Return of the Jedi (or possibly Sith)

Return of the Jedi (or possibly Sith) — Blue Ink Alchemy

Maybe it's because I'm hopeful Guardians of the Galaxy evokes the old feelings of wonder that came with A New Hope. Maybe it's the discovery of the excellent X-Wing Miniatures game. Maybe it's just nostalgia. But whatever the cause, I have been on a sizable Star Wars kick lately, and a big part of that is the time I've been spending in Star Wars: The Old Republic. I did a first impressions post a few years ago when the game was in beta, and upon reflection, I ended up being a bit harsh in the name of blunting my nostalgia. I think leaning towards objectivity is good for anybody looking to present a review of entertainment for a wide audience, but I think it would have been okay if I had talked more about my curiosity and excitement about a new facet of the universe opening up and less about the clunky mechanics and the opinions of non-fans. Playing it now, I'm definitely hooked. I'm curious to see where the various stories go. I'm doing my utmost to avoid spoilers, and I'm actually enjoying the quest structure. It doesn't feel like a grind - I've never had more than two or three quests in my log at any given time. "Kill X amount of Y" only pops up as a bonus, and since I get jumped by uppity bunches of Y on my way to the objective anyway, why not pull in a little extra XP? It does still have a lot of mechanical similarities to World of Warcraft, but the little differences do more than their fair share in setting the game apart. The bottom line is, even moreso now than back in the game's beta days, I see potential. I think that's been what keeps Star Wars a positive thing in my mind. For all of its flaws and missteps, the universe Lucas created has always contained the potential for truly great storytelling. The military sci-fi bent of Rogue Squadron stories, the antiquated feel of Tales of the Jedi, the way Dark Forces felt like so much more than a DOOM clone because you were stealing the Death Star plans... I could go on. Lucas may not be the best director or a very good scriptwriter, but the seeds he sowed almost 40 years ago were in very fertile ground indeed. I'm interested in exploring the Edge of the Empire RPG, probably after I move, if I can rope my new housemates into it. I'm expanding my collection of X-Wing Miniatures. I'm going to play a lot more of The Old Republic. And I am keeping a wary eye on this new film of theirs. While I don't agree with the official word ejecting the expanded universe as canon, JJ Abrams has always been more of a whiz-bang director than the intellectual contemplation that Star Trek really demands. In spite of my cautious curiosity, though, one thing is certainly clear. Star Wars is back in my life. I enjoy Star Wars quite a bit. And there's nothing wrong with that.

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Blue Ink Alchemy

Ongoing Progress

Ongoing Progress — Blue Ink Alchemy

I will be the first to admit that I am a work in progress. The person I am now is not the person I want to be, and I have goals I continue to work and struggle towards. The work is not always clean, and nowhere near as ordered as I would like. Change does not happen overnight. I still have a solid idea of how I want my schedule to look, but I can't flip a switch and make that happen, unfortunately. With a pending cross-country move, loose ends to tie up here, and all sorts of other obligations and diversions, it's been difficult to nail things down and stick with them. More than anything, though, I'm trying not to focus on my failures. I'd much rather spend my time setting up for future success, even if it means my goals aren't being realized as expediently as I would like. I'm simply trying to keep myself honest and moving forward. Not to mention sane. I'm hopeful that, by this time next month, the path forward will be clearer, and something that I have defined for myself. It's never too late to start over, to try again. It's only quitting if you stop trying.

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Blue Ink Alchemy

Is Social Media A Necessary Evil?

Is Social Media A Necessary Evil? — Blue Ink Alchemy

Social media, and our means of interfacing with it, continues to grow. From evolving platforms like Fourspring becoming Swarm, to applications proliferating all over phones and tablets, it feels almost like an infiltration. Lives have been changed because of social media, even damaged. It could be argued that social media does more harm than good. But is that really the case? Digial delivery systems for media, be they stories or critiques or commentary or something entirely new, require unique methods of finding audiences by their very nature. Most up-and-coming content creators do not have the capital to line up advertising budgets. Success and failure depends almost entirely on word of mouth. The nature of the Internet, and by extension, social media, means that those words can be transmitted to a multitude of ears far more efficiently and quickly than normal modes of conversation. 140 characters may not sound like much, but with persistence and the right timing, they can be just as effective as the biggest billboards lining a superhighway. There's also the fact that social media allows people to remain in touch over very long distances and through shifting circumstances. Moreso than phone or emails, social media allows for immediate connections, and immediate feedback. That's part of its power, and a big portion of its curse. You can't take back what you say, especially on social media. The more you try to cover up or remove, the worse things look for you. Just ask any number of the independent game developers that try to make negative reviews of their games go away. In the end, social media is a tool. For connectivity, for promotion, for information - it is a means to an end. Those ends can and do vary from person to person, from goal to goal. It is difficult for me to believe that any permutation of social media was created with any sort of malicious or damaging intent. Like so many things on the Internet, we're talking about about information. Information, if you'll pardon the old cliche, is power. The uses and abuses of that power are their own animals. Social media itself is not to blame. I cannot subscribe to that interpretation. That said, it can impede things. It can distract, detract, and even disrupt. Sometimes, stepping away from the whole mess is the correct course of action. I don't think anybody can or should be blamed for making that decision. However, for all of its flaws, all of the dust-ups and all of the feet finding their way into mouths, social media is not the enemy. I find it hard to believe that a tool that keeps people connected, spreads unfiltered information, and allows for new breeds of entertainment to find voices they wouldn't otherwise, has something inherently wrong with it. I know some would call social media a 'necessary evil'. But I am not sold on the 'evil' part.

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Blue Ink Alchemy

Bring Out Your Dead

Bring Out Your Dead — Blue Ink Alchemy

Writers are murderers. This is an established fact. But I would contend that only bad writers kill characters on a whim, "just because". If you look at good writing, a character death is never accidental, never flippant. It's a calculated move. And, if you're attached to said character or characters, after the initial shock, if you think about it, you can nod and say "Yes, that was a good death." Spoilers ahead, obviously. [spoiler]Quite a few character deaths are, unfortunately, are a means of raising the stakes. Joss Whedon has a habit of doing this. From Shepard Book and Wash in Serenity to Coulson in The Avengers, the death of characters is a sudden gut-punch that knocks the wind out of the audience for a moment and demonstrates that things are serious, and deadly. Our pathos shoots up for those left behind. We feel raw loss at the same time as the surviving characters, and while this can sometimes feel like manipulation on the writer's part, the effect is undeniable. Character deaths are even better when they are the result of character decisions and actions, cause and effect, leading to that terminal point. I think of The Wire as a good example of this. Some of the character deaths may seem senseless, in one case even random, but a moment's thought puts the violence in context, and the realization comes that every bullet is the final result of a series of choices made by the characters. Especially since good writers go out of their way to realize their characters as people, we can understand why those decisions were made, even if we don't agree with them. A Song Of Ice And Fire is notorious for character deaths, but here is another example of characters dying more as a result of deicions made by themselves or others, rather than seemingly at the whim of the author. The deaths are just as calculated, but the arithmetic is obscured by deep characterization and excellent dialog. Consider the death of Tywin Lannister. Here is a man who had power and ambition, but also cunning and charisma. He definitely made enemies, and burned a lot of bridges, but for a while, he seemed almost untouchable. But many of the decisions he made were disadvantageous for his second son, Tyrion. He underestimated the fury and calculation of his malformed child, and even when the terminal point was reached, Tywin's pride does not allow for him to do anything other than confront Tyrion directly and boldly. Neither man backs down and, in the end, it's the one with the crossbow that walks away.[/spoiler] So. Character deaths. Let's talk about them. What has stood out in your mind as a good death for characters? Which have seemed pointless, or badly executed? How powerful is death when applied from a writer's toolbox?

