Monday, September 30, 2013

Flash Fiction: The Voice of Anise

Flash Fiction: The Voice of Anise — Blue Ink Alchemy

Courtesy Panoramio
Courtesy Panoramio
To conclude The Cooperative Cliffhanger I chose to finish the story started by Jessica called Counting Down.
Time is relentless. The seconds never stop ticking away, inching us closer to our destinies. Anise reflected on this as her mental countdown towards the execution got shorter and shorter. Two minutes, ten seconds. She looked at the back of the man in front of her. Will this make any difference? What will happen next? The sirens began to sound and the raggedy man broke into the grin she'd seen before. "Hear that? They finally noticed we're not where we should be." Anise stayed close behind the man her grandfather sent, breathing mostly through her mouth, lest the smell of the drainage pipe crawl up her nostrils. She cast her eyes upward, as if she could see through the stone to the courtyard they now bypassed. "Does this mean the execution won't happen?" "Oh, it'll happen. Just not now. You've bought those men at least another day. See? You're saving lives already." Anise didn't feel like she was saving lives. She didn't know how she was supposed to feel. Above her, the hangman's noose meant for her neck hung empty. Soon, men and dogs would be scouring the prison for her. This was the reasoning behind the man using the drain; the stink of living waste and dead bodies would hide her scent. Or so he thought. Anise wasn't sure. Dogs had powerful noses. And they knew how to track. "Just a little farther." "How do you know your way through here?" "This isn't the first time I decided prison life wasn't for me." It occurred to Anise that it was possible the man was a liar. That he wanted to keep her for his own nefarious purposes. But if that was the case, how would he have known about her grandparents? Or her real name? She shivered, drawing her grandmother's shawl closer around her shoulders as they walked. 'Just a little farther' was another fifteen minutes of slow, careful, smelly trudging before he stopped by a small alcove in the wall. He went first up the metal rungs sticking out of the brickwork, towards wan sunlight filtered through a manhole cover. Gently, he pushed the metal plate up and aside, hauling himself through the hole. Anise followed, finding his hand waiting for her to help her up onto the street. The city had grown organically which meant the prison was situated in the middle of some residential areas. Anise winced at the full brunt of the sirens coming from the high walls topped with barbed wires. The man beside her took hold of her shoulder, even as the crowd moving to and fro around them looked at them or towards the prison. "Come along. Let's get you safe." Anise stayed close to the man as they moved through the streets. Everywhere she looked, Anise saw faces of people devoid of hope, dressed in clothing stained and torn by their hard lives, eyes downcast to avoid the posters of propaganda and any sentries on the rooftops. They wove their way through the byways and alleys to reach a ramshackle rowhome several blocks from the prison. Other men and women waited inside, and they greeted Anise with quiet enthusiasm. None of them were her grandfather, and the more she looked, the more worried she became. Finally, the man who'd freed her pulled her aside. "I'm sorry he isn't here. We have to keep you separate for now. It's too dangerous otherwise. But there's a way you can help him, and help all of us." Anise nodded. She was lead upstairs and sat at the desk. A woman adjusted dials as she waited. When she couldn't stand it, she looked up at the man and asked. "What's your name?" "Call me Mickey." "Mickey... what do I say?" "Whatever is in your heart." She took a deep breath. The woman nodded to Mickey, who bent over Anise to turn on the microphone. "Ladies and gentlemen, we interrupt your regularly-scheduled government-mandated programming for a special announcement." He looked at Anise and smiled. Anise took another breath and closed her eyes. When she opened them again, she began to speak. "My name is Anastasia. Six months ago, I was a princess. I lived in the palace on the hill. The one that's been dark since the Duke and his allies in the military stormed it. My mother and father did not survive this attack. I managed to escape, changing my name, moving from place to place until I was captured and sentenced to die." She paused. "I was sentenced to die because I was born into the family that has looked after this kingdom for 300 years. From what I understand, we were a prosperous people. Not always happy, but prosperous. You were taken care of. Some went hungry but others helped. Now, look around. Look at the kingdom now. More are hungry. Fewer are around to help. Families have been put to death and the streets run with the blood of the innocent in ways that have not been seen in centuries." She looked at Mickey and the others in the room. A crowd had gathered. Some were weeping. She went on. "If you can hear my voice, know that you are not alone. You are not forgotten. In their grab for power, the Duke and his allies have forgotten that the first office of a ruler is to care for the people under their rule. The Duke doesn't care about you. He doesn't care if your children starve. I do. "And mark my words. Your pain will not be forgotten. It will be visited upon the Duke and those that stand with him tenfold." Somewhere in the distance, something exploded. More sirens sounded. Mickey took hold of Anise's arm, but she kept her finger on the microphone's button. "Please. For my sake, for the memory of my parents, your king and queen, do not give up. Never give up. We fight for a better tomorrow. All of us must fight. Mother, Father, I'm coming home!"
Blue Ink Alchemy

