Block Breaking Redux

Block Breaking Redux — Blue Ink Alchemy

I originally wrote this post over a year ago. However, it feels more relevant now than it did then. Maybe because I'm still struggling to carve out time to write, maybe because I know I'm not the only one writing less than I'd like, maybe because it's close to the end of the year. Who knows, maybe me from the past wrote out this post as a reminder to my future self that writer's block is something of a fallacy and needs to be dealt with head-on rather than worried about in a quiet, hands-wringing fashion. Anyway, here's what I had to say about it, and I feel it's still true:

Book Review: Cold Days

Book Review: Cold Days — Blue Ink Alchemy

"Turns out your friend here is only mostly dead." - Miracle Max, The Princess Bride It certainly seemed that Harry Dresden, Chicago's sole professional wizard, was as dead as dead could be. He was shot at the end of Changes and spent almost the entire length of Ghost Story haunting his friends and watching them deal with the fallout of his absence. But it seems that death is too good for Dresden. Before his assassination, he entered into a pact with Mab, Queen of the Winter Court of faeries, to be her Knight, a bound mortal servant who is equal parts enforcer and hitman. Mab absconds with Harry to her ice fortress and, by trying to kill him on a regular basis as he recuperates, ensures she'll get the most from her investment. By the time Harry is up and about on his own, events are already in motion back home that will force him to take up his old duties, as well as dealing with his new ones, all while struggling against the price he must pay for the deal he struck to save his daughter. Jim Butcher is an author rather skilled at shaking up the status quo and keeping the stakes on an ever-increasing level. Cold Days is a great example of this. From the intimate, personal start of the tale in the frozen halls of Arctis Tor, we watch Harry come to grips with his recuperation and new station and abilities. When Mab gives him his first true assignment - assassinate an immortal - he returns to Chicago, and things almost immediately threaten to blow out of control. Disaster looms, friends question his loyalty and sanity, and someone is most definitely out to kill him, permanently this time. Now more than ever, Harry has to walk a fine line between power and discretion, and after the events of Changes and Ghost Story, he worries about the impact his actions will have on his loved ones. This is where Butcher really shines. Despite his ever-escalating levels of power, Dresden remains a sympathetic and likable protagonist. He may possess powers tied into the very creation of the Universe and now has access to superhuman levels of speed, strength, and resistance to cold, but he still sucks at talking to people, especially those he cares about, and his plans very rarely work out the way he would like. Still, his friends are there for him, and his interactions with them are the high points of the book. If I had a major quibble with Cold Days it is that, for all of its action and dealing with Harry's return to Chicago and great character moments, it mostly feels like set-up. There is some pay-off of previous plot points, to be sure, and the ending is still satisfactory, but the introduction of the 'true cause' of all the bad news in Harry's life feels somewhat uninspired. On top of this, the suggested influence this previously unknown threat has had on Harry's life plays out more like a retcon than a major revelation. It doesn't really detract from any of the over-arching drama of the story in Cold Days, but I felt that existing threats could have been used more effectively rather than introducing something new. But we'll see how it plays out. Despite my nitpicks, Cold Days is a worthy return to form for the Dresden Files. I'm quite curious to see what happens next, mostly because Butcher continues to write characters that I enjoy and care about. If you're a fan of the Dresden Files... well, you probably already read the book. If not, I'd say go back to Storm Front and get caught up. It's well worth your time if you like modern supernatural urban fantasy.

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Blue Ink Alchemy

Writer Report: Catching Up

Writer Report: Catching Up — Blue Ink Alchemy

I'm finally starting to catch up on the writing. It's not a great deal, only a few hundred words here and there, but it's something, and it should continue improving in the weeks to come. Unfortunately, the stress and fatigue of the season is also catching up with me. I'm sleeping less when I should be doing it more, and the eye I'm keeping on my diet and exercise is not as close as it could be. The urge to drift off is strong as I sit here typing this, as a matter of fact. The thing is, the whole idea of 'catching up' in such a way is a fallacy. The time that I could have spent writing or sleeping is already lost. I can't get any of it back. The best I can do is make the effort to better sort my time in the future. I think I'll do that after I get done with my shift today. And possibly take a nap.