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Blue Ink Alchemy

500 Words on Marvel

500 Words on Marvel — Blue Ink Alchemy

As I write this, San Diego Comic-Con, arguably one of the biggest gatherings of so-called 'geeks' or 'nerds' in his hemisphere, is taking place. The Marvel panel is, I believe, tomorrow, and there are likely to be announcements as to what is coming up for the studio behind The Avengers and Agents of S.H.I.E.L.D.. I have this feeling of both excitement and trepidation. As much as I like what Marvel has done and is doing, I have some fears about the future. Guardians of the Galaxy looks amazing. I'm intrigued by the implications of the plot being developed for Avengers: Age of Ultron. And the mere mention of a Doctor Strange film might elicit what can only be described as a 'squee' from Yours Truly. But in the midst of all of this, I have yet to see Marvel do something to truly push them into the forefront when it comes to universal appeal in excellent entertainment. Marvel needs a solo female lead. There are a few female characters that have shown well-rounded characterization: Pepper Potts, Natasha Romanoff, Maria Hill, Melinda May, etc. But none of them have carried their own story yet. In this, and pretty much this alone, Marvel and DC have something in common. While DC is still struggling to carve out its own identity, as they try keep pace with Marvel as well as emerging from the shadow of Nolan's bat, Marvel distinguishes itself in almost every other regard. This is also an issue when it comes to characters of color, but with the Falcon being such a breakout star in Captain America: The Winter Soldier, and The Black Panther all but confirmed, I feel it's been more addressed than the issue of a solo female lead. I would love to see it happen. And I would dearly love for it to be Captain Marvel. Carol Danvers is one of my favorite ladies of Marvel. Kelly Sue Deconnick's take on her in particular is an absolute delight. Despite being imbued with superpowers and having worked in the male-oriented military for so long, Carol is still very much her own woman, and a very human character. The image above, envisioning the incomparable Katee Sackhoff as Carol, fills me with hope. I know it may be a long shot - Fiege and company have yet to really address things - but the idea remains. Another idea occurs: what if Doctor Strange was female? While we're talking about dream casting, if Strange remains male, I'd love to see Oded Fehr play the role. He has charisma, gravitas, and he breaks the mold of stereotypical white male protagonism. However, a female Strange would be excellent. Can you imagine a Sorceress Supreme battling cosmic forces that break the minds of lesser humans? And what about Gina Torres or Aisha Tyler as She-Hulk? Think about it. This is all speculation, but honestly, Marvel needs this. DC would have no hope of catching up. Until Orci & Kurtzman write Iron Man Into Darkness, Make Mine Marvel!

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Blue Ink Alchemy

The Lived-In Universe

The Lived-In Universe — Blue Ink Alchemy

For a long time, space travel in fiction was predominantly shiny. Long, slender, cigar-shaped rockets predominantly made of chrome blasted off towards the stars. More often than not, equally shiny flying saucers spun their way towards our suburban homes to shower our Sunday barbecues with death rays. I am exaggerating a bit, but what I'm driving at is there was an aesthetic that remained largely untapped until 1977. Just before then, the shiny sci-fi aesthetic extended to both realistic films like 2001: A Space Odyssey and episodic television such as Star Trek. Roddenberry, in particular, envisioned the future as a utopia, peaceful and squeaky-clean. Then along came a little movie called Star Wars. From the very beginning, it was something different. The Star Destroyer was enormous, imposing, and definitely not peaceful. The Tantive IV, said Star Destroyer's prey, was battered and utilitarian. Mos Eisley was both visually and ethically dirty. And the Millenium Falcon? What a piece of junk! The galaxy far, far away as envisioned by George Lucas is the result of literally thousands of years of history. The worlds and ships are used and lived-in. Even callbacks to earlier times, the tales set in the Old Republic, have worn edges and is painted with shades of gray morally and aesthetically. It was this, not the shiny utopian vision, that informed the immediate followers of Star Wars, such as the original Battlestar Galactica and Buck Rogers in the 25th Century. Gene Roddenberry tried to resist this trend. Star Trek: The Next Generation was a big, bold utopian statement, to the point that Roddenberry himself said that there should be no interpersonal conflict on the gigantic new USS Enterprise. This lead to early seasons of the show often feeling pretentious and sterile. Thankfully, later seasons moved past this to have the crew behave more like real people than Federation pontificators, and Deep Space Nine pushed things even further. That show was concurrent with shows like Babylon 5 and FarScape, both of which introduced universes that were both brand new and familiar in their dynamics and feeling of history. As fun as it is to envision a shiny, utopian future, the fact is that a more lived-in universe is more accessible to a wider audience. We picture ourselves more easily in a galaxy with some history, some mileage, and some rough edges, because it's closer to the world we actually live in. We've walked down a street like the one we see in Mos Eisley. We're familiar with being elbow-deep in our vehicle trying to get it to behave. We've had conversations with very stubborn, well-reasoned people, and tried to fight back against things that we feel are wrong, even if it's an uphill battle. These are universal elements to good storytelling, no matter what the 'verse in question might be - looking at you, Firefly. What are some other instances of science fiction feeling lived-in and familiar, despite being set in galaxies far, far away?