Movie Review: Dredd (3D)

Movie Review: Dredd (3D) — Blue Ink Alchemy

In Mega-City One, the population is astronomical and crime is rampant. The people are represented by one group, and one group alone: the Judges. They locate and investigate crime; they prosecute and punish the offenders on the spot. They are the law. These are their stories. Going back to the well of an established intellectual property can be risky business. If it's a long-running story, die-hard fans will be frothing at the mouth not just to see this new take on their beloved worlds, but tear the storyteller to ribbons over anything they might get 'wrong'. So it was in the first movie based on Judge Dredd, the central character of the ultra-violent, subversive, and even satirical 2000 AD Comics. It was... well, not great, but amusing and even entertaining in its own way. They went back to the well for a 2012 remake, and fans held their breath. I hope they let it out shouting for joy, because this new Dredd is ultra-violent and subversive - not necessarily satirical, but considering how stripped-down the film is, it's clear something had to go.
Courtesy Lionsgate
We join Joe Dredd at the start of an average day as a Judge in Mega-City One, a final bastion of teeming humanity on the edge of a nuclear wasteland. You know how it goes - get up, put on the armor and helmet, get the Lawgiver ready, chase down some thugs on your kickass bike, same old same old. Today's different, though. Dredd's been saddled with a psychic rookie named Anderson, and heads out with her to investigate a triple homicide at the mega-block known as Peach Trees. The mega-block is a miniature city in and of itself, 200 floors housing 80,000 people, and the drug queen Ma-Ma is in control of it all. She doesn't like Judges poking around in her business. So she locks the place down and calls for their heads. She thinks she's the law in Peach Trees. Guess who disagrees. Right from the start, seasoned readers and watchers can tell this is not the same Dredd as before. Unlike the previous film's predilection for overwrought bombast, bright splashy colors, and a leaning towards camp that didn't quite hit Flash Gordon levels but came pretty close at times, Dredd plays things closer to the vest. I'd say it's more subtle, but that seems a disingenuous word considering how violent the movie is. People are shot, stabbed, skinned alive, even set on fire - when it comes to 'inventive law enforcement', the Punisher and the Boondock Saints have nothing on Dredd. But under all of the bloodshed and gore is an undercurrent of reflectiveness, a dark mirror of our own modern society, steeped in the glorification of carnage and the acknowledgement that, when the corrupt will stop at nothing to accomplish their goals, there are times when you need someone of such deep-rooted and nearly fascistic righteousness to step in who is willing to stop at nothing to punish the aforementioned corrupt.
Courtesy Lionsgate
If you see this scowl, RUN.
The sort of person who personifies this mentality is not bombastic. They don't like a lot of attention and they're not given to grand shows of power to demonstrate how awesome they are. Hence why Karl Urban is superior in the role of Judge Dredd to Stallone. Where Stallone shouted, Urban growls. Where Stallone emoted with his weird-ass contacts, Urban scowls. He moves with a purpose at all times. He appears long enough to do his job, brutal as it might be, then moves on. He keeps his own counsel and demonstrates that absolute adherence to the law does not mean unreasonability. And he never, ever takes his helmet off. This is, of course, the result of many galvanizing years on the mean streets of Mega-City One. In order to fully demonstrate the hidden depths of the character, rather than just tell you "there's a lot going on under that visor," the audience benefits from a surrogate. Enter Olivia Thirlby as Judge Anderson, the rookie with whom Dredd has been saddled. There are a lot of directions a writer can go with a character like this - a wide-eyed questioner, a cheerleader for the protagonist, and so on. Anderson, however, is not just there to be a pretty face. She's being tested, and not just by Dredd. It's a testament to Thirlby's acting chops that we feel, rather than hear about, her mix of respect and fear for Dredd, her uncertainty at the situation in front of her, and her determination to prove herself and not back down no matter what challenge presents itself. Even when things go bad for her, she retains a measure of control, never gives up hope, and never betrays her fears in full. She's one of the best female characters I've seen on screen in a while, especially in a movie based on a comic, and I'd pay money just to see another story with her in it.
Courtesy Lionsgate
She'd make a fantastic Samus Aran.
The supporting cast, while decent, never really rises to the level of the two leads. Lena Headey is always good in whatever role she takes, from Queen Gorgo of Sparta to Cersei Lannister, but Ma-Ma has little in the way of range. She's tough and brutal, of course, but there's really nothing to her other than ambition and those overlying traits. The rest of her forces are pretty interchangeable mooks, and we only get bits and pieces from others to really show us what life in Mega-City One is like. Given that the film is only 95 minutes long, a little more fleshing out here and there would have been fine, without having too much negative impact on the pace of the action. Finally, as bleak as the setting is, I never got the feeling that Mega-City One was as oppressively crowded as it might seem given the numbers. But that's a minor quibble with an otherwise overwhelming success in going back to the well, and coming back with something that not only sustains, but delights. Stuff I Liked: There's very little fat on this movie; it moves at a great pace and is very goal-oriented. Its rather straightforward story lends itself well to character examination through action. The small scale of it and the lack of any overarching compulsion to save the world, or the girl, or the Law, makes it a much tighter and more substantive story than you get in most movies based on comic books. Even some Marvel ones. And the predominance of practical effects makes the action even more visceral and concrete. Stuff I Didn't Like: I don't like the idea of this being the only story I'll see with these actors as these characters. I would have liked to see a bit more backstory and characterization with Ma-Ma, even though what we get is perfectly adequate. Stuff I Loved: Let's just say "everything about Dredd and Anderson" and leave it at that. And considering how we're with them every step of the way in this story, there's plenty to love. Bottom Line: There are a lot of reasons to see Dredd. See it for the tight, intimate story. See it for the extremely well-shot and visceral action. See it to enjoy a rendition of Judge Dredd that feels authentic and real, not campy and bombastic. See it for a growly voice that puts Bale's Bat-voice to shame without being as ridiculously over-the-top.
Blue Ink Alchemy