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Blue Ink Alchemy

Writer Report: Catching Up

Writer Report: Catching Up — Blue Ink Alchemy

I'm finally starting to catch up on the writing. It's not a great deal, only a few hundred words here and there, but it's something, and it should continue improving in the weeks to come. Unfortunately, the stress and fatigue of the season is also catching up with me. I'm sleeping less when I should be doing it more, and the eye I'm keeping on my diet and exercise is not as close as it could be. The urge to drift off is strong as I sit here typing this, as a matter of fact. The thing is, the whole idea of 'catching up' in such a way is a fallacy. The time that I could have spent writing or sleeping is already lost. I can't get any of it back. The best I can do is make the effort to better sort my time in the future. I think I'll do that after I get done with my shift today. And possibly a nap.

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Blue Ink Alchemy

Thirty Four

Thirty Four — Blue Ink Alchemy

These are still relatively new surroundings. The space is larger, configured differently, closer to the dayjob, and packed with amenities which in my mind justify the higher rent. And yet I find myself wondering if I'm actually in the same place I was last year. I'm more stable mentally, but still given to the occasional outburst or bout of unintended drama. I keep telling myself it's a human thing, we all have bad days, I shouldn't worry so much. But there's still the fear I can't quite shake and am not always able to face. For over a year the dayjob's been good to me. I've tried to be good right back at it. The fact that I'm still employed there indicates to me that I've mostly been successful in that regard. Yet I know that this is a precarious world and anything could happen, so I won't take it for granted. I've published one novella. I want to write and publish more. I struggle with my own energy levels and various excuses in order to make more time to do it. I haven't been as successful as I'd like there, much like I wasn't a year ago, and I need to change that. There are a lot of people out there who are interested in me and what I do, who care about my well-being, and who I never want to let down. The fact that I know I will sooner or later bothers me, but I try not to let it define my daily life. I try to focus on the determination to not do that deliberately and just do the best I can with what's in front of me. Sometimes I get it right. Others, I try to make it right. This is coming across as awfully dire. I should be celebrating, shouldn't I? I survived another year. I'm alive, healthy, in control of my faculties, and still reasonably attractive and talented. I can make the oncoming year better than the last. But if I didn't pause and reflect, I might delude myself into thinking I already have. Instead, I see I have plenty of work in front of me. Only thing for it is to roll up my sleeves and get to it.