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Blue Ink Alchemy

Connect Your Characters

Connect Your Characters — Blue Ink Alchemy

Good fiction, when you get down to it, is about people. I don't just mean the characters. It's true that, no matter how original or fascinating your premise, you need to have three-dimensional characters. If your characters are flat or uninteresting, or exists solely as ciphers for your own expectations or those of the reader, or blank slates upon whom the reader can project, the story will fall apart. Characters with depth and personality keep your story going and, at times, can even help you write it. If you find yourself trying to write out of a corner, have your characters strike up a conversation. It doesn't matter what it's about. Just have them start talking to one another. Before you know it, you're either out of the situation you were in, or you've started something new. However, when I refer to good fiction being about people, I also mean the audience. A good novel thrives on the reader wanting to turn the next page - or, perhaps, not wanting to, for fear of what will happen next to the characters they're following. To truly hook a reader in this way, there has to be a connection between them and the characters you've created. While you can't necessarily make a reader give a damn about your characters, you can certainly encourage them to do so. Compelling stories thrive on conflict, be it internal or external. I don't just mean the gunfights and fisticuffs. What moral decisions must the characters grapple with? What complications arise due to relationships, be they familial or social? Is there a supervisor involved, and if so, is there tension or disagreement there? Are there incidents in the character's past that embarrass them? If a character's present form is different from one they had in the past, how do the people around them reconcile that change? Even more questions can be asked based on the role the character is filling. If they're a protagonist, what are their motives, and can an audience get behind them? When they make a decision that is against the law or contrary to prevailing morality, will the reader understand why and, more to the point, accept it? Can your antagonists justify their actions in a way that's understood, or even forging a connection of their own to the audience? Doing these things will elevate your storytelling. Ask yourself these questions. Find the ways to connect your characters to your readers. It's a solid way to make a good story into a great one.

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Blue Ink Alchemy

The Tower Hums Again

The Tower Hums Again — Blue Ink Alchemy

I just repaired my home PC. I had to swap out my power supply with a replacement. The whole affair cost me about $80, and took less than an hour to complete. I plan to resume my gaming as soon as I post this quick blog - the Curse of Naxxramas was just released in Hearthstone, so I have some work to do. And some writing, as well! On the other hand, the MacBook that I promised to get repaired is going to cost me just under $500. I would be in the same boat if my PS3 gave up the ghost. It would be less expensive than the MacBook, to be sure, but it would still be pricey by comparison. I don't know the internal workings of a gaming console - I think they're not unlike very slim PCs, but I don't know for sure. My point is, there are a lot of advantages to using a PC for all sorts of things, including gaming, and this low repair price point is one of them. Regular blogging should, I hope, resume at this point.

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Blue Ink Alchemy

Movie Review: Dawn of the Planet of the Apes

Movie Review: Dawn of the Planet of the Apes — Blue Ink Alchemy

I have a soft spot in my heart for what I and others call 'big idea' science fiction. You see, sci-fi is not always whiz-bang laser fights and exotic, distant worlds. Mary Shelley's Frankenstein is a work of science fiction, as is Michael Crichton's Jurassic Park. Without aliens, particle beams, faster than light starships or time travel, I think some folks would pass over something like Dawn of the Planet of the Apes in the search for sci-fi. But trust me: this movie is science fiction, it's 'big idea' science fiction, and it's delivered blockbuster-style to a cinema near you. Ten years after the so-called 'simian flu' engineered in Rise of the Planet of the Apes was unleashed on the world, humankind is all but wiped out. The apes that were granted intelligence by that same retrovirus, on the other hand, have flourished. The first to 'awaken', Caesar, has lead his fellow apes to a colony in which a code of conduct, a school, and an organized military have all been established. While hunting, those militaristic apes happen across a human. Tensions immediately flare, with one of the humans fascinated by the apes as the others gear up to defend themselves, and Caesar waiting to see if these humans are reasonable while his general, Koba, seethes with a desire to avenge himself upon his former captors. So the big idea, here, is that not only humans have engineered their own end, but they have also uplifted their successors. In older movies set in the Planet of the Apes, it's seemed that the apes are conquerors, brutally claiming territory once held by humans. However, Dawn smartly shows the apes simply moving in to occupy a role once held by humans: the top of the food chain, apex predators due to their intelligence. The natural world is clearly reclaiming itself from the ravages of mankind; we see it in the trees, the waters, and the streets of San Francisco. Mankind is already no longer the masters here; the planet belongs to the apes.
Two of a kind. This is a world fully realized, one we can conceptualize and connect with even if it is unlike our own. Thankfully, the characters in that world are just as thought-provoking. Whereas some sci-fi lets the ideas take center stage while cardboard cutout characters act as ciphers for bigger themes, Rise gives us well-written ones that invite multiple perspectives on the world. As in Rise of the Planet of the Apes, Caesar is our main protagonist, realized in breathtaking work done by Andy Serkis and an expert team of motion capture artists, who expresses himself eloquently and is a pensive, dedicated, and driven leader. He commands respect, both from his apes and the audience. Koba, Caesar's vengeful general, is also incredibly compelling, surprising in his pathos and clearly showing that Caesar's cunning is no accident. On the human side, Jason Clarke's Malcolm serves quite adequately as Caesar's counterpart; he is curious and diplomatic, opting to talk before he fights. Gary Oldman as Dreyfus is far more protective of the human survivors huddled together in San Francisco's ruins, but his cagey nature and desperation are completely understandable. It's the mark of good storytelling when you can see things from the perspective of each player, be the results of their actions positive or negative. Everybody has a personal agenda, and while neither apes nor humans have anything to gain from fighting, the more the tensions rise, the more a fight seems inevitable. With all of these big ideas floating around, realized through very human and well-written characters, you may think that Dawn opts away from any of the whiz-bang action stuff I mentioned in the first paragraph. But it's smarter than that. It's smart enough to know that in the midst of all of the philosophy and commentary on human nature, it's still a summer blockbuster and still a fun time at the movies. When fighting breaks out, the combat is energetic and imaginative. Action scenes are cleanly shot and some of the things we see are quite inventive. When you can say that the movie you saw about the sociological battle between our better natures and our desires for survival and vengeance also features a bonobo dual-wielding machine guns while on horseback, it's safe to say you're on to a winner.
Not even kidding. I walked out of Dawn of the Planet of the Apes thinking about it in a way you wouldn't think about Transformers: Age of Extinction. This movie is, as I've said, very smart. It never takes the audience for granted, delivering both satisfying action and thought-provoking characters and themes. It does not fall into the prequel trap of taking its outcomes for granted, either. I wasn't sure how it was going to end. It kept me guessing and, by extension, on the edge of my seat. It has big fights and big set pieces to go with its big ideas, and it shows us just how powerful and exciting good science fiction can be when done right. It also makes its preceding entry, Rise of the Planet of the Apes, even better than it was by coherently continuing the story while expanding the world and deepening the ongoing themes. I am going to have to buy both of these films for repeat watching. They're that good. You should definitely consider seeing Dawn of the Planet of the Apes. Even if you're not on board at first with some of the over-arching ideas, I will repeat: Bonobo on horseback with a machine gun in each hand.

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Blue Ink Alchemy

Kaput

Kaput — Blue Ink Alchemy

ka·put kəˈpoot,kä-/Submit adjective, informal broken and useless; no longer working or effective.