Friday, September 27, 2013

Writer Report: Seasons Change

Writer Report: Seasons Change — Blue Ink Alchemy

Courtesy Wholehearted Ministries
Unfortunately, I don't have a great deal to report from the past week. I'm not sure why it's been difficult to get myself out of bed this past week. Either it's the change of the seasons, or a side effect of the medication I'm on. Which is more complex than whiskey, before that gets mentioned. I have taken a bit of time to work over some of the concepts for Godslayer, but I can't really call that 'progress'. Some of that might happen next week. Same for editing Cold Streets. Hopefully that won't take longer than a week or two, and then I can get my very patient test readers-to-be a manuscript to look over. This weekend I'm going to rest up. Hopefully more progress will be made in the future, because that's what I'm looking towards.
Blue Ink Alchemy

Thursday, September 26, 2013

The Art of Commander

The Art of Commander — Blue Ink Alchemy

Courtesy Wizards of the Coast
I have a lot of fun with Commander (EDH if you've been around a while). It seems to be my father's preferred format for Magic, and my siblings always have decks with them. It's been made clear to me that some of my decks have significant chinks in their armor. Both my Zedruu deck and my Jaya deck are very feast-or-famine, it seems, relying on combos that may or may not appear fast enough to respond to threats adequately in some situations. I've started to think more tactically about these decks. I want to build decks to have fun, but I also would like to not get completely blown out as often as I have been lately. Enter Sun-Tzu. The philosophy in The Art of War emphasizes the flexibility, strength, and speed of a successful fighting force. I've looked at my current roster of Commander decks, and how their colors and theme and signature creature provide those three points. Sharuum (One mark of a great soldier is that he fight on his own terms or fights not at all.), Karthus (Move swift as the Wind and closely-formed as the Wood. Attack like the Fire and be still as the Mountain.), and Ghave (Let your plans be dark and impenetrable as night, and when you move, fall like a thunderbolt.) all seem to be winners so far. As much as I like Zedruu and Jaya, their decks often have me quickly devolving into "top-deck" mode, just hoping they yield the exact card I need to get myself out of whatever terrible situation I've found myself in. They are also comparatively slow (a shock considering Jaya is mono-red) and Jaya has little synergy with the rest of her deck. So where do we go from here? I've been looking towards the recently completed Return to Ravnica block for ideas, and I have at least a couple potential decks I'll be assembling and testing in the coming weeks.

