Year: 2010 (page 17 of 73)

Into The Nentir Vale, Part 2

Logo courtesy Wizards of the Coast

The Nentir Vale is a campaign setting provided to new players of Dungeons & Dragons 4th Edition. It’s present in the Red Box and most of the starting materials. For a party almost all completely new to D&D and a DM re-familiarizing himself with the latest edition, it’s a great place to start a campaign. This will be an ongoing recollection of what happens to the party as they make their way through the Nentir Vale. Enjoy.

Previously: Meet the sellswords.

When Andrasian, Melanie and Lyria finally made it to Fallcrest, the wagon master greeted Sergeant Murgeddin heartily. After a brief conversation, the dwarven sergeant instructed the party to take their item to Marla of the Great Church, an institution dedicated to the worship of Pelor. Given the nature of the box’s contents, the trio agreed that it was best to put it in someone else’s hands as quickly as possible, and a holy priestess of the sun god seemed like as good a choice as any.

They made their way through Fallcrest’s winding streets to Moonstone Keep and found quite a few people waiting to see Lord Warden Faren Markelhay, from peasants to local lords. They politely waited in the queue… for about two minutes. They then moved to the front and asked the officious bureaucrat about the wait and attempted to convey the importance of their mission. The bureaucrat refused to grant them entry, unwilling to even consider it unless he knew what was in the box. After one blow-off after another, Andrasian finally showed the bureaucrat the ghastly contents. Turning white as a sheet and uttering nervous prayers, the bureaucrat let them pass and promptly found the nearest latrine.

Within the keep’s throne room, Markelhay looked over maps, scrolls and laws. The thone’s dias was unoccupied, the Lord Warden occupying a simple chair behind his cluttered desk. To one side, Marla spoke with another priest of Pelor, a young eladrin who had come to the Lord Warden to validate the deed for his manor. It was a stout, dwarven building a few miles south of Fallcrest which the cleric’s father had won in a game of Three-Dragon Ante with a dwarven companion. Dwarves kept the grounds and halls clean and safe, and after spending the night there, the cleric had come to ensure no other lord or well-to-do businessman could claim it. He introduced himself to the trio as Krillorien.

“In the words of Sookie Stackhouse, ‘I’m a fucking fairy!'” – Ben, introducing himself to the group.

When Marla was presented with the box, she thanked the trio and conveyed some of her concerns, which were not unrelated. Rumors of a death cult had compelled her to look into the whereabouts of a demented priest calling himself Kalarel. Unholy rituals within the land of the Nentir Vale unnerved the priestess, and she had discussed it with Krillorien prior to their arrival. The group agreed to investigate, and Krillorien volunteered to join them.

Before departing, the group decided to look around Fallcrest for new equipment and armor. The Halfmoon Trading House and Sandercot Provisions yielded nothing of note save some energetic haggling, but Naerumar’s Imports was another story. Operated by the gentlemanly tiefling Orest Naerumar, he assured the incoming patrons that magic was all around them.

“I don’t know about this guy. That line sounds pretty gay.” – Danielle

Lyria’s attention was caught by a nondescript bag hanging in the corner. Orest told her it could hold far more than it seemed, and he was willing to trade her a favor for it. An associate of his in Winterhaven by the name of Valthrun the Prescient was corresponding with him on the subject of alchemy, and the last letter indicated the sage had broken one too many of his flasks. Orest asked Lyria if she would kindly deliver a masterwork alchemy set to Valthrun, and in exchange she could keep the bag of holding. The halfling agreed.

Meanwhile, Andrasian looked into new equipment at the smithy. Jovial Teldorthan Ironhews was happy to see a warrior come into his shop and asked if the lad had ever used a hammer. Andrasian showed the smith his axe and inquired about fresh armor. Teldorthan related that he had come into some dragon hide he intended to craft into a suit of scale, but kobold raiders had made off with the prize. He’d last heard they were using a ruined manor called Kobold Hall as their hideout. Andrasian told the smith he’d recover the hide if the smith would, in turn, craft armor for him. Ironhews was delighted to accept.

Dressing Melanie was a more straightforward task. On recommendation from Orest, she and Lyria went to House Azaer, Fallcrest’s premier importer and finest clothier. Upon seeing the two and being told that Melanie was in need of clothing, tiefling and landlady Amara Azaer called for her tailor, Rodney Grant, who appeared from behind counter, gasped at the sight of Melanie’s near-nakedness, took her by the hand and pulled her into his workshop for an immediate fitting.

Equipped and fully stocked, the party set out for Winterhaven. On the way, however, they were ambushed by several kobolds. Krillorien proved himself immediately, his lances of light paring down the enemy numbers.

“Sparkles!” – Ben’s method of invoking Lance of Faith.

They made short work of the lizardlings. Among the ruined bodies they discovered a half-soaked map with directions marked and notes made in Draconic. Adjusting her glasses, Lyria made out the scrawls and revealed the map showed the way to Kobold Hall. Considering how close they were and with the sun nearing its apex, the party decided to head for the kobold hideout with all due speed…

Next: Kobolds play in old tombs.

All locations, NPCs, spells and equipment copyright Wizards of the Coast unless otherwise noted.

Where’s Captain Pendragon?

Gears

Remember Captain Pendragon? I’ve been making an effort to keep in touch with Polymancer Studios on the work but so far the efforts have been fruitless. I still think the work is viable and, looking back on it now, could use some tweaking or perhaps even expansion and clarifying.

Since I will unfortunately be missing out on VACATION HELL due to saving the work-in-progress to the wrong place yesterday (I blame the old cheese, long story) my mind has turned to other projects. The pitch is still in need of polish before shooting off to Query Shark, I have a D&D campaign to plan, Alchemist At Sea is kicking around in my head especially now that I’m reading more George RR Martin, and I have until the 29th to figure out if I really have the time, material and gumption to give IT CAME FROM NETFLIX! the video treatment for the Escapist’s competition this year.

But what of Captain Pendragon? It’s a fun little escapist romp (bit of a segue, see what I did there?) that isn’t difficult to write and should have a broad audience appeal – steampunk, adventure, post-apocalyptic, characterization, etc – yet I hesitate to move forward with anything related to it given it’s current limbo status. I’ve sent a final missive to Polymancer pursuant to publishing the first little bit of it, but since I haven’t seen anything with their signature on it, the rights are still technically mine.