I used to get very, very angry when things broke on me. I still do, when I run into obstinance or ignorance. But inanimate objects? Not worth the rage. I get frustrated, sure, but I try to avoid untoward displays, and posts. My main PC is bricked as I await a new power supply. It throws off my rhythm. I'm getting my feet back under me so I can sprint towards the oncoming finish line. I'm hopeful that I can pick up my old pace and get going in such a way that I won't get so winded every again. This is just one last hiccup. I hope.

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Blue Ink Alchemy

Movie Review: Dawn of the Planet of the Apes

Movie Review: Dawn of the Planet of the Apes — Blue Ink Alchemy

I have a soft spot in my heart for what I and others call 'big idea' science fiction. You see, sci-fi is not always whiz-bang laser fights and exotic, distant worlds. Mary Shelley's Frankenstein is a work of science fiction, as is Michael Crichton's Jurassic Park. Without aliens, particle beams, faster than light starships or time travel, I think some folks would pass over something like Dawn of the Planet of the Apes in the search for sci-fi. But trust me: this movie is science fiction, it's 'big idea' science fiction, and it's delivered blockbuster-style to a cinema near you. Ten years after the so-called 'simian flu' engineered in Rise of the Planet of the Apes was unleashed on the world, humankind is all but wiped out. The apes that were granted intelligence by that same retrovirus, on the other hand, have flourished. The first to 'awaken', Caesar, has lead his fellow apes to a colony in which a code of conduct, a school, and an organized military have all been established. While hunting, those militaristic apes happen across a human. Tensions immediately flare, with one of the humans fascinated by the apes as the others gear up to defend themselves, and Caesar waiting to see if these humans are reasonable while his general, Koba, seethes with a desire to avenge himself upon his former captors. So the big idea, here, is that not only humans have engineered their own end, but they have also uplifted their successors. In older movies set in the Planet of the Apes, it's seemed that the apes are conquerors, brutally claiming territory once held by humans. However, Dawn smartly shows the apes simply moving in to occupy a role once held by humans: the top of the food chain, apex predators due to their intelligence. The natural world is clearly reclaiming itself from the ravages of mankind; we see it in the trees, the waters, and the streets of San Francisco. Mankind is already no longer the masters here; the planet belongs to the apes.
Two of a kind. This is a world fully realized, one we can conceptualize and connect with even if it is unlike our own. Thankfully, the characters in that world are just as thought-provoking. Whereas some sci-fi lets the ideas take center stage while cardboard cutout characters act as ciphers for bigger themes, Rise gives us well-written ones that invite multiple perspectives on the world. As in Rise of the Planet of the Apes, Caesar is our main protagonist, realized in breathtaking work done by Andy Serkis and a crack team of motion capture artists, who expresses himself eloquently and is a pensive, dedicated, and driven leader. He commands respect, both from his apes and the audience. Koba, Caesar's vengeful general, is also incredibly compelling, surprising in his pathos and clearly showing that Caesar's cunning is no accident. On the human side, Jason Clarke's Malcolm serves quite adequately as Caesar's counterpart; he is curious and diplomatic, opting to talk before he fights. Gary Oldman as Dreyfus is far more protective of the human survivors huddled together in San Francisco's ruins, but his cagey nature and desperation are completely understandable. It's the mark of good storytelling when you can see things from the perspective of each player, be the results of their actions positive or negative. Everybody has a personal agenda, and while neither apes nor humans have anything to gain from fighting, the more the tensions rise, the more a fight seems inevitable. With all of these big ideas floating around, realized through very human and well-written characters, you may think that Dawn opts away from any of the whiz-bang action stuff I mentioned in the first paragraph. But it's smarter than that. It's smart enough to know that in the midst of all of the philosophy and commentary on human nature, it's still a summer blockbuster and still a fun time at the movies. When fighting breaks out, the combat is energetic and imaginative. Action scenes are cleanly shot and some of the things we see are quite inventive. When you can say that the movie you saw about the sociological battle between our better natures and our desires for survival and vengeance also features a bonobo dual-wielding machine guns while on horseback, it's safe to say you're on to a winner.
Not even kidding. I walked out of Dawn of the Planet of the Apes thinking about it in a way you wouldn't think about Transformers: Age of Extinction. This movie is, as I've said, very smart. It never takes the audience for granted, delivering both satisfying action and thought-provoking characters and themes. It does not fall into the prequel trap of taking its outcomes for granted, either. I wasn't sure how it was going to end. It kept me guessing and, by extension, on the edge of my seat. It has big fights and big set pieces to go with its big ideas, and it shows us just how powerful and exciting good science fiction can be when done right. It also makes its preceding entry, Rise of the Planet of the Apes, even better than it was by coherently continuing the story while expanding the world and deepening the ongoing themes. I am going to have to buy both of these films for repeat watching. They're that good. You should definitely consider seeing Dawn of the Planet of the Apes. Even if you're not on board at first with some of the over-arching ideas, I will repeat: Bonobo on horseback with a machine gun in each hand.

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Blue Ink Alchemy

Blood from Sisyphus

Blood from Sisyphus — Blue Ink Alchemy

Courtesy Floating Robes Lately, that feeling has come back. Every time I get that heavy, bulky, stinking boulder up to the top of the hill, it rolls back down on top of me. I think I'm overdue for a vacation. My family reunion starts tomorrow (and I will have posts ready, I swear!), so that will probably help, but right now I'm mired in a lot of things I'd rather not delve into in a general, scattershot-to-the-Internet basis. So I will just say that getting my best work from me at a time like this is like getting blood from a stone. I'm just trying to boulder-roll my way through what's in front of me to get to better things, and I know that such a bull-headed approach can lead to things appearing as not my best work. I'm trying to get past that, too. Maybe I'm working too hard, or maybe I'm overthinking things. Either way, it's been a time when I've been smacking my forehead against the wall between me and where I want to be, and I'm not stopping until either I or the wall gets destroyed. And it's not going to be me.