Izzet Engine

Speed is the essence of war. While Zedruu can facilitate a great deal of card draw, making it more likely to pull an answer to a problem I'm facing, it can be difficult to get a donation to an opponent that lasts long enough for Zedruu to bring in the rewards. I have many methods of drawing cards and benefitting from those draws, and a general who gives me a direct, relevant, and reliable benefits from drawing is my old friend, [mtg_card]Niv-Mizzet, the Firemind[/mtg_card]. I'll have to dismantle both of the above decks to give Niv-Mizzet the tools he needs to blast my opponents, and there's plenty of room for a variety of planeswalkers, time shenanigans, and even the synergy of Niv-Mizzet working with... um... Niv-Mizzet. [mtg_card]Niv-Mizzet, Dracogenius[/mtg_card], to be exact. I'll probably be assembling this exciting and somewhat frightening lightning-powered engine of destruction this weekend.

Orzhov Alliance

Supreme excellence consists of breaking the enemy's resistance without having to fight. I've wanted to put together a vampire EDH deck for some time, now. The good thing about pairing the fiends with Orzhov's Extort mechanic is that I do not need to engage in direct confrontations to get an edge over my opponents. I was initially torn as to who should take control of the alliance, as I have a soft spot for [mtg_card]Teysa, Envoy of Ghosts[/mtg_card]. However, after some consideration, it seems that [mtg_card]Obzedat, Ghost Council[/mtg_card] is slightly faster and has more synergy with the Extort within the deck and lifelink-equipped vampires. I'm looking forward to putting this deck together, as it's been an idea I've had for quite some time. This leaves me with another slot in a fat pack box for an EDH deck. Perhaps another mono-color deck? I'll have to contemplate that.
Blue Ink Alchemy

