Objective Cards. Some of them are Public Objectives anyone can claim if they meet the requirements, while others are Preliminary or Secret Objectives specific to the individual player. The Imperial strategy lets the active player reveal one of the Public Objectives, then grants them free Victory Points, while the secondary abilities allow for the production of units. Bureaucracy, on the other hand, grants no free Victory Points but instead lets the active player manipulate the Public Objectives, and lets them score one if they can, something not normally possible before the end of the round. This allows for more flexible and, arguably, more fair play, while keeping up the pace of the game. Which is important when the game takes up your entire day. With this knowledge, you are now prepared to play most of the game! All that remains is to break down some more specifics. Next Week: Getting The Most Out Of Your Minions - Leaders, Representatives, and Mercenaries

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Blue Ink Alchemy

Flash Fiction: Nick Vegas

Flash Fiction: Nick Vegas — Blue Ink Alchemy

For the Terribleminds Flash Fiction Challenge, "Fifty Characters". RNG results below.

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Hollywood. Tinseltown. It has a lot of names, and so do the people that live here. Actors have screen names. Musicians have stage names. And if that woman on the corner was actually named "Champagne" by her mom and dad back in Pleasant Corners, Bread Bowl USA, I will eat my own hat. I don't even use my own real name. I don't think the guy riding shotgun with me does, either. What kind of name is "Nick Vegas", anyway? Sure, it looks bully on a business card, but he's not really in a line of work where you just hand those out. You don't want to leave a paper trail when you traffic in narcotics. I'm waiting in the car while Nick talks to Mel. That, at least, is a short version of the kid's name. Kids don't normally go in for serious pseudonyms until they get a bit older than Mel's twelve years. And, honestly, if my parents had saddled me with "Melvin", I'd be looking for a change, too. "Good kid, but lazy," Vegas says to me as he climbs back into my car. Mel heads off down the street, slingshot in his back pocket. I wonder idly if he's going to egg someone's house after he does Nick's errands. "Let's not talk about it." "Hey, my cousin asked me to get the kid a job, and I needed some packages delivered. What's the issue?" "He's a twelve year old kid, Nick. That's a little young to be making deliveries for us." "First of all, there's no 'us'. We've been over this, I got the contacts so I run the operation. You just drive the car and keep it warm if any John Q Laws start snooping around. Secondly, how old were you when you started?" "My mother didn't let me get into any of this business until I was sixteen, no matter how much I asked her." "Oh yeah? Didn't know you were such a mamma's boy, Sally boy." Nick leans towards me as I pull the car away from the curb. I know where this is going. "Are you still a mamma's boy? Do you call her at night when you get home so she knows her baby is all safe and sound?" "Shut up, Nick." He laughs. It's the laugh of a schoolyard bully. I remind myself that I have car to drive and a job to do. Our next stop is down by the RKO studios. I grease the night watchman's palm and we pull around to where the trailers are set up, stopping outside of a smaller one. Nick gets out, and a plain-looking gent meets him at the trailer's door. I don't know many actors by sight, and this isn't one of them. He probably got cast in some bit role due to his ability rather than his looks. Good for him, I guess. I light a cigarette while they do business. Nick's back in the car and we're driving up Sunset Boulevard. Our last two stops are up on Mulholland Drive. I'm pulling us through traffic when Nick starts talking again. "We're making good time tonight. You'll probably be in home in time for dinner." I don't say anything. I don't want to engage him. I can feel him leering at me. "With your momma." "You really ought to shut up, Nick." Before he can respond, I turn on the radio. If the drive is going to be long, I don't want it filled just with his jibes and jabs. "Who knows what evil lurks in the hearts of men..." I lean back and drive. The Shadow calms me down. We listen for a bit but then Nick speaks up again. "I'm more of a Lone Ranger kinda guy." "Get outta town. The Shadow is definitely better than the Lone Ranger." "Are you trying to tell me the Shadow wouldn't get put down by a silver bullet or something?" "The Lone Ranger would have to find him, first." "That's why the Ranger has Tonto, dummy." "Has Tonto ever been in a big city? Between the food carts and the pipes backing up, it's a bit harder to track someone's scent, kemo sabe." "I'll give you a kemo sabe if you don't drive the car." "You mean like I have been this whole time?" "Quietly, damn it." I smile and keep quiet. It's good to know his skin isn't that thick. A while later, we're up on Mulholland. There are some really nice houses up here. The first one we stop at is owned by a diplomat. I've run packages in there before, when Nick hasn't been feeling well. The guy likes to throw big parties, with celebrities and girls and live music. He might not be American, but he's certainly living the American Dream, as big and loud as he can, and I for one can't fault him for it. Our last stop is the furthest one out. The house is one of those 'modern' jobs, all harsh angles and round windows and weird lighting. Nick told me that the guy living here designed it himself. He also told me that the architect's wife hates it. I catch sight of her briefly through the windows on the top floor - curvy, long hair, dressed in a bathrobe, on the phone with someone, not happy at all. The architect meets Nick at the door. He's a sliver of a man, shorter than Nick (who's a few inches under me), with a pretty browbeaten expression on his face. You don't need a scriptwriter to see how these two got together, or how it's likely to end. Nick climbs back into the car, looking mighty pleased with himself. "Want to grab a drink? It's on me." I shrug. "Sure." We start driving back towards Los Angeles proper, and Nick finds, of all things, The Lone Ranger. I wait until the big chase sequence begins and the familiar horns of the William Tell Overture are heard before I pull the car over. Nick turns to me to ask why we're stopping and he gets a blackjack in the face for his trouble. He's not out. He's dizzy and seeing stars. I reach past him, open his door, and shove him out into the dirt. I climb over the gearshift, grab my gloves from the glove compartment, and step out after him. He's trying to get to his feet. I reach under the wheel well, finding the gun taped there, and I give Nick a crack on the head with it. "Talk." He's holding his head. "What? What the hell is-?" "I said talk." I wallop him again for good measure. He cries out. "What? What do you want? I don't understand." I cock the revolver, a little snub-nosed .38, and aim it at him. "Say 'what' again." "Okay! Okay. You got me. My name isn't Nick Vegas. It's Greg." "How much longer were you planning on ratting us out, Greg?" "I'm sorry. I'm sorry. One of my brothers is on the Vice Squad. They didn't want to put a cop in the car. They knew you'd smell it." "Why is that, Greg? Do you know who I am?" He shook his head. "All I know is your name is Tony and you work for one of the families. That's it." "If you're not a cop, how in the hell did your brother talk you into doing this?" "We want to make the world better. Cleaner. More educated." He fiddles with the ring on his finger, and shows it to me. "I'm a Freemason." I examine the ring with a scowl. "And your 'brother' is a Mason too?" He nods. "Yeah. Called it a 'moral obligation'." "Well, let me tell you something, Greg. Your 'moral obligation' is gonna get you killed. Where I come from, we don't tolerate rats. Tell me how much your cop buddies know and I may let you walk home." "I told you. They know your name and who you work for." "Do they know what I look like?" "They never asked for a description." "Dumb cops, then. The thing about Hollywood, Greg, is nobody uses their real name. My name isn't Tony. It's Nick." He blinked at me. "What...?" I shot him. He went down, grabbing his leg. I walked closer as he squealed, drawing the hammer back again. "Bye, Greg." "Wait! Wait! You said you'd let me walk!" "I said I'd think about it. And I did. Besides, you think you're walking far on that leg now? Ciao." I fire two rounds into his chest. I'm turning away, and I hear him gasping for air. I make a face, turn, and shoot him once in the head for good measure. I then toss the gun into the brush and kick the body into the ditch. It's a long drive back to the city, but I'll be home in time for dinner. It's lasagna night, and I never miss my momma's lasagna.