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Blue Ink Alchemy

The Sith Have A Point

The Sith Have A Point — Blue Ink Alchemy

The X-Wing Miniatures Game by Fantasy Flight has been teasing me for a long time. I've tried to keep my attentions elsewhere, but with the excellent review over at Shut Up & Sit Down has nailed the coffin shut on my intentions. Soon, I will be picking up the Starter Set, and I have the feeling I will be fielding the Imperial forces. Despite the fact that we are intended to sympathize and root for the heroic underdog Rebellion, we have to remember that every villain from our perspective is the hero from theirs, and when you get right down to it, the Sith have a point. The Jedi are held up as paragons of virtue, galactic peacekeepers devoid of emotional attachment and personal ambition. However, if you give them more than a cursory glance, you start to see leaks in this presentation. They say that 'only a Sith deals in absolutes,' yet they consider Sith to always be on the wrong side of a battle. Always. No exceptions. An absolute. Makes you think, doesn't it? There's also the fact that the Jedi Masters that we find ourselves keying into - Qui-Gon Jinn, Yoda, etc - are often seen as renegades or iconoclastic among other Jedi. Others attempt to adhere to their strict adherence to being emotionless icons of righteousness. Absolute ones at that. The Sith seem to have a different approach. While many of them do pursue selfish ambitions that result in others getting hurt or the innocent getting suppressed, the general philosophy embraces the strength of independence, free thought, and ambition. It's certainly true that this sort of thinking can lead to people going down darker paths. However, it can be argued that a path of righteousness can also lead to dark places. Not that Jedi would ever admit this. Sith strike me as more honest in retrospect; the Jedi have good intentions but their strictures can yield rigid minds devoid of mercy as much as they are of emotion. As brutal as some of them can be, they have a point - passion can be every bit as powerful as rigid adherence to strictures, and in some cases, the passionate path is preferable, and not necessarily easier. For all of the flak Lucas deservedly gets for some of his ill-advised creative decisions, the universe he created is not devoid of merit, and this dichotomy is worth examination. Instead of the naked good/evil conflict we see all too often, in the right hands it can be a crucial examination of the debate between free thought and organized discipline. It can also be a simple backdrop for laser swords and dogfights in space.

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Blue Ink Alchemy

The Sith Have A Point

The Sith Have A Point — Blue Ink Alchemy

The X-Wing Miniatures Game by Fantasy Flight has been teasing me for a long time. I've tried to keep my attentions elsewhere, but with the excellent review over at Shut Up & Sit Down has nailed the coffin shut on my intentions. Soon, I will be picking up the Starter Set, and I have the feeling I will be fielding the Imperial forces. Despite the fact that we are intended to sympathize and root for the heroic underdog Rebellion, we have to remember that every villain from our perspective is the hero from theirs, and when you get right down to it, the Sith have a point. The Jedi are held up as paragons of virtue, galactic peacekeepers devoid of emotional attachment and personal ambition. However, if you give them more than a cursory glance, you start to see leaks in this presentation. They say that 'only a Sith deals in absolutes,' yet they consider Sith to always be on the wrong side of a battle. Always. No exceptions. An absolute. Makes you think, doesn't it? There's also the fact that the Jedi Masters that we find ourselves keying into - Qui-Gon Jinn, Yoda, etc - are often seen as renegades or iconoclastic among other Jedi. Others attempt to adhere to their strict adherence to being emotionless icons of righteousness. Absolute ones at that. The Sith seem to have a different approach. While many of them do pursue selfish ambitions that result in others getting hurt or the innocent getting suppressed, the general philosophy embraces the strength of independence, free thought, and ambition. It's certainly true that this sort of thinking can lead to people going down darker paths. However, it can be argued that a path of righteousness can also lead to dark places. Not that Jedi would ever admit this. Sith strike me as more honest in retrospect; the Jedi have good intentions but their strictures can yield rigid minds devoid of mercy as much as they are of emotion. For all of the flak Lucas deservedly gets for some of his ill-advised creative decisions, the universe he created is not devoid of merit, and this dichotomy is worth examination. Instead of the naked good/evil conflict we see all too often, in the right hands it can be a crucial examination of the debate between free thought and organized discipline. It can also be a simple backdrop for laser swords and dogfights in space.

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From The Vault: The "Real Game" Has Begun

From The Vault: The "Real Game" Has Begun — Blue Ink Alchemy

Life's upheaval shows no sign of really ending, but there are lulls in the quakes. In some of them I've started inching back towards Azeroth. I suspect I'll still be doing a lot of the things listed below, so here's my take on the end-game content in the game's current iteration.

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A surprisingly provincial addition to a world full of dragons and wizards. When I've played MMOs previously, especially World of Warcraft, the prevailing sentiment has been that 'the real game begins' at the maximum level a character can achieve. For the most part, this has applied to large-group raid or player-versus-player content. Not everybody is interested in such things, though. The question becomes, then, what does one do once their main character hits the ceiling of the maximum level? There's always the option of rolling another character, for certain, but I would argue that a good MMO provides a plethora of content for a player who's struggled through the slow grind upwards. There was a part of me that was concerned when I approached the top level available as I worked my way through World of Warcraft's new continent of Pandaria. However, when that bright light and familiar sound met me, I was in for a surprise. Like many previous expansions, World of Warcraft's newest areas feature multiple factions towards whom a player can endear themselves. They're all over Pandaria, but unlike the forces featured in Cataclysm or Wrath of the Lich King, they're not necessarily worried with getting your help to save the world. The Anglers are fascinated by the various kinds of fish you can find around Pandaria, the Order of the Cloud Serpent raises the continent's unique breeds of dragons (and you can, too!), and the Tillers are farmers, plain & simple. I'll get back to them in a moment. Top level players have been queueing up to enter dungeons for a long time, but Pandaria also gives us scenarios to experience. These instances are smaller and more scripted, geared for 3 players instead of 5 and not necessarily requiring a specific team makeup (a tank will certainly help you, though). With many of the factions I mentioned, you can participate in daily quests ranging from slaying nasty critters to corralling lost yaks. These quests and instances yield plenty of gold to finance other endeavors, gear either through direct drops or special currency, and even reputation with the factions above. But not everything that you can do with your max-level character is so confrontational. The Tillers allow you to start a farm of your very own. I've been told this portion of the game is lifted almost directly from the Harvest Moon games, based on the different crop conditions and finding gifts for fellow farmers. Either way, it feels to me like a lovely change from the usual grind of post top level gear gathering. It's still a bit of a grind to get your farm to a point where you can grow materials you need for your professions, but considering the things you can do with the other crops in the meantime, it feels like less of a grind, and a player getting a positive feeling from an in-game experience is evidence of good mechanical design. If you skipped a profession on your way up, or want to change from one to another, max level is great time to retread those steps a bit. Archaeology, in particular, is a neat secondary profession to explore at top levels. Few of the areas you'll be digging in are actually dangerous to you, you pick up unique items, and it's a skill that can be used for dailies in Pandaria. In fact, the Order of the Cloud Serpent has dailies that call upon your skills as a cook, medic, angler, and archaeologist. It pays to diversify your skills, after all! And then there's the Brawler's Guild, which I haven't even touched yet... Of course, this could just be my feeling about reaching the current top level in World of Warcraft. I'm sure others are more interested in the raiding scene or jumping into the Arena to take on other players. While there will always be alts to level, the game clearly does not end when the levels do. A MMO worth its asking price should keep providing fresh, new content, and for my money, Mists of Pandaria is doing that pretty well for World of Warcraft.