Wednesday, September 25, 2013

Movie Review: Equilibrium

Movie Review: Equilibrium — Blue Ink Alchemy

It seems that the general audience of dystopian fiction like action with their social commentary. From The Road Warrior to The Matrix, Fallout to The Last Of Us, many tales set in a world of ruin follow their heroes from one action sequence to another. Considering the less than favorable reaction that people had to the film adaptation of R M's The Road, maybe the action route is the way to go. One of the best examples of a movie that mixes its action with an interesting standpoint on the human condition is Equilibrium, a film from 2000 that appears to be aging gracefully.
Courtesy Dimension Films
In the aftermath of World War III, the survivors gathered to determine how to prevent their extinction. To curtail future wars and aggression, they introduced humanity to a drug called Prozium, which suppresses human emotion. Within the city of Libria, all citizens are required to take the drug, a universal law enforced by the exceptionally trained and singularly uncompromising Grammaton Cleric. Some have fled Libria into the area called the Nether, trying to live and feel on their own terms. But the Cleric are hunting them down. The greatest among the Cleric is John Preston, a stoic and implacable example of Libria's new order. But then John's partner and mentor begins to feel... It's clear from the outset that the foundation of Equilibrium is some unholy union between George Orwell's 1984 and Aldous Huxley's Brave New World. The austerity of Libria and its harsh stance against emotion are indicative of a leadership that suppresses its populace, a feature in both novels. The presence of "Father" and the ways in which the Cleric execute their duties are strongly reminiscent of "Big Brother" and the thoughtcrimes of 1984, while Prozium's direct manipulation of people's minds and emotions harken to the psychological manipulation and manipulative eugenics of Brave New World. The focus on emotional suppression as opposed to direct thoughtcrimes is an interesting one, but neither of the novels have as many visceral gunfights as Equilibrium does.
Courtesy Dimension Films
The gunfights having their own aesthetic and energy compared to other movies is a true strength.
In addition to its classic dystopian influence, and a good amount of Yeats, Equilibrium has the gun katas. The 'martial art' of the Grammaton Cleric, the gun katas are a high-energy method for fighting with firearms that emphasizes rapidly changing body movements, precise aim, and dodging incoming fire. Much like the martial arts in a movie that is often compared to Equilibrium, The Matrix, the gun katas are one of the main draws of the film, other than its theme. Unlike The Matrix, the "cool factor" of the martial arts do not overwhelm the story, and remain fresh and interesting even as multiple fights happen. It seems like Preston is always doing something slightly different in each fight, which keeps the audience engaged as the story rolls along. If Equilibrium has a flaw, its that the film feels a bit like going to a dystopian sci-fi buffet. It borrows a little from this source, a little from that source, and the result can feel a bit like a hodgepodge that struggles to be more than the sum of its parts. Long-standing sci-fi aficionados may get annoyed at this approach. There's also the fact that burrowing as much as it does from other sources causes the movie to both struggle to find an identity of its own and maintain a feeling of originality in its story. V for Vendetta may feel like a more grounded dystopia, and The Matrix for all of its flaws does have a somewhat unique aesthetic and world, putting Equilibrium squarely in the "average" category when it comes to story and world-building. Neither of those are why I'd recommend this film, however.
Prozium - Courtesy Dimension Films
Proof that it's not natural to be a completely stoic action hero (looking at you, Master Chief).
I've mentioned Equilibrium in the past, regarding how characters that emote reasonably are easier for an audience to relate to. And the courses the characters take when it comes to feeling, not feeling, and beginning to feel again are extremely relatable. Over and above the theme and the action, the characters may be the best draw of the film. They easily could have pushed their emotions and reactions into camp or overwrought territory. Instead, the cast keeps their feelings understated and nuanced. Christian Bale may have had a terrible Batman voice, but he also shows that he is capable of transmitting a variety of emotions from someone unused to them and uncomfortable with them without saying a single word. Stuff I Like: The gun katas are pretty cool. None of the cast phones it in. The film has a solid foundation and inspiration. Stuff I Don't Like: The film has to work really hard to maintain its own identity given how much it borrows from other sources. Stuff I Love: The puppy, the red ribbon, Sean Bean, and the scene in the library. The fact that Preston does not succeed in everything he attempts. The presence of subtlety in an over-the-top action movie. The emphasis on the importance of human emotion, and how the positive aspects of it can overcome the negative. Bottom Line: Equilibrium may not be the best action film ever made, or the best sci-fi dystopia film, but it's straightforward and earnest message coupled with some unique visuals and excellent cast do make it a favorite. A film does not have to be entirely flawless to earn a recommendation or repeated viewings, and Equilibrium is an excellent example of this. Available on Netflix and other sources, it's great for its fresh take on classic material, even if it's been ground that's been tread before.
Blue Ink Alchemy