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Blue Ink Alchemy

Movie Review: Wreck-It Ralph

Movie Review: Wreck-It Ralph — Blue Ink Alchemy

It's only recently that video games have come into their own in terms of storytelling. Certainly there have been some diamonds in the rough, but back when that form of entertainment was just getting started, story would at times extend only as far as the mechanics of the game. "Shoot the invaders." "Defend the cities from annihilation." "Eat pills, avoid ghosts." "Save the girl from the ape." That sort of thing. And in the fictional game Fix-It Felix, Jr., the designated villain, the Wreck-It Ralph for whom this film is named, sums up the story in one sentence: "I'M GONNA WRECK IT!" 'It', in the context of the game, is the apartments built by the people of Niceland on what was once Ralph's home. He wrecks the building, and the player of the game, controlling Fix-It Felix, Jr., fixes it. This has been going on for around 30 years, Ralph figures, every time a kid drops a quarter into the game. And now, Ralph wants to wreck something else: the way things are. Tired of being the bad guy all the time (despite the admonition of his support group that being bad is, in a way, good), he sets off through the arcade's surge protectors and electrical cords to the shooter Hero's Duty, to earn the sort of medal never given to bad guys like him. But what becomes of his game without its villain? What effect does he have on Hero's Duty and, later, the saccharine kart racer Sugar Rush? And if your very nature, your very programming is to wreck things, can you really be heroic? Parallels can be drawn between this movie and the seminal Pixar entry Toy Story: both involve playthings that are self-aware and define their worlds around the world outside inhabited by us human beings. Wreck-It Ralph goes a step further as it becomes clear that these characters have programming that they cannot escape. Ralph is a chaotic, destructive force by nature; Felix is a stand-up, white-bread, do-gooder no matter what; Sergeant Calhoun kicks ass and takes no prisoners; Vanellope von Schweetz can't help but be a mix of annoying and endearing. Given this knowledge, it may seem on the surface that Ralph's quest is doomed to fail, but the complexity of the character means that he's just stubborn enough to go through with it despite the warnings and cautionary tales all around him. One of the things you may not expect about Wreck-It Ralph is that, for all of its surprise cameos and wonderful send-up moments, it is ultimately about not just identity, but truth. The truth, for example, is that there is no Fix-It Felix, Jr without Wreck-It Ralph, no matter how much the Nicelanders may fear or despise him. I can think of more examples, but I don't want to venture into spoiler territory, so I will say that just as much as Toy Story is about the inevitability of time, Wall-E examines the lengths to which we go when we love each other, and Up deals with the human capacity for ongoing adventure, Wreck-It Ralph tackles the pursuit of personal truth in each of us. The video game setting is perfect for this: just like Ralph feels he can't escape his programming, we often feel we can't escape our own circumstances. This is, of course, all relevant in hindsight, but don't let the deeper or broader meanings of the film put you off from taking your kids to see it, or seeing it yourself. Wreck-It Ralph moves very well without sparing story points, even if at times some of the dialog can get a bit expository. The fact that it's being delivered by a talented and well-chosen cast really helps in this regard. John C. Reilly is no stranger to hapless guys who get in over their heads (Chicago, among others) and gives Ralph enough charm to make him likable without detracting from the inherent streak of destructiveness that's right there in his name, while Jack McBrayer conveys the goodness of heart necessary for a tireless fixer like Felix while betraying some hidden depths of his own ("Why do I fix everything I touch??"). Sergeant Calhoun is uncompromising, even when it comes to herself, and as much as she might be representational or a parody of characters from Gears of War or something, Jane Lynch makes her come to life as far more than just an armored pin-up. And as much as some may not like Sarah Silverman, her normal attitude disappears into Vanellope, and all we see is a glitchy little girl with big dreams.
"I'm bad, and that's good.
"I will never be good, and that's not bad.
"There's nobody I'd rather be than me." We are talking about a Disney movie, so while it takes off from an interesting premise and has plenty of depth and jokes to pull in the grown-ups, there is a through-line of identity and independence that's pretty much the hallmark of Disney. However, the message it conveys is still relevant, and having Ralph be the main vehicle for it instead of a princess is an interesting change. That said, Calhoun and Vanellope are both solid female characters, ensuring there is literally something for everyone. With top-notch animation, fantastic set pieces, and yes, a slew of great send-ups for both my generation and those coming into gaming recently, Wreck-It Ralph is easily on par with the aforementioned Pixar entries. Stuff I Liked: Plenty of cameos and shout-outs for fans of video games old and new. The consistency of characters' animations, based mostly on their games. The use of the surge protector as "Game Central Station" complete with discernible sockets in the place of platforms & tunnels. Stuff I Didn't Like: As necessary as it was, the frequency with which the story had to stop to explain another aspect of the rules by which these characters exist bothered me a bit. It's a minor nitpick, as the world-building worked and the story was still quite effective, but it's the only one that really sticks out in my head. Stuff I Loved: All four leads are fantastic, well-rounded, strong, and brilliantly voiced characters. The story works on multiple levels without any of the aforementioned expository dialog weighing it down. And is it odd that I want to play all of the games we saw in the film now? Bottom Line: Wreck-It Ralph is a very well-balanced story that has just enough positive message conveyance for kids as well as jokes and moments of contemplation for adults, all wrapped up in an appealing retro arcade aesthetic that remains consistent and charming throughout. It's worth your time to check out, even if you don't have kids, and especially if you're a kid at heart.