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500 Words on Setbacks

500 Words on Setbacks — Blue Ink Alchemy

Two mornings after my first trip to the gym in months, my body is still sore. In fact, my left calf muscle (the 'gastrocnemius ' I believe) has a fresh pull in it. It was enough to keep me in bed for a time. So, instead, I'm packing my gym bag and I'm going after work. I hate going to the gym at night. It's usually more crowded, more loud, and it can be more difficult to access the equipment I need. The gym I currently attend has just the one squat rack, and if I am going to get back to where I was in terms of my fitness routine and set new goals, I need to get a better handle on my squats. It's possible I hit the rack a bit too hard on Wednesday, so when I go back tonight, I'll try to go a bit easier on myself. We all experience setbacks. Plans get changed, if not thrown into upheaval, when the unexpected happens. We don't always get all of the information, or process everything correctly, to set things out right the first time. Mistakes are made. Oversights occur. Gaps in knowledge appear and every skillset has some demonstrable weaknesses. This isn't something you should punish yourself over. Life is hard enough without self-deprecation coming into the mix. While it's important to be salient regarding our own flaws, lest we fall into the trap of thinking ourselves blameless for our plights, berating ourselves for inevitable setbacks is not as important as planning the means to overcome those obstacles. Let's face it - the problem is still going to be there no matter how much you flog yourself over it. It isn't going to go away just because you're laying into yourself to a noticeable degree. Take the time to note where things went wrong. Understand the causes for the setback. Make yourself aware of these things going forward, if you can, as it may prevent future problems. And deal with what's in front of you. The words you don't write because you're too contrite or too tired will remain unwritten until you write them. There's no achievement to unlock for feeling sorry for yourself. Forward is the only direction that really matters. This is another case of me reminding myself of these things at the same time I'm communicating them to others. I can't pretend to have any authority on this, or much of anything, and I certainly don't consider myself a success story worth emulating. Still, I do know that I've had my share of setbacks, some even self-inflicted. I did manage to survive them, somehow. And on top of everything, there are more in my future. I know this for a fact. Because, last time I checked, I'm a human being. I'm going to fuck up at some point or another. It doesn't matter what my intentions were, or how I would have done things differently. What matters, and what always matters, is what will happen next.

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Rise of the Guardians (Of The Galaxy)

Rise of the Guardians (Of The Galaxy) — Blue Ink Alchemy

I know there are folks out there who try to live spoiler-free. I can't say I blame them. Walking into a new film with fresh eyes and clean expectations is a good thing. For them, I'll be putting most of this post behind spoiler tags. In my position, I admit to a level of concern when it comes to the Guardians of the Galaxy film opening on August 1. Both Dan Abnett and Brian Michael Bendis have done great things with the comics, and I'm fine with an adaptation deviating from the source material if done well. On the whole, I'm cautiously optimistic and very enthusiastic about the film's release. For the most part, the sneak peek event I was fortunate enough to attend on Monday reinforced most of my expectations. Folks, if you have had faith in Marvel Studios so far, in terms of quality films that bring comic book heroes to vibrant life, as well as portraying them as characters with depth, that faith will continue to be justified. I'll go into detail below, but I can honestly say I am not just excited about, but also confident in, Guardians of the Galaxy. If you're cool with spoilers, read on. [spoiler] Right from the off, I've had good feelings about this film. The reason why was apparent in the opening of the footage shown on Monday: an extended version of the line-up seen in the first trailer. The big difference was that Thanos was almost immediately name-dropped when Rhomann Dey was going over Gamora's rap sheet. While there is bound to be a bunch of exposition in this film, as the Guardians are relatively unknown in relation to the Avengers, what we've heard is handled pretty well, and a good portion of it is coming from Rocket. Speaking of Rocket, it seems that when we open our story, the pint-sized gun-toting mammal is the de facto leader of this group of misfits, laying out plans and keeping spirits up. He's described as a 'tactical genius' but we actually see it in action, which is good. Equally good is Bradley Cooper's voice work for Rocket. The attitude is palpable, and the CGI is impressive. There's a shot in the extended trailer where Rocket is calling out Ronan (more on him later) and his ears are back and his tail agitated. I love such attention to detail. Finally, there's a quiet moment when we see Rocket's cybernetic implants, and the scene in shot and scored in such a way that we get a vibe from Rocket not unlike Adam Jensen from Deus Ex: Human Revolution: he never asked for this. He's very angry, and we start to see why. Rocket is, of course, not alone. It's easy to make fun of Vin Diesel and how he got handed the voice work for a 'simple' character - Groot, after all, has a three-word vocabulary. Thankfully, though, as in the comics, Groot's language is actually very nuanced. Every time he says 'I am Groot', he is saying something different. This is clear in Diesel's inflections and the facial expressions on the CGI-crafted walking tree. Again, this is impressive work. Be he flinging people around or letting Star-Lord climb him to reach a higher level within the Kyln (the prison to which they're sent in the beginning), Groot moves with weight and has a definite presence. Speaking of Star-Lord, I really like the fact that he seems out of his league surrounded by the others at first. These misfits with whom he's been thrown are definitely the sort to bring out the best in him. I feel like he's not only our point-of-view character, he's also going to have a definite arc. He's coming from a place of relative isolation and aimless wandering, clinging to what he can. The lines delivered when a Kyln guard takes his Walkman feel like they come from a very raw, personal place. He feels like a character audiences are going to get behind without much trouble. Of the whole scene we saw, I have to say what impressed me most was the direction they're going with Drax. Somewhat of a taciturn presence in the comics, the film has changed him from an uplifted human with a singular purpose - killing Thanos - to a member of an alien species that do not understand metaphors and are quite happy to get into a fight. Rather than simply brooding and smoldering, Bautista is given loquacious lines that describe to whom he's speaking, allowing him to act as a straight man to the proceedings. I'm very excited to see more of this version of Drax in action. I left Gamora for last among the principles because, to be honest, she's the character I'm the most concerned about. As much as it seems they've nailed her attitude and approach to challenges - don't ask how she got the remote off of that guard's arm - I fear that they also cast her in the role of rolling her eyes at the conversations and antics of the others the way a mother would. However, that's mostly from the trailer - in the footage I saw, her line is "I am going to die surrounded by idiots." Better, but still worrisome. I could potentially be concerned over nothing, but Gamora needs to be an interesting and compelling character on her own, not just part of the mix so we have the token girl acting as a spoilsport around the idiot boys. It's been seen quite a few times before, and I think she deserves better than that. We also finally get a good look at our on-the-ground villain, Ronan. He looks a little terrifying. Ronan the Accuser is kind of a cosmic Judge Dredd. Considering that all five of our heroes operate outside of most galactic laws, and more than likely in direct defiance of Kree laws, Ronan has good motivation for hunting them, outside of being a lackey of Thanos. The Novas know that Gamora and Nebula were 'loaned out' to Ronan by Thanos, but we don't know why. I suspect that the orb we see Star-Lord trying to pinch when he gets caught by Korath the Pursuer (another Kree, in case you didn't know) was resting in a Kree vault, meaning Ronan definitely has an axe (or, in his case, hammer) to grind. As much as I might have 'spoiled' some things for myself, there's so much I don't know. I can suspect, but I am not certain. My thinking is that upon escaping the Kyln, our heroes will flee to Knowhere (the big floating head seen in the trailers), and that might be where the Collector is hanging his hat. From there the plot would likely develop with Peter wanting to save the galaxy and needing to convince the others to help him do it. But I only suspect that's the case. I don't know what role Nebula is going to play - is she a spy for Thanos in Ronan's camp? Will Ronan need to be put down as a war criminal, or will he realize that his pursuit of his vision of justice will mean the loss of innocent lives? I have questions, and a few concerns, but considering how good things look, the direction this seems to be taken, and the peerless quality of what I've seen and heard so far, only one question really matters. [/spoiler] Is it August yet?