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18 - The shiftless rascal. 42 - The puerile, aloof smuggler who belongs to a secret organization. 40 - The plain actor. 34 - The tactless ambassador with big dreams. 22 - The weak, tolerant architect.

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Blue Ink Alchemy

From the Vault: On The Fringes

From the Vault: On The Fringes — Blue Ink Alchemy

The Friday 500 returns next week, when I'm not quite so wiped out. In the meantime, let's talk again about character death in fiction!

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When I watch a good television program or film, one with a narrative that builds its characters and takes the plot in ways one might not expect, I feel the dichotomy in me between watcher and writer. In the moment the story is happening, the emotional connections I feel with the characters, if they are written and acted well enough, feel vital and affecting. Afterward, in retrospect, I can observe the direction and outcome of those moments, and fully understand the foundation behind the decisions the writers made as well as postulate where they might be headed. It's important to remember that any character in a story can die. It's all in the manner of how, when, and why. I think 'why' might be the most important piece of the puzzle, and I don't mean the motivations of their in-story killer. The writer, callous and unfeeling as they might seem, should have good reason for offing one of their creations, especially if that creation is well-liked. Knowing this, I think, actually helps in reading stories as well as watching them. Chuck Wendig could easily kill Miriam Black. Jim Butcher's under no obligation to keep Harry Dresden alive. And we all know how George R.R. Martin feels about the immunity of popular characters to the flashing scythe that is his pen. Character death is one of those writerly decisions that can hang on the fringes of the story, either making the whole thing more tense or dragging the whole thing down. Here's an example before I discuss my Fringe feelings. Joss Whedon writes two major character deaths into Serenity. Shepard Book dies defending the colony of Haven from Alliance forces, and Wash bites it the moment after he gets the ship down safely on Mr. Universe's station. I've thought about this, and as different as their deaths are (Book dies in Mal's arms giving a poignant line about belief while Wash is snuffed out instantly by a giant splinter from a Reaper ship), they serve very different purposes and, I feel, Wash's was not necessarily required. I'm not just saying this as someone who loves Wash; I legitimately feel his death's place in the story was superfluous. Reminding us that 'anyone can die' in this way feels a bit cheap. We'd already lost Shepard, a well-liked and well-established character. Wash's death does do the job of raising the stakes, but in retrospect I'm not entirely sure it had to happen. By contrast, the death of Etta in Fringe was a necessity. The effectiveness of her character is evident in how shitty I feel even writing that out. But her death is the catalyst for so many things, an acceleration of motivations and events towards the end of the series. At the same time this painful loss is drawing Olivia closer to Peter, it's driving Peter to such rage-induced distraction that he takes matters into his own hands by lethally stripping an Observer of his tech and augmenting himself with it. In turn, this also distances Peter from Walter, who desperately needs his son to anchor the man he is, lest he drift back into becoming the man he was when he broke two universes. Etta's death in and of itself did not necessarily raise the stakes, but it did push Peter to a point where they became incredibly heightened. Do you see the difference? Yes, any character can die. But you need to think long and hard about what will come next before you pull that trigger.

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Blue Ink Alchemy

Tabletalk: Netrunner Basics

Tabletalk: Netrunner Basics — Blue Ink Alchemy

Art by Gong Studios I have been well and truly hooked by Android: Netrunner for a variety of reasons. The game is steeped in atmosphere and flavor, from the names of each player's decks and hands to some truly stunning artwork. The second-hand market for individual cards is practically non-existent, making it a slightly more economical choice, even if the up-front investment can seem a touch daunting. And much like Hearthstone, it's possible to build a deck just using the Core Set of the game that has a fighting chance, or will at least yield a good time. The asymmetrical nature of the gameplay, however, can be off-putting for new players. I thought I would take a bit of time before diving into the nuances of the game's different Corp and Runner factions to talk about how the two sides play, and give some tips to newer players, or players who have tried to play Netrunner before and for one reason or another ran into obstacles not generated by the board state. Both the Corp and the Runner are trying to score Agendas. Only the Corp player has Agendas in their deck. The Runner must steal Agendas from the Corp before they can be installed and advanced. The Corp advances Agendas by installing them in remote servers, areas of the playing area to the side of their identity card (which represents their hand, or HQ), then spends credits one at a time to match the Agenda's advancement requirement. The Runner can run on any server, be it one of the remotes created by the Corp, the Corp's HQ, their R&D (or deck), or Archives (discard pile). The Corp can protect any of their servers with ICE, specialized software cards that are installed perpendicular and face down in front of the servers they protect. The Runner has means to break or circumvent this ICE, but it buys the Corp precious time to score their Agendas. That's the basic rundown; let's get into some specifics. If you are the Corp, you control all of the information. The Runner has to keep their cards face-up on the table. From their Hardware to their Resources, you will always have a good idea of what could be coming at you. When you install a piece of ICE, it's face-down, as are your Agendas, Assets, and Upgrades. The Runner has no idea how, when, or even if you'll be paying the cost to rez (turn face-up) those cards. Knowing what you know, you can either push to beat the Runner before they get up to speed, or sit back and play a shell game, luring the Runner into traps or watching them bounce off of your ICE. Some of that comes from the choice you make in faction, but the confidence to follow through on your strategy comes from the fact that you know a lot more than the Runner does, at least in terms of board state information. Use that. If you are the Runner, you should be running. Running is the crux of the game and it should be done as much as is reasonable - and maybe some times when it isn't. It's how the Runner learns information, from the ICE the Corp has installed to the assets they're trying to protect. It keeps the Corp player engaged and can lead to them interacting more, be it choosing different ICE or exploiting the Runner's action in order to tag them or otherwise take action. But it's also the only way the Runner can possibly win the game. The more the Runner runs, the better their chances of stealing an Agenda, and every run also has the potential to throw the Corp off-balance and derail their well-laid plans. Sure, you might end up getting tagged or taking some damage, but Netrunner is all about risk management. This is true on both sides. The Corp asks, "is it safe to install this Agenda? Can I convince the Runner that it's a trap? Should I stockpile credits instead?" The Runner asks, "can the Corp flatline me if I make another run and take more damage? Will I have enough time before he scores that Agenda? Is than an Agenda in the first place?" The game is rife with player choices, informed decision-making, potential for storytelling, and great moments of interplay. If you tried it before but found the asymmetry daunting or a particular player uncooperative, I hope after reading these tips you'd consider trying again. I'm going to be talking about the factions in the weeks to come; you might find something you like in one of them that'll convince you to give Netrunner a shot. The card catalog is growing, and player bases are becoming more established; now is a great time to get started.