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Blue Ink Alchemy

Movie Review: Skyfall

Movie Review: Skyfall — Blue Ink Alchemy

James Bond, now 50 years old as a franchise, has struggled to find his place in the modern cinematic scene. Both in his own universe and next to towering transforming robots and lush worlds of dragons and hobbits, the question is raised: is there still room for an aging but still spry warhorse like Bond? In a way, Skyfall represented a last chance for Bond. After the excellent Casino Royale was greeted with less than overwhelming praise, and Quantum of Solace earned a great deal of well-deserved stick, would this be Bond's last hurrah, or the turning point of the series back towards success? As Skyfall opens, we catch up with 007 and a fellow agent named Eve in Istanbul as they pursue the murderous thief of a valuable hard drive. Chase scenes aren't innovative in the world of the espionage action-adventure, but this one transitions smoothly from cars to motorbikes to a train, and heavy industrial equipment also gets involved. In addition to its shifting scale, the sequence is also wonderfully and cleanly shot, with clear establishing images and well-positioned fights. Then Eve tries to shoot down the thief while he and Bond struggle on top of the train and... well, let's just say things go pear-shaped. If the theme of Skyfall somehow eludes you after the opening sequence, M will nail it down for you. In the wake of the Istanbul incident, M is called before the civilian government and her headquarters is bombed. When Bond returns, he is put through some tests to ensure his skills are still up to scratch, and then is sent out after whomever is targeting M and find out for what purpose. By focusing on the relationship between 007 and his employer, and making them personal targets of the villain, Skyfall maintains a tight story focus that was lacking in Quantum of Solace while keeping the character-driven narrative that made Casino Royale such a success.
"Is... is that Jean Yves you're wearing?" Speaking of villains, Javier Bardem brings us the character of Silva. While he has no plans for world domination, he does have most other affectations of a classic Bond villain: a remote and menacing lair, a distinctive physical presence, and a tendency to do a lot of talking. Added to this are his past history with MI6 and the Byzantine nature of his plans, to the point that he becomes almost Joker-like in his anticipation of his enemy's moves. I don't want to spoil anything, but there's a turn of events towards the middle of the film that feel distinctly like they were cribbing notes from The Dark Knight. I can't slight them for their choice in material, and it's certainly not a direct copy-paste, but it's not something you can just un-notice. However, Bardem's performance, like those of the rest of the cast, is full of nuance and personality. Daniel Craig's Bond goes through the process of finally honing down that surly, unrefined edge of his, and seeing him suave it up in a Macau casino feels like coming home; this is the Bond we've been waiting for. Dame Judi Dench is incredible as always, making M even more personal and bringing her closer to Bond than she's ever been. The newcomers are all top-notch as well, with Ralph Finnes supporting the democratic and bureaucratic process while his loyalty to MI6 and our heroes remains in doubt, Naomi Harris bringing levity, complexity, and sensuality to the character of Eve, French actress Bérénice Marlohe smolders in classic Bond girl fashion as Sévérine, and relative newcomer Ben Whishaw rounds out the cast as the new Q, a bespectacled technology expert that is wonderfully juxtaposed with our classic two-fisted hero. Despite winks to the audience here and there, nothing feels phoned in or strictly by the numbers. The cast has a natural ease with the material that makes them both easy and delightful to watch.
I love that kitschy bulldog on M's desk. Also helping Skyfall's case is excellent direction and stunning cinematography. Sam Mendes is perhaps best known for slower-paced, contemplative pieces such as American Beauty, Road to Perdition, and Jarhead, but he clearly knows how to convey action as much as he does emotion. The sight of Bond jumping from the catwalk of a backhoe onto a train car is just as compelling as the look on Bond's face at the firing range at MI6. He balances the emotionality of the moment with its movement and energy perfectly. He's paired with Roger Deakins, one of the best cinematographers of our time - his credits include The Shawshank Redemption, A Beautiful Mind, Doubt, and most Coen Brothers movies including Fargo, The Big Lebowski, No Country For Old Men, and True Grit. He makes every shot of Skyfall gorgeous, including some shots that could easily be framed and hung on a wall. Good writing with well-acted characters is usually enough to sell a movie, but Skyfall could also succeed on visuals alone. Put together, and we have one of the best Bond films to come along in decades. Firing as it does on so many cylinders, flaws in Skyfall are hard to find. It does run a bit long, but given its focus on characters and narrative, this is somewhat understandable, and very little of the running time is spent idly. Some references and in-jokes may fly over the heads of some audience members, especially at the film's conclusion. This, however, is also purposeful: the message is clearly that Bond has come full circle. Stuff I Liked: Silva's entrance. The inclusion of exotic animals of death. The practicality of Bond's equipment. The sequence in the Shanghai skyrise. The fact that MI6's bunker is, at least in part, connected to Churchill's. Stuff I Didn't Like: We never find out what, exactly, Sévérine does for Silva. And while it's not a gripe, I'm a bit confused by the timeline of things; considering this is a new Bond, I'm not sure he has a direct connection to the exploding pen mentioned by Q or the old Astin Martin. I'm not complaining about these things being in the film, mind you; I'm just not sure this Bond is the same Bond who used these gadgets. A minor point. Stuff I Loved: The opening sequence. M's characterization. The way Ralph Finnes' character is clearly trying to do the right thing even if it's pissing off M or Bond. The exchanges between Bond and Silva. The quips. The martini. Pretty much the entire third act of the movie. "Welcome to Scotland." Bottom Line: The best way to sum up Skyfall is with three words: Bond is back. In addition to being a great action movie with good characters in interesting relationships, it's a Bond movie through and through. Here's hoping we get more like this, and that the days of ultra-camp embarrassments like Octopussy and confused messes like Quantum of Solace are finally behind us.

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Blue Ink Alchemy