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From the Vault: Everything Old Is New Again

From the Vault: Everything Old Is New Again — Blue Ink Alchemy

A post from last year: updated to reflect the fact that my memories of both Man of Steel and Star Trek: Into Darkness have soured considerably.

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I've been blogging for years. I'm not sure if you'd call what I've done or have been doing successful or not, when it comes to blogging and other areas of my life, but what I keep coming back to is the fact that old stories still have something to tell us. I have no problem, on a fundamental level, with something getting a reboot or a re-imagining, as long as the core of the story remains intact and the talented people telling the story are either plying close to that core or going in an entirely new direction with it. The problem, as I see it, is that it is far too easy to stick to the old story points and simply apply modern thinking to them, rather than take a tale's themes or characters or message in a new direction. What really bothers me about the practice is how lazy it seems. If you want to use an old tale or property to tell a story, go for it; all that I would ask is that you do something new with it. Another example would be the difference between Immortals and the Clash of the Titans retread: while Immortals had a little trouble staying on-point with its storytelling, its visual imagination and portrayal of ancient Greece felt unique and striking, while the new Titans felt drab and lackluster on pretty much all fronts. I mean, sure, it was still fun to see Sam Worthington fight giant scorpions, and Liam Neeson was born to play gods, but the thrust of the story felt weak because there was nothing new about it. As scarce as new ideas tend to be, it's no wonder that older stories often come up for a rehash now and again. As I've said, I'm all about old stories getting told in new ways. The emphasis here is on 'new' - a good storyteller should try to do something that hasn't been done before, or mix things together that haven't been mixed. Any idiot with a keyboard can bash out a story about a superhero or vampires or old myths - the question is, what makes your story about a superhero or vampires or old myths stand out? What will make people want to read it? Why, at the end of the day, do you have to write it?

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Blue Ink Alchemy

Not Enough Hours

Not Enough Hours — Blue Ink Alchemy

I'm still getting a handle on an adjusted schedule, juggling new ideas and initiatives, and getting my feet under me to move forward with things. The last couple months have thrown me for a loop in many ways. It isn't anybody's fault but my own, but it feels like I'm getting closer to where I need to be to really make the most of the future that's right around the corner. Unfortunately, there aren't enough hours for me to tackle everything as completely as I would like. I'm getting better and hammering things out. Thanks for hanging in there, as always.

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Musings on the Past

Musings on the Past — Blue Ink Alchemy

In lieu of Flash Fiction, I thought I'd reflect a bit on how I got where I am, aimed at where I'm going. The road hasn't been straight, or even, or anything I could have predicted. But I'm here, now. And I'm not stopping. I can't say I'm happy with every decision I've made. A lot of people will tell you "live life with no regrets." It's easy to say. It's harder to do. All of those decisions have lead to today, to who I am now. And I seem decent enough. I try to be. I can't say I'm always right, nor am I proud of how I've always behaved. I've fucked up. I've made mistakes. I've stumbled. I've hurt people. That stings more than anything. My philosophy isn't complex. This is a beautiful world, be it created by intelligence or the random confluence of cosmic forces, and it is worth celebrating. I happen to believe the former, for a lot of reasons, but I won't begrudge someone who argues the opposite. I don't see the point in trying to force what I believe on others. In fact, it seems selfish and cruel to do that. And no matter what I do or say, I do my utmost to never be cruel. I fail in that, though. Not all the time, but often enough that it bothers me. I've lost acquaintances, friends, people close to me, because I have lashed out in times of weakness and confusion. Corner me emotionally and I become feral. I don't mean to. And it frightens me. It's terrifying any time my words come out faster than I can think them. The terror runs away with me, does everything it can to make the pain stop, and I'm left quivering in the aftermath, gripped by fear and doubt and sorrow and loneliness. I try to avoid getting in that position. And if anything fills me with regret, it's getting pushed into it. It can be hard to live with me, even talk to me at those times. But thankfully, those times are becoming more and more rare, as I continue to learn about the interior of my headspace and what makes the flawed machinery inside of me tick. I'm a work in progress. We're all works in progress. And the key word there is 'work'. This is the next step in that work. I'm breaking out. I'm trying something completely new and different. I'm aiming myself in a direction with which I'm not entirely familiar and pushing myself out of the door. Change isn't going to happen on its own or due to divine intervention or as the result of some cosmic convergence. I have to be the vector of change in my own life. Whatever that might mean. All I know is, I can't move towards the past. I try to take the lessons learned from it and move forward. But to be shackled by nostalgia, the might-have-beens and almost-but-never-was thoughts that can plague the addled mind? That won't help me. That's not progress. I am not the man I was ten or even five years ago. Nor do I want to be. The man I am now, today, and the man I would like to be tomorrow, those are my aim. I haven't always gotten in right, in the past. And I'm deeply sorry for those I've hurt there. There's no way I can apologize to everyone, but I will make the effort if asked of me. Words can only do so much, but they're available if necessary. I'm good with words, at least. My path is forward. It's picking up speed. And the threshold to the next unknown portion of that path is rapidly approaching. Let's see where this road takes me.

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500 Words on America

500 Words on America — Blue Ink Alchemy

This year, July the 4th happens to fall on a Friday. In previous years, I've written and reposted a rather long list of observations I've made as an American, from the inside looking out, about this country. Unfortunately, I can't say things have changed all that much. Don't misunderstand - progress has been made. More states within the nation recognize same-sex marriage, health care is available to every citizen, and steps have been taken to ease the burden of debt on students. But we're still deeply involved in the business of other countries in a military way. Our legislature remains obstinate and the highest court in the country has made several significant rulings that perpetuate the status quo that supports big business and gender inequality. I still prefer to call this holiday by it's official name: "Independence Day." Even so, I know it rings a bit hollow. As much as Americans fought for their independence, they have also taken independence away from others. American pundits will crow about freedom while minorities continue to struggle to get what the majority enjoys. To say my feelings about the country of my birth are mixed would be a massive understatement. I've tried to avoid being overly political in this particular space. This is more a venue for my creative outlet and promoting my work than it is for soapbox grandstanding. However, I can't deny that I find some of the hypocrisy that seems endemic to the American experience absolutely outrageous. I'm starting to sound like an old man, sitting on my porch in a rocking chair and shaking my cane at all these young upstarts who don't know the right way to live. The truth is, though, that it's the old men I'm angriest at. I simply don't understand why people cannot be allowed to enjoy the same sorts of benefits of citizenship, regardless of how they were born. America was once called 'the land of opportunity'. Anybody, regardless of how they were born, could achieve just about anything. That was the American Dream. Maybe it still is for some, but for others, it's as far away from them as we are from the stars in the night sky. Bah! Don't listen to me. This is supposed to be a day of celebration and revelry, and here I am bringing everybody down. I'm sure plenty of folks look around America and see nothing wrong. I'm sorry I can't be one of them. I can't just sit back and enjoy the holiday. I know there are people less fortunate than me within these borders with even less reason to celebrate than me. And they should be able to. We all should be able to. If America is the land of the free, then all of us should be free. And not just free to buy another Big Mac while Fox News plays on flatscreens. Free to be who we are, to follow our dreams, and make a difference. That, to me, is what independence means.