Tuesday, September 24, 2013

Flash Fiction: The Cave At The Bottom Of The Sea

Flash Fiction: The Cave At The Bottom Of The Sea — Blue Ink Alchemy

Courtesy images.nationalgeographic.com
What follows is my contribution to The Cooperative Cliffhanger, Part One, over at Terribleminds.
She was pushing herself through the third squeeze she'd found when she heard his voice again. "Your heart rate is elevated, Doctor Simmons. Everything okay?" Simmons sighed. "I'm starting to regret letting the med-techs wire me up. Other than that, it's nothing I can't handle." "Okay. We're not getting picture at the moment." Simmons grunted as she pushed herself another inch through the squeeze. "That's because I'm moving through a subterranean rock formation barely wide enough for my body, Eddleston. You're going to have to wait until I make it through." "I'm just telling you what the situation is up here. Howards wanted to remind you that champagne is waiting for you back on the Cousteau." "Did you hear that?" "No. What?" "That was me... urgh! ...rolling my eyes." In truth, Simmons knew that they wouldn't be here without Howards and his millions. He was, after all, the contractor with the wherewithal to pick up on what the military would have passed off as echoes in sonar readings from their subs. A man accustomed to having only the best, he'd sought out the world's foremost speleologist, which is how Simmons met him. In truth, she admitted to herself as she reached the end of the squeeze that she preferred talking to Eddleston. A fellow academic, even if their fields weren't terribly related, Eddleston at least was able to hold a conversation with her on cavern structure and other areas. She wondered often how an archaeologist knew so much about caves, and when asked, Eddleston just shrugged and said "I like to know where I might have to go." She took a deep breath when she emerged from the squeeze. The caves had been formed by lava flows, leaving the rock faces smooth and slightly spongy to the touch. She knelt and reached back to pull her backpack through the bottom of the squeeze, which had been wide enough for her feet. A meter up, it had been so narrow that her torso had barely made it through. She took a moment to readjust her suit, and make sure her helmet was secure on her head. The lamp on the helmet's left side cast wan light through the cavern before her. She tapped the camera on the right side. "Do you have picture now?" "Yes!" Eddleston sounded more relieved than anything. "Thank you, Doctor. I'm sorry if I've been too intrusive; you must be used to exploring caves on your own." "It's the first time I've been down a shaft carved with industrial lasers. I think we're all a little unnerved." She looked around, taking her time to pan the camera. "I'm not seeing another squeeze or any branching tunnels. I'm going to proceed ahead." "Roger. This is about where the Navy's readings ended. We don't know what's beyond this point." "Correction. We don't know yet." There was a pause on Eddleston's end as she made her way forward. Then, she heard him chuckling. "What?" "Howards reiterated how much he admires your attitude." "Wonderful. It'd be nice if he weren't so obvious about how much he admires my ass, too." "They did make that environmental suit a little form-fitting. Are you comfortable?" "It's warm down here. Is all of the volcanic activity dormant?" "That's what the seismology indicates. Howards said that lava was, and I'm quoting, 'the least of our worries'." Simmons frowned. "A bit dramatic for the inside of a dormant undersea volcano." "You know, there could be more than that down there." "I still don't buy it." "Myths have basis in fact as well as folklore. If we find nothing, we find nothing. But if we find something..." "James, I admire your tenacity, but there's a reason people stopped giving you grants. A few bits of difficult-to-identify metals aren't enough to substantiate your claims." "I know. I'm trying not to get my hopes up. But I have to admit, the possibilities..." "Hold on." She looked up. "Are you seeing this?" Behind what seemed at first to be a turn in the tunnel, Simmons saw something reflecting the light of her lamp. She walked over to it and, after a moment, touched it. Through her glove, she felt a chill. "What is it?" "Metal," Simmons said, "at least I think so." She pulled a climbing axe out of her belt, chipping away at the solidified magma. A few minutes later, she stepped back to look at what she'd uncovered. "It... it looks like a hatch." "I knew it." Eddleston's excitement was palpable even over the wireless radio. "Can you open it?" "There's a handle, let me..." She put her hands around what seemed to be the handle, and gave it a tug. It moved, slowly, and after a moment she was able to turn it. The hatch opened inward, and she stepped into a short metal corridor, facing another hatch, this one without a handle. Her foot touched a skeleton at her feet, and she gagged. "Stinks in here." "Rotten eggs?" "Yeah." "Trapped sulfur from the lava. This poor soul must have been locked in here when it happened." "There's writing here." She ran her fingers over the embossed symbols on the inner hatch, and the small circular hole in its center. "I can't make it out." "It's definitely similar to what I found in Madagascar. Let me see if I can find any similar characters." Simmons knelt, picking up something from the hand of the skeleton. She tried not to look at the skull's empty sockets or open jaw. She held the object up to her lamp. It was a cylinder, copper in color, that caught the light and reflected multiple colors. "James...?" "That's orichalcum! The highly conductive and extremely durable metal used throughout Atlantis. I'm certain of it!" "James, are you saying that...?" There was a burst of static in the radio. "Doctor Simmons, we're... ...something..." She tapped her earpiece. "James?" "Sarah... ...et ... anger..." The hatch slammed shut behind her, and her lamp went out. "James?" Silence. "... Great."
Blue Ink Alchemy

Monday, September 23, 2013

One Of Those Weekends

One Of Those Weekends — Blue Ink Alchemy

Road Sign, Good Luck
As the saying goes: Well, that escalated quickly. Due to all sorts of things coming up over the course of the weekend, I did not have nearly enough time this past weekend for editing Cold Streets, writing this week's flash fiction, or hammering out the world/character bible for Godslayer. Needless to say, there is a lot on my plate that has nothing to do with writing, and I'm trying to get a handle on things so I can be more productive in the future. Flash fiction tomorrow! Total pinky swear.
Blue Ink Alchemy