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Blue Ink Alchemy

Tabletalk: Netrunner Basics

Tabletalk: Netrunner Basics — Blue Ink Alchemy

Art by Gong Studios I have been well and truly hooked by Android: Netrunner for a variety of reasons. The game is steeped in atmosphere and flavor, from the names of each player's decks and hands to some truly stunning artwork. The second-hand market for individual cards is practically non-existent, making it a slightly more economical choice, even if the up-front investment can seem a touch daunting. And much like Hearthstone, it's possible to build a deck just using the Core Set of the game that has a fighting chance, or will at least yield a good time. The asymmetrical nature of the gameplay, however, can be off-putting for new players. I thought I would take a bit of time before diving into the nuances of the game's different Corp and Runner factions to talk about how the two sides play, and give some tips to newer players, or players who have tried to play Netrunner before and for one reason or another ran into obstacles not generated by the board state. Both the Corp and the Runner are trying to score Agendas. Only the Corp player has Agendas in their deck. The Runner must steal Agendas from the Corp before they can be installed and advanced. The Corp advances Agendas by installing them in remote servers, areas of the playing area to the side of their identity card (which represents their hand, or HQ), then spends credits one at a time to match the Agenda's advancement requirement. The Runner can run on any server, be it one of the remotes created by the Corp, the Corp's HQ, their R&D (or deck), or Archives (discard pile). The Corp can protect any of their servers with ICE, specialized software cards that are installed perpendicular and face down in front of the servers they protect. The Runner has means to break or circumvent this ICE, but it buys the Corp precious time to score their Agendas. That's the basic rundown; let's get into some specifics. If you are the Corp, you control all of the information. The Runner has to keep their cards face-up on the table. From their Hardware to their Resources, you will always have a good idea of what could be coming at you. When you install a piece of ICE, it's face-down, as are your Agendas, Assets, and Upgrades. The Runner has no idea how, when, or even if you'll be paying the cost to rez (turn face-up) those cards. Knowing what you know, you can either push to beat the Runner before they get up to speed, or sit back and play a shell game, luring the Runner into traps or watching them bounce off of your ICE. Some of that comes from the choice you make in faction, but the confidence to follow through on your strategy comes from the fact that you know a lot more than the Runner does, at least in terms of board state information. Use that. If you are the Runner, you should be running. Running is the crux of the game and it should be done as much as is reasonable - and maybe some times when it isn't. It's how the Runner learns information, from the ICE the Corp has installed to the assets they're trying to protect. It keeps the Corp player engaged and can lead to them interacting more, be it choosing different ICE or exploiting the Runner's action in order to tag them or otherwise take action. But it's also the only way the Runner can possibly win the game. The more the Runner runs, the better their chances of stealing an Agenda, and every run also has the potential to throw the Corp off-balance and derail their well-laid plans. Sure, you might end up getting tagged or taking some damage, but Netrunner is all about risk management. This is true on both sides. The Corp asks, "is it safe to install this Agenda? Can I convince the Runner that it's a trap? Should I stockpile credits instead?" The Runner asks, "can the Corp flatline me if I make another run and take more damage? Will I have enough time before he scores that Agenda? Is than an Agenda in the first place?" The game is rife with player choices, informed decision-making, potential for storytelling, and great moments of interplay. If you tried it before but found the asymmetry daunting or a particular player uncooperative, I hope after reading these tips you'd consider trying again. I'm going to be talking about the factions in the weeks to come; you might find something you like in one of them that'll convince you to give Netrunner a shot. The card catalog is growing, and player bases are becoming more established; now is a great started.

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Blue Ink Alchemy

Game Review: Hearthstone

Game Review: Hearthstone — Blue Ink Alchemy

One of the things Blizzard Entertainment does very well is presentation. World of Warcraft's visual style has aged rather gracefully, StarCraft 2 has remained consistent in its high-quality art and sound assets (if not necessarily the stories it is telling), and the technical alpha for Heroes of the Storm looks and sounds impressive, from everything I've seen. I will write more about that when I actually get into the game. My point is that, when I first discussed Hearthstone: Heroes of Warcraft, it already looked good and sounded good. It is now in wide release, and is even available on iPad, so now seems the right time to give it a full review. Hearthstone is a game that plays a great deal like Magic: the Gathering, and is both simple and free to play. In fact, there are characters within World of Warcraft that can be seen playing the game. In essence, it's a pub or party game played by the denizens of Azeroth, either as a break from or a substitution for grander adventures. All sorts of Warcraft staples are present, from angry chickens to towering giants, and some legendary figures represent the player while others stride across the playing field. Or charge, in the case of some minions like Leeroy Jenkins. In terms of development, little has changed between the production edition of Hearthstone and its closed beta. Some graphical glitches have been either addressed or smoothed over, cards work the way they're intended more often than not, and Blizzard's visual panache is as strong as ever. Its familiar characters, strong tactile design, and business model all make the game consistently appealing, and easy to pick up and play.
The game presents constant strategic and tactical questions. Provided your draw is at least half-decent. "Pick up and play" is even more apt now that the game is available on iPad mobile devices. The app is free to download, of course, and controls with the touch screen instead of a mouse. The translation of some functionality, such as dragging the mouse to a target, is replicated or replaced rather well, making the transition from the computer to the tablet very easy. The game does lag a bit here and there, though, so the implementation could probably use a few tweaks. Still, it makes it even easier to enter the game, say if you're on a flight path in World of Warcraft or waiting in one of Blizzard's many multiplayer queues. Recently, "free to play" games have come under a great deal of scrutiny. Often, such games are powered financially by business models that often lend themselves to the description of "pay to win." In essence, such games are presented in such a way that if one pays enough money, they can get clear advantages over other players and basically pay their way to the victory within the game. In spite of accusations of one class or another being overpowered, Hearthstone avoids the "pay to win" trap by being quite well balanced. It is entirely possible to go into Ranked play with a deck using only the cards one gets for joining the game the first time, without spending a single cent, and rise to the Legendary ranks of the game. Decks with Legendary cards might be more efficient or flashier in what they do, but you don't have to spend any real money to be successful in Hearthstone, which is definitely a feather in its cap.
Life totals aren't everything. Warlocks know this better than most. Hearthstone is a game I return to on an almost daily basis. It scratches the itch left by card games like Magic: the Gathering and Netrunner, does what it does with panache, and doesn't take up a great deal of storage space on one's shelf. It continues to be challenging months after my first game, delivers fantastic moments of fascinating turnarounds and snatching victory from the jaws of defeat, and seems to only be getting better. A new adventure mode has been announced, and the first 'dungeon' we'll be facing to gain new cards is the necromantic stronghold of Naxxramas. I'm very curious to see what will happen next in this game, and if you are too, there's never been a better time to check it out.

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Blue Ink Alchemy

The Momentum of Spring

The Momentum of Spring — Blue Ink Alchemy

Unless something truly freaky happens in the very near future, spring has finally arrived on the eastern seaboard of the United States. The slight sunburn on my right side is evidence that the sun is shining out as strong as ever. So now that we're all shaking off the effects of hibernation and getting to feel the soil under our feet again except for snow - what's next? I'm not a small person in terms of how tall I am and how much I weigh. Large objects can be difficult to get moving, but once motion has begun it's just as hard to stop. So it feels in my life currently. I have activities I want to pick up or resume, but I'm finding it difficult, especially first thing in the morning, to get myself moving. On the other hand, things are in motion that I am either unable or disinclined to stop. I won't go into laborious detail at this time - personal stuff is what I have a Tumblr for, and some things simply need to be kept under wraps. But I do feel like I have some good forward momentum going, for the first time in a long time. Change is never easy. We get comfortable. We nestle ourselves into a place that feels like we belong, It feels good to have stability, predictability, safety - to know that tomorrow will, in most ways, be a continuation of today. The paradoxical thing is, change is healthy. We all go through it, sometimes from one day to the next, and it helps us grow. Change is always happening, whether we want it to or not, Adapting to change is a necessary life skill, and making change happen is one of the most empowering things we can do. There's a lot more I'd like to say on the subject. I simply can't. In some cases, I don't want to put carts before horses; in others, there's too much uncertainty to weigh in. The bottom line is, there is momentum happening, and with spring arriving, it's only going to increase. Personally, I can't wait.

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Flash Fiction: A Hard Bargain

Flash Fiction: A Hard Bargain — Blue Ink Alchemy

My response to the Terribleminds Flash Fiction Challenge, Pick An Opening Line And Go.

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I closed my mouth, opened the door, and left. I got about three steps down the street before my phone buzzed. "Let's... Let's rethink this." I looked up at the buildings above me. "You do all the thinking you want. I'm done." "You made a good point about the heat. My associate misspoke." I paused just long enough to make them sweat. "If he misspeaks again, I will not answer this phone when I walk away." "I understand. Shall we continue?" "Not yet. What's the magic word?" "Seriously?" I smiled at a gentleman passing me on the street. "I'm waiting." There was an audible sigh. "Please come back inside." I turned and walked into the storefront again, removing my sunglasses. The steamer trunk remained where it was, between the patch of worn carpet I'd been standing on and the bare floorboards where the two men behind this mess now stood. The shorter man was putting his phone away while the taller one glared at me. I'm sure others found that look intimidating. From my perspective, it was keeping me from wrapping this up and grabbing lunch. The interior of the antique shop was dark. It hadn't been open for business in years. It wasn't boarded up, though, so nobody took notice. It was just one of those city street curiosities folks walked by every day on their way to somewhere more important or interesting. "Where were we?" The short man wiped his brow. The pleasant weather outside combined with drawn shades and poor circulation made the interior rather toasty. "Your friend was just apologizing for calling me - what was it? - a 'smarmy cunt'." "I'm not apologizing for shit, you-!" The short man glared at his companion. "Just do it." The tall one said nothing. I crossed my arms. The suitcase held in my right hand rested against my hips. Finally, he shook his head. "If it'll move this along, fine. Sorry." "That doesn't sound sincere." For a second, I thought the tall one was going to suffer some sort of aneurysm. He turned a fascinating shade of red. The short one shook his head, his pudgy hands raised. "I honestly think that's as good as you're going to get. We're not going to be here all day, are we?" I made a show of rolling my eyes. "Fine." "Thank you. Now, can we please see the money?" I lowered myself into a squat, something you have to do carefully in a skirt cut this way, and laid the case on the trunk. I opened the clasp and lifted the lid. The two men looked at the contents. "Count it," the short one said. "Why am I counting it?" The tall one looked down at his partner as I stood. "Because A, you're the one who nearly fucked this up, and B, I fucking say so!" "Ugh." The tall one bent towards his task. "Still not sure why Escobar put you in charge." "Maybe because he trusts me to not do stupid shit like insult a buyer." I reached towards the bookshelf next to me, and one of the few books not covered in dust. The tall one shrugged. "I call 'em like I see 'em, you know that." "Yeah, well usually they're not standing right-" The false book fell into my hands and opened, revealing the .32 Welrod inside. I took hold of the weapon and raised it, letting the book fall, aiming at the tall one first. The only sound the gun made was the firing pin hitting the primer, and that was nearly lost in a well-timed honking fit out in the street. A shudder went through the tall man's entire body when my bullet hit his skull and burrowed inside. The short man, mid-sentence, caught his breath and swung his eyes from his partner to me. My left hand worked the pistol's bolt as he reached into his jacket for his sidearm. I fired again, the bullet shattering the short man's knee. As he dropped, I worked the bolt a third time and, pressing the muzzle of the silenced antique to his suit jacket, destroyed his shoulder. I know he wanted to scream, but I stepped over the steamer and put the gun in his mouth. "I'm going to ask you a question, and I want an honest answer. Do you understand?" His eyes were wide. He nodded. I removed the gun, cocking the bolt. "Where's Escobar?" "...Who?" I shook my head and put a bullet in his kidney, again filling his mouth with gun before he could scream. He tried anyway. "I thought you understood." He squirmed under me, bleeding onto the dusty floorboards. "You said his name in front of me two minutes ago. Now, tell me where he is." "I don't know. He has a yacht. Usually he keeps it at the marina but when there's sales going on he takes it out to sea." "What it's name?" "Libertador. I think it's registered in Malta or something." "Thank you." I worked the pistol's bolt one more time. "I'm going to kill you now." He started to beg. He pissed himself. Neither one stopped me. I dropped the pistol into the case, closed it, and set it aside. I opened the steamer trunk, feeling relief wash over me when I saw the contents. "Come on, sis," I told the girl inside the trunk. "Let's get you out of here." She was malnourished and probably dehydrated, but she grabbed my arm and let me pull her out. She leaned on me as I picked up the case and aimed us at the door. "How... how did you find me?" Her voice was quiet and felt broken, like she hadn't used it in a long time. "I made friends with an FBI agent. Soon as we get you to a hospital, I'm calling him about the boat. Escobar will pay for what he's done." My sister shook her head. "He knows people." I smiled. "Well, he doesn't know me."

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Blue Ink Alchemy

500 Words On Bigby Wolf

500 Words On Bigby Wolf — Blue Ink Alchemy

When it comes to game design, I understand that it's difficult to craft an experience that's unique to every player. If all goes well, your game is going to be played by more people than you can imagine. When it comes to video games, you're likely to have a protagonist and, if they're not silent, they'll have a personality. The challenge comes in when you cast that personality in such a way that it can be altered by things the player chooses to have the say or do. What motivates these choices? How do other characters react? And what impact will these choices have on the future? Case in point: Bigby Wolf, from Telltale's Fables adaptation, The Wolf Among Us. I just finished my first play of Episode 3, "A Crooked Mile", and while this definitely feels like both a more substantial episode than the previous one and the right sort of complication the tale needed to maintain steam, something is bothering me. Bigby, as given in the beginning, is a somewhat gruff character. He's not given to social graces for the most part, is viewed with either fear or distrust by most, and has a reputation of letting his temper get the best of him. I like this as a backstory, but not necessarily as a rule. Bigby now lives in a world of skyscrapers and concrete, a very different forest than that of his past. Would he really be so obstinate as to not change? For my part, I think he would not only need to change, but he'd want to. Wolves are territorial, and Fabletown is Bigby's beat. He's been through enough to understand that he can't just huff and puff his way through his situations. He has people he admires and others he wants to make amends towards, to ensure the past does not repeat himself. This guides the choices I make throughout the game. What bothers me is that these choices do not feel entirely significant. While the messages that tell me certain characters will remember things I say or do remain effective, it still feels like certain conclusions are foregone, if not inevitable. As much as I am allowed to choose my path both through the game's branches and as dialog continues, all roads tend to converge in the same way. The story being told is by no means bad, but my impact upon it, both as a player and as Bigby, has yet to feel truly substantial, save for one or two fairly big decisions. I still dig The Wolf Among Us enough to see it through to the end. The art direction, music, voice acting, and overall storytelling remains exemplary. The Bigby I am playing, however, does not feel terribly distinct from how he might be played by another individual. This is a complex character with deep emotions and individual, variable motivations. He can, and should, have modes of behavior and operation other than just huffing, and puffing, and blowing your house down.

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Blue Ink Alchemy

Not Quite A Disconnect

Not Quite A Disconnect — Blue Ink Alchemy

Since returning from Boston, things at home have been dicey, at least as far as my connection to the Internet is concerned. This has made quite a few things problematic. I'm still trying to get all of that resolved, while getting rest and trying to minimize the amount of stress I'm inflicting on myself. I'm only being partially successful. Hopefully things will return to normal by next week. I will try to get this week's Friday 500 up on time. I don't like letting things lag behind, not even something as ultimately inconsequential as this blog. As always, though, thanks for reading it.

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Blue Ink Alchemy

PAX East 2014 After-Action Report

PAX East 2014 After-Action Report — Blue Ink Alchemy

It's been two years since I started attending Penny Arcade Expos. A year ago, I began working as an Enforcer for said events. It's not a ton of experience, but it's built on top of all I've done before. In light of that, I have to say this PAX East was the smoothest one yet, and one of the best convention experiences I've had in a long time. In previous years, I've gauged the success or lack thereof in the experience on what I get to see, do, or play. I've had to readjust those priorities. Conventions and gatherings of the like-minded are awesome in and of themselves, and working as part of the staff for such a thing means having a hand in making that experience more awesome for other people. It isn't easy, and it isn't for everyone. But it's a big part of why I've chosen to do it multiple events in a row, now. That said, I've met a ton of cool people doing this. Not just the people I've worked with, but the people who make it to the event. I have definitely arrived at a point where I am more excited to meet people than I am to see exhibits, at least when it comes to PAX. I can see that changing when more games arrive that grab my attention, but for this time around my focus was entirely on how things were running in my theatre. I hope everybody that made it out had an excellent time! I have to keep this short since I have a number of things with which I need to get caught up.

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Blue Ink Alchemy

Wacky Weather & Whatnot

Wacky Weather & Whatnot — Blue Ink Alchemy

Traveled home from Boston today, almost lost my glasses, got a nasty whack to the head, and apparently it's snowing in places. You know, I leave my apartment for six days and this sort of thing happens... Anyway, back to normal tomorrow.

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Blue Ink Alchemy

Many Lines on One Line

Many Lines on One Line — Blue Ink Alchemy

This is not a post about managing lines at PAX East. It's actually a reference to this week's Flash Fiction challenge over on Terribleminds. Chuck has once again admonished us to write a killer opening line, which is a fantastic exercise, but not really something I can build an entire post around. Normally I would fire up the Brainstormer to fuel a Flash Fiction post, but I'm writing this on Sunday with PAX East still in full swing. I hope everyone who came had an excellent time! I will Brainstorm some Flash for later this week, give you guys a preview of a game or two from the Expo floor (if I have time to get down there), and sleep more between now and then. Mmm. Sleep. If you're traveling, travel safe!

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Blue Ink Alchemy

500 Words on Conventions & Community

500 Words on Conventions & Community — Blue Ink Alchemy

500 Words on Conventions & Community Conventions and exhibitions almost feel like another world. Within the walls of the buildings and skyways, tens of thousands of like minds gather. It is wonderful and terrifying and energizing and exhausting, all at the same time. A lot of communities come together, especially if individuals within said communities often feel that they're alone. Seeing so many people gathered in the same place for the same reason refutes that feeling through sheer fact of numbers. Even so, it can be overwhelming, and as much as an individual can see plainly that they are not alone, other feelings can lead to unintended isolation. I have felt this myself, and the fact is that the more involved you become in interactions with others, the less isolated you feel. I would remind you, if you feel this way, that it's okay to be nervous. You're allowed to have time and space to yourself, but it may not necessarily be for the best if you stay there. Remember that everybody is there for the same reason: a celebration of common ground, shared interest, and collective excitement. The gaming community in particular has come under fire before. There are certainly incendiary elements. There's a reason some of the best advice a YouTuber can follow is "Don't read the comments." Fans of things in general, and gamers in particular, feel entitled to their opinions and are convinced of the rightness of their causes. While it's wonderful we live in a world where we can speak and think as we like, that can occasionally lead to uncomfortable situations. Thankfully, you have just as much right to ignore what someone says as they have to say it. Or, even better, say something that refutes what you disagree with. As long as we're communicating honestly and without overarching judgment, we have very little reason to remain silent. Broadly, the way we conduct ourselves be it in the comments or in person falls under Wheaton's First Law: Don't be a dick. I'm sure this will seem like common sense to a lot of folks. This is a good thing. Still, it's much like what I've said about consent - the more people that know these things, the better the community will be overall. Like I said, there is little reason to remain silent. As long as you're being positive about what you're saying, and saying it with the intent of increasing awareness and decreasing worldsuck, by all means, speak up! You will be glad you did. I'm not sure what else I can add. PAX East is in full swing and I am busier than ever. I'll be outside Bumblebee Theatre in the Boston Convention & Expo Center. Becoming an Enforcer has been one of the best decisions I've ever made, and has lead to some incredibly invaluable and completely unforgettable changes, both now and in the future. But that is a story, and a post, for another time...

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Blue Ink Alchemy

From the Vault: The Video Game Singularity

From the Vault: The Video Game Singularity — Blue Ink Alchemy

I'm on my way to Boston for PAX East this morning. While I make my way through several states on what are certain to be lovely roads, have a look at my thoughts on the lines between video game developers and video game players, and what might happen if they get blurred.

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I feel we are rapidly approaching what I've chosen to dub "the Video Game Singularity". It's the point at which the lines between developers and players of video games blurs to the degree that the storytelling experience these games convey is one truly shared between both camps. We're on our way with RPGs with user mod tools like Skyrim, massively multiplayer experiences and yes, Choose-Your-Own-Adventure tales like the Mass Effect trilogy. Now, things like marketing departments, stratospheric fanatical expectations, and the limitations of current technology will hinder this advent, but it's sooner than we think. The Internet's instant communication and dissemination of information is accelerating the process as we, as gamers, find and refine our voices. While we'll never be able to excise every single idiot or douchebag from the community, we can minimize their impact while maximizing what matters: our investment in our entertainment. We are patrons, and video games are the art for which we pay. Games are unquestionably art. Moreover, they a new form of art all their own, with their own traditions, their own classical periods, their own auteurs, their own mavericks. So I pose the question: why do we judge them as works of art extant in other forms when they clearly do not belong there? Think about it. A movie critic, with little to no exposure to gaming in general, has no basis by which to judge the merits and flaws of BioShock or Killer7 in comparison to Kane and Lynch. By comparison, many gamers who only see a handful of movies may not recognize the reasons why film aficionados praise Citizen Kane or 2001: A Space Odyssey. The two mediums are completely different, and the biggest difference is in the controller held by the player. From the moment we put our fingers on buttons, sticks, or mice at the start of a game, we have a measure of control over our experience. A well-designed game lets the player feel like they are truly a part of the world they're being shown, that their choices will help shape the events to come. In a movie or a book, there's no interaction between the observer and the observed. We experience the narrative the authors want us to experience regardless of whatever decisions we might have made differently. Video games, on the other hand, invite us to make our choices and experience the consequences for better or for worse. Since players are a part of the building process for the narrative, it could be argued that they have just as much ownership of the story as the developers do. That isn't to say they should get a cut of the game's profits, as not everyone can render the iron sights of a gun or the glowing eyes of a dimensional horror-beast as well as a professional, who has to pay for things like training and food. A game done right, however, makes the player feel like a part of its world, and with that comes a certain feeling of entitlement. That word's been bandied about quite a bit lately, and to be honest I don't think gamer entitlement is entirely a bad thing. The problem arises when gamers act like theirs is the only opinion that matters. Gaming is, at its best, a collaborative storytelling experience. Bad games shoulder players out of their narratives with non-interactive cutscenes or features that ruin immersion. Bad gamers scream their heads off whenever things don't go exactly the way they expect in a given story. "This sucks and so do you" is not as helpful as "I think this sucks and here's why." Not to belabor the point, but you can tell an author or director how much a book or movie sucks in your opinion, and the most you might get is a "I'm sorry you feel that way." Game developers, however, know their medium is mutable. It can be changed. And if mistakes are made in the process of creating a game that slipped by them or weren't obvious, they can go back and fix them. Now, the ending of a narrative is not the same as a major clipping issue, games crashing entirely, or an encounter being unreasonably difficult, and not every complaint from the player base is legitimate. And in some cases, the costs in time and money required to make changes to adjust a story even slightly can be entirely too prohibitive. But when there's truth found in the midst of an outcry, some merit to be discerned from a cavalcade of bitching and moaning, game developers have power other creators of narrative simply don't have. The question is: should they exercise it? Let me put it another way: Should finished games be considered immutable things like films or novels, set in stone by their creators? Does listening to players and altering the experience after much debate ruin the artistic merit of a given game? I think the answer to both questions is "no." Changing the ending of a novel or film because fans didn't like it is one thing. Most directors and authors would cite artistic integrity in keeping their tales as they are. There are those who feel game developers should maintain the same standards. That doesn't seem right to me, though. For one thing, a writer may change an ending if a test reader can cite issues with it, and a director can re-cut their film if focus groups find it difficult to watch without any benefit. Moreover, gaming is so different from every other art form, so involving of the end user of the content, that sooner or later a different set of standards should be observed. As we approach the Video Game Singularity, it becomes more and more apparent that the old ways of judging those who create the stories we enjoy no longer apply. We are just as responsible for the stories being told through games as the developers are, and while games empower and encourage us to make decisions to alter the outcome, we must realize that our power in that regard is shared with the developers, and is not exclusively our own. By the same token, the onus of integrity does not solely fall on the developers. We, as participants in the story, must also hold ourselves to a standard, in providing constructive criticism, frank examination, and willingness to adapt or compromise when it comes to the narratives we come to love. Only by doing this can we blur that line between gamers and developers. Only by showing this desire to address these stories as living things in which we have a say and for the benefit of which we will work with their original creators will gamers stop coming across as spoiled brats and start to be considered a vital part of the game creation process. We can stop being seen as mere end-user consumers, and start participating actively in the perpetuation of this art form. To me, that's exciting and powerful. I mean, we still have people using racist and homophobic language in the community, but hey, baby steps.

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Blue Ink Alchemy

Movie Review: Captain America: The Winter Soldier

Movie Review: Captain America: The Winter Soldier — Blue Ink Alchemy

It would be easy, far too easy at this point, for Marvel's creative minds to just churn out one-note sequels to its successful movie franchises. Just rehash plot points, stick in named villains no matter how they're written, and ride the wave of money all the way to the bank. But they tried that once, with Iron Man 2. And it backfired. Iron Man 2 is the worst movie of the set so far. My point is that Marvel's people had to get smarter about their stories, especially in the wake of The Avengers, and they did. Iron Man 3 is a character piece with expertly-timed comedy juxtaposed with an inward realignment on the part of Tony Stark. Thor: The Dark World lets Chris Hemsworth demonstrate true heroic gravitas and, I will reiterate, acts more like Superman than Superman does in Man of Steel. And now comes Captain America: The Winter Soldier, a very smart, very intense, very electric action-thriller about conspiracies, betrayals, secrets, and what happens when you drop the ultimate Boy Scout into a very deadly cloak-and-dagger scenario. The scenario begins with Captain America working with SHIELD as part of a special ops strike team. He and Black Widow run covert operations to subvert things like hostage situations. However, when Captain Rogers realizes that his operations are getting 'compartmentalized' by Nick Fury, as in some of his guys follows his orders and others have different orders to follow, he gives SHIELD's director a piece of his mind. In turn, Fury shows Rogers Project Insight, SHIELD's new helicarriers meant to neutralize threats before they happen. Rogers, maintaining his stand on the moral high ground, raises his hackles even more, and Fury actually calls for Insight to be delayed. This was apparently an unpopular move, as both Fury and Rogers become targeted for assassination, specifically by the terrifying, heavily-armed spectre known only as the Winter Soldier. For once, Marvel's iconic heroes are in a situation that does not involve laser beams, magic hammers, or monsters of myth. This is a complete and total shift in tone, theme, and atmosphere from anything we've seen before in this cinematic universe. Superheroes stories always have their share of violence, perhaps more than their share given all the creatures and demigods and megalomaniacs who get punched in the face, but Captain America: The Winter Soldier goes down a different road. The violence is delivered through the entirely mundane and somehow more visceral means of blades, bombs, and bullets, and the victims of that violence are not always the bad guys. This is not a negative aspect of the movie, mind you - but it's worth knowing beforehand so you know what you're in for.
It's very cool to meet someone who has a lot in common with Captain America despite the age gap. Tales of intrigue, betrayal, secrets, and revelation have lasted for millenia, long before the advent of superheroism as we know it, as characters compromise themselves morally and legally to do what they feel is right. This is especially true in this modern, cloak-and-dagger world, where secrets are even better concealed by technology and businessmen and bankers lie as a matter of course. That said, Captain America is a completely straightforward, honest person living in a thoroughly dishonest world, but given his skills, notoriety, and fortitude, he's in a position where he begins to unravel conspiracies just by being himself. For all of the film's well-timed and well-executed reveals and double-crosses, when you drop Captain America into a story like this, the conspiracies start coming apart almost immediately. The movie spends about two-thirds of its running time on this very tense, very visceral spy thriller, and then seques very easily into rather straightforward action for its final act. I'm trying to avoid hyperbole in the name of something resembling objectivity, but i just used the word 'very' three times in the last sentence - this film makes an impression. From the realistic bent of its firefights to the sharpness of its dialog, Captain America: The Winter Soldier makes it clear that no punches are going to be pulled. Thankfully, beneath the callbacks to the works of John LaCarre and Tom Clancy and cleanly shot, well choreographed fights, which would make this film stand alone as an above-average action thriller, there's even more to enjoy.
He's not only displaced in time, but out of his element. Scarlett Johansson's Black Widow really steps out on her own here. While we're still waiting for what is certain to be a fantastic solo outing, she and Chris Evans make a great double act especially throughout the middle of the movie. She always seems a step ahead, approaches her challenges with confidence, and lets the facade of cold, calculated confidence crack now and again to reveal the very human character beneath all of the flash and guile. Anthony Mackie is a breakout star, definitely feeling more like a supporting and necessary character than a sidekick, as Falcon often was in the comics. He's a modern soldier, mostly courteous with just enough bravado to make him compelling and endearing at the same time, and his wing-suit is weaponized cool not seen since Iron Man. Samuel L. Jackson gives Nick Fury more depth and complexity than ever, and while I'm not sure how in the world a mainstay leading man like Robert Redford got into a Captain America movie, he does fantastic work and demonstrates that he is still one of the best in the business. As for our title roles, Chris Evans continues to impress as Captain America, simultaneously the sort of upstanding person you wish existed more often in real life and the kind of selfless hero that can't help but inspire. Finally, the Winter Soldier doesn't get as much screen time as you might expect given his name is in the title, but his role as the ultimate vector of the villainous plans afoot is superbly executed, and he has real on-screen menace and intensity when he's around. Over and above everything else, though, Captain America: The Winter Soldier is smart. Its ties to the rest of the Marvel Universe are more implied than explicit. If you've been along for the ride from the beginning, you're going to pick up on a lot and be left wanting more. If you're new, you'll want to know more. Names, when dropped, feel a great deal more subtle than they have been in the past, we see more of SHIELD than we ever have before, and even the superscience bits have weight that don't interfere with the drive of the narrative. I don't think the tonal shift is for everyone, and some viewers may get turned off by the running time or the subject matter, as I mentioned before. But in terms of objective flaws, the movie has very few, so few that none are springing immediately to mind.
One of many perfectly executed 'oh SHIT!' moments. Captain America: The Winter Soldier is some of the best work Marvel has done to date. It's gripping storytelling from start to finish. If this is any indication of how strong 'Phase 2' is going to continue being in relation to 'Phase 1', I am even more excited for Guardians of the Galaxy in August. It doesn't have the all-ages appeal and pure fun factor of The Avengers or the truly deep and intimate character focus of Iron Man 3, but with its very strong cast, excellent writing, engrossing action, and monstrously influential implications for the rest of the Marvel Cinematic Universe, in spite of the 1200 or so words I've just written, there are no words with which I can recommend Captain American: The Winter Soldier any higher than this: It's not the best superhero movie ever made... but it comes damn, damn, damn close.

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Blue Ink Alchemy

Consent, Cosplay, and Cuddles

Consent, Cosplay, and Cuddles — Blue Ink Alchemy

I don't think I'm very influential. This site tends to get just under 100 views a day. Some days it's lucky to hit 50. So in some ways, this may simply be preaching to the choir. I'm aware of this. But I also know that some of the people who read this are folks I don't know personally, and may help spread the word to people who would otherwise be unaware of the following. So with that in mind, and simply wanting to promote positive behavior as much as possible, let's talk about consent at conventions. Convention season is in full swing. It's great to meet people there. You may even be compelled to shake hands or even hug someone. Make sure they're cool with it first. You may think it's fun to give someone a 'surprise hug' but the fact of the matter is, there are a lot of people who have had bad experiences when it comes to being touched. An unexpected brush or contact can bring all sorts of unbidden memories and emotions roaring to the surface of the mind, and nobody wants that to happen. We gather in these placed to have fun together, not to hurt one another. It doesn't take a lot - "May I shake your hand?" "Would you like a hug?" - but it will mean a world of difference to people if you act with courtesy and wait for consent. This especially applies to cosplayers. A lot of people spend months preparing costumes to show off in large public places where people have shared interests. They do it for fun and to celebrate their fandoms. They, too, deserve the respect of being approached like a human being, rather than sized up like a piece of meat. If you catcall a cosplayer, or worse, impose yourself physically on one without your consent, you're being part of the problem. Remember: cosplayers are not wearing their costumes for you. They're doing it for them, and they deserve to be proud of that without having to worry about getting creeped on by strangers. Everybody needs contact, reassurance, even cuddles. There's nothing wrong with any of that. As long as there is communication and consent, we can make our gatherings positive and memorable experiences. We have to work together to do it, and we have to look out for one another. That doesn't just mean communication between the parties involved, but also communication with those that can help. If you see something questionable, if someone's getting hurt or being made to feel uncomfortable, tell someone. If you yourself are put in a position of which you do not approve, tell someone. Staff members are there to help you. There's bound to be one disconnected from all of the goings on who will not only hear you out, but speak up on your behalf. Yes, there are bad experiences, and yes, sometimes things go sour even when you try to do the right thing. What's the alternative? Give up entirely? If we all did that, if we all just gave up when things got frustrating or didn't turn out the way we wanted, we'd get nowhere, and communities would crumble, all the good and positivity they create dissolving into nothingness and leaving this world a colder, more empty place. I think that dissent can be a good thing, and those who have a legitimate beef that goes unheard have the right to say what they have to say. My point is that, if we're all working together, offering consent and speaking up for one another, it shouldn't have to get to that point. Things can and will get better, but only if we all contribute towards making it so. We all have to work together. One person, alone, can change very little, but again, that doesn't mean we shouldn't try. Ghandi once said "If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. ... We need not wait to see what others do." The more we work to make the collective experience better for everyone involved, the greater our influence on the flow of events and the lives of others becomes. We can, and will, change both how our communities work, and how they are perceived by others. And believe it or not, it all hinges on asking one simple question. Can I have a hug? (Images courtesy The Mary Sue; featured Enforcers are RGB, Ysterath, oogmar, and NotHanz. Original images hosted by Auspex on her Tumblr. Many thanks to Uhura Jones for pointing out the shortcomings in the above post.)

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Blue Ink Alchemy

Consent, Cosplay, and Cuddles

Consent, Cosplay, and Cuddles — Blue Ink Alchemy

I don't think I'm very influential. This site tends to get just under 100 views a day. Some days it's lucky to hit 50. So in some ways, this may simply be preaching to the choir. I'm aware of this. But I also know that some of the people who read this are folks I don't know personally, and may help spread the word to people who would otherwise be unaware of the following. So with that in mind, and simply wanting to promote positive behavior as much as possible, let's talk about consent at conventions. Convention season is in full swing. It's great to meet people there. You may even be compelled to shake hands or even hug someone. Make sure they're cool with it first. You may think it's fun to give someone a 'surprise hug' but the fact of the matter is, there are a lot of people who have had bad experiences when it comes to being touched. An unexpected brush or contact can bring all sorts of unbidden memories and emotions roaring to the surface of the mind, and nobody wants that to happen. We gather in these placed to have fun together, not to hurt one another. It doesn't take a lot - "May I shake your hand?" "Would you like a hug?" - but it will mean a world of difference to people if you act with courtesy and wait for consent. This especially applies to cosplayers. A lot of people spend months preparing costumes to show off in large public places where people have shared interests. They do it for fun and to celebrate their fandoms. They, too, deserve the respect of being approached like a human being, rather than sized up like a piece of meat. If you catcall a cosplayer, or worse, impose yourself physically on one without your consent, you're being part of the problem. Remember: cosplayers are not wearing their costumes for you. They're doing it for them, and they deserve to be proud of that without having to worry about getting creeped on by strangers. Everybody needs contact, reassurance, even cuddles. There's nothing wrong with any of that. As long as there is communication and consent, we can make our gatherings positive and memorable experiences. We have to work together to do it, and we have to look out for one another. That doesn't just mean communication between the parties involved, but also communication with those that can help. If you see something questionable, if someone's getting hurt or being made to feel uncomfortable, tell someone. If you yourself are put in a position of which you do not approve, tell someone. Staff members are there to help you. There's bound to be one disconnected from all of the goings on who will not only hear you out, but speak up on your behalf. Yes, there are bad experiences, and yes, sometimes things go sour even when you try to do the right thing. What's the alternative? Give up entirely? If we all did that, if we all just gave up when things got frustrating or didn't turn out the way we wanted, we'd get nowhere, and communities would crumble, all the good and positivity they create dissolving into nothingness and leaving this world a colder, more empty place. I think that dissent can be a good thing, and those who have a legitimate beef that goes unheard have the right to say what they have to say. My point is that, if we're all working together, offering consent and speaking up for one another, it shouldn't have to get to that point. Things can and will get better, but only if we all contribute towards making it so. We all have to work together. One person, alone, can change very little, but again, that doesn't mean we shouldn't try. Ghandi once said "If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. ... We need not wait to see what others do." The more we work to make the collective experience better for everyone involved, the greater our influence on the flow of events and the lives of others becomes. We can, and will, change both how our communities work, and how they are perceived by others. And believe it or not, it all hinges on asking one simple question. Can I have a hug? (Images courtesy The Mary Sue; featured Enforcers are RGB, Ysterath, oogmar, and NotHanz. Original images hosted by Auspex on her Tumblr. Many thanks to Uhura Jones for pointing out the shortcomings in the above post.)

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Blue Ink Alchemy

Consent, Cosplay, and Cuddles

Consent, Cosplay, and Cuddles — Blue Ink Alchemy

I don't think I'm very influential. This site tends to get just under 100 views a day. Some days it's lucky to hit 50. So in some ways, this may simply be preaching to the choir. I'm aware of this. But I also know that some of the people who read this are folks I don't know personally, and may help spread the word to people who would otherwise be unaware of the following. So with that in mind, and simply wanting to promote positive behavior as much as possible, let's talk about consent at conventions. Convention season is in full swing. It's great to meet people there. You may even be compelled to shake hands or even hug someone. Make sure they're cool with it first. You may think it's fun to give someone a 'surprise hug' but the fact of the matter is, there are a lot of people who have had bad experiences when it comes to being touched. An unexpected brush or contact can bring all sorts of unbidden memories and emotions roaring to the surface of the mind, and nobody wants that to happen. We gather in these placed to have fun together, not to hurt one another. It doesn't take a lot - "May I shake your hand?" "Would you like a hug?" - but it will mean a world of difference to people if you act with courtesy and wait for consent. This especially applies to cosplayers. A lot of people spend months preparing costumes to show off in large public places where people have shared interests. They do it for fun and to celebrate their fandoms. They, too, deserve the respect of being approached like a human being, rather than sized up like a piece of meat. If you catcall a cosplayer, or worse, impose yourself physically on one without your consent, you're being part of the problem. Remember: cosplayers are not wearing their costumes for you. They're doing it for them, and they deserve to be proud of that without having to worry about getting creeped on by strangers. Everybody needs contact, reassurance, even cuddles. There's nothing wrong with any of that. As long as there is communication and consent, we can make our gatherings positive and memorable experiences. We have to work together to do it, and we have to look out for one another. That doesn't just mean communication between the parties involved, but also communication with those that can help. If you see something questionable, if someone's getting hurt or being made to feel uncomfortable, tell someone. If you yourself are put in a position of which you do not approve, tell someone. Staff members are there to help you. There's bound to be one disconnected from all of the goings on who will not only hear you out, but speak up on your behalf. Yes, there are bad experiences, and yes, sometimes things go sour even when you try to do the right thing. What's the alternative? Give up entirely? If we all did that, if we all just gave up when things got frustrating or didn't turn out the way we wanted, we'd get nowhere, and communities would crumble, all the good and positivity they create dissolving into nothingness and leaving this world a colder, more empty place. I think that dissent can be a good thing, and those who have a legitimate beef that goes unheard have the right to say what they have to say. My point is that, if we're all working together, offering consent and speaking up for one another, it shouldn't have to get to that point. Things can and will get better, but only if we all contribute towards making it so. We all have to work together. One person, alone, can change very little, but again, that doesn't mean we shouldn't try. Ghandi once said "If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. ... We need not wait to see what others do." The more we work to make the collective experience better for everyone involved, the greater our influence on the flow of events and the lives of others becomes. We can, and will, change both how our communities work, and how they are perceived by others. And believe it or not, it all hinges on asking one simple question. Can I have a hug? (Images courtesy The Mary Sue; featured Enforcers are RGB, Ysterath, oogmar, and NotHanz. Original images hosted by Auspex on her Tumblr.)

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Blue Ink Alchemy

Consent, Cosplay, and Cuddles

Consent, Cosplay, and Cuddles — Blue Ink Alchemy

I don't think I'm very influential. This site tends to get just under 100 views a day. Some days it's lucky to hit 50. So in some ways, this may simply be preaching to the choir. I'm aware of this. But I also know that some of the people who read this are folks I don't know personally, and may help spread the word to people who would otherwise be unaware of the following. So with that in mind, and simply wanting to promote positive behavior as much as possible, let's talk about consent at conventions. Convention season is in full swing. It's great to meet people there. You may even be compelled to shake hands or even hug someone. Make sure they're cool with it first. You may think it's fun to give someone a 'surprise hug' but the fact of the matter is, there are a lot of people who have had bad experiences when it comes to being touched. An unexpected brush or contact can bring all sorts of unbidden memories and emotions roaring to the surface of the mind, and nobody wants that to happen. We gather in these placed to have fun together, not to hurt one another. It doesn't take a lot - "May I shake your hand?" "Would you like a hug?" - but it will mean a world of difference to people if you act with courtesy and wait for consent. This especially applies to cosplayers. A lot of people spend months preparing costumes to show off in large public places where people have shared interests. They do it for fun and to celebrate their fandoms. They, too, deserve the respect of being approached like a human being, rather than sized up like a piece of meat. If you catcall a cosplayer, or worse, impose yourself physically on one without your consent, you're being part of the problem. Remember: cosplayers are not wearing their costumes for you. They're doing it for them, and they deserve to be proud of that without having to worry about getting creeped on by strangers. Everybody needs contact, reassurance, even cuddles. There's nothing wrong with any of that. As long as there is communication and consent, we can make our gatherings positive and memorable experiences. We have to work together to do it, and we have to look out for one another. That doesn't just mean communication between the parties involved, but also communication with those that can help. If you see something questionable, if someone's getting hurt or being made to feel uncomfortable, tell someone. If you yourself are put in a position of which you do not approve, tell someone. Staff members are there to help you. There's bound to be one disconnected from all of the goings on who will not only hear you out, but speak up on your behalf. Yes, there are bad experiences, and yes, sometimes things go sour even when you try to do the right thing. What's the alternative? Give up entirely? If we all did that, if we all just gave up when things got frustrating or didn't turn out the way we wanted, we'd get nowhere, and communities would crumble, all the good and positivity they create dissolving into nothingness and leaving this world a colder, more empty place. I think that dissent can be a good thing, and those who have a legitimate beef that goes unheard have the right to say what they have to say. My point is that, if we're all working together, offering consent and speaking up for one another, it shouldn't have to get to that point. Things can and will get better, but only if we all contribute towards making it so. We all have to work together. One person, alone, can change very little, but again, that doesn't mean we shouldn't try. Ghandi once said "If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. ... We need not wait to see what others do." The more we work to make the collective experience better for everyone involved, the greater our influence on the flow of events and the lives of others becomes. We can, and will, change both how our communities work, and how they are perceived by others. And believe it or not, it all hinges on asking one simple question. Can I have a hug? (Images courtesy The Mary Sue; featured Enforcers are RGB, Ysterath, oogmar, and NotHanz.)

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Blue Ink Alchemy