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Macabre Moisture

Macabre Moisture — Blue Ink Alchemy

"Moist". It's not a terribly good word. It's one of those words that sounds like it feels - uncomfortable, even downright icky. Yet with the weather the way it has been, it's one of the few words that adequately describes the outdoor conditions in much of the US. "Muggy" also works. It's probably my least favorite kind of weather. Lethargy sets in. Energy drops. Just walking out of your front door is a chore because it feels like you're pushing through a gelatinous cube of warm, sticky, unappealing suck. Unless there's loot in that there cube, I'll stay indoors, thank you very much. Not much else to say other than things are still in motion and I'm trying to adjust my diet and my sleep schedule and enough with this gorram heat already.

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Wired Up

Wired Up — Blue Ink Alchemy

I know I'm pretty late to this party. It's only thanks to the advent of Amazon Instant Video and my Prime membership that I'm finally getting around to watching HBO's inner city crime drama The Wire. But I still want to talk about it. Maybe 'talk' is too gentle a word; I want to sing its praises. Crime dramas and television are one of those chocolate/peanut butter combinations. It's popular because the aspects of one compliment the other. In most instances, you have case-of-the-week shows like Law & Order or CSI, giving fans their weekly infusion of familiar characters in the pursuit of justice. Some episodes are stronger than others, but the show's popularity is maintained because we are creatures of habit, and television shows can be habit-forming, even if they're subscribing to a formula. The Wire's formula is a completely different animal. It's a wolf, prowling and watching, while other television crime dramas play like puppies. Not to say there's anything wrong with the aforementioned shows; I've done my share of indulging in a good Special Victims Unit binge. But The Wire is simply a breed apart. And it exists that way for a few very interesting and powerful reasons. Instead of relying on a 'ripped from the headlines' rotation of cases, The Wire tackles one case a season. Just one. We see how the case begins, who is involved, what drove them to that point, so on and so forth. In some cases, it can take a few episodes for the investigation to truly begin. These are true procedurals: we see the process in all of its grueling details, the camera an unblinking, non-judgmental lens giving us all of the facts. There are times when The Wire almost feels like a documentary in its presentation, which brings me to the authenticity of the characters. It is not forgotten, not for a moment, that each and every character in The Wire is a person. Even minor characters feel like they have dimension and agency. We won't always like the decisions characters make, but we can understand why they're made. I'm a season and a half into the show, and I have yet to see a character do something that makes no sense from their perspective. Sure, a character or two has done something that to me seems obviously bone-headed, but the show is written in such a way that I can get into the character's shows and see things through their eyes, even if the vision isn't all that clear. The biggest thing about The Wire that keeps me coming back, though, is the conversations. The dialogue in this show is some of the best I've ever heard. It feels authentic and natural. Even the legalese spoken by lawyers and judges feels like its born out of years of experience, not words on a script. There's also the fact that it's being spoken by some extremely talented actors. There's just as much expression in the looks and body language of these people than there is in the words. You can feel discomfort, anger, satisfaction, and scheming, all taking place just under the surface. Text and subtext blend together into storytelling that is truly gripping and absolutely brilliant. If you have access to it, via Amazon or some other means, I wholeheartedly encourage you to check out The Wire. I can't call this a full review since, as I've said, I'm only a season and a half in as of this writing, but you can bet I'm in it for the long haul, now. It's simply one of the best shows I've ever seen.

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No Guilty Pleasures

No Guilty Pleasures — Blue Ink Alchemy

I'm making plans to go see Transformers: Age of Extinction later this week. Possibly on that most American of holidays, Independence Day. What better way to celebrate the birth of a nation and honor the sacrifices made by those fighting for its autonomy than a big-budget action movie filled with Americana iconography and military/weapon fetishism? I'm someone who tries to see media in general, and movies and games in particular, from a more critical standpoint, adding my voice to those attempting to discern good qualities from bad and directing the spending of those willing to listen. Admittedly, however, there is a part of me that will always love the Transformers, no matter what Michael Bay does to them. And that's okay. I'm honestly getting more and more disillusioned with the notion of the 'guilty pleasure'. There's an idea in our culture that there are certain things that we are not allowed to enjoy, or at least not allowed to admit we enjoy. We should hate ourselves for eating food we know is bad for us. Entertainment that goes for cheap thrills or laughs should be put down. And if you admit to enjoying sex, slut-shaming will fall on you by the bucketfuls. I mean, it should fall on everyone in this culture, but I think we all know women get it a lot more than men do because the patriarchy is, in fact, an extant and present danger to progress and free thought. Let me wrestle this thing back onto my point. My point is that, as long as one is being safe and smart in their choices, no pleasure should be labeled as guilty. Sure, if you eat nothing but fast food all the time you're going to have health problems, but that isn't to say you should never eat any fast food ever. There are those who make that choice, and they're healthy people I admire. I may even join them someday. But on occasion, I will get a hankering that can only be satisfied with a late night Taco Bell indulgence. Basically, if no actual harm is occurring, and things are being taken in moderation (including moderation, as St. Augustine would say), it's difficult for me to really describe any pleasure we take from life as "guilty". After all, life is long and difficult, and moments of true pleasure, joy, and release can be hard to come by in our daily struggle to keep ourselves and our dreams alive. Why make things even more complex and potentially hurtful for ourselves or others by leveling judgement on what we enjoy? Sure, some things can be objectively bad or wrong with what we like. We can acknowledge that red meat is bad for us. It's easy to see the flaws in a movie that's not up to standards. Hell, I love Flash Gordon even though I know some of its effects are cheap even by the standards of the day and a good few story points make zero sense. But I love it in spite of those flaws. I enjoy the hell out of the time I spend laughing at the antics or belting out Queen lyrics. It's just fun. It's a pleasure. And I don't feel guilty about it. I don't think you should feel guilty about your pleasures, either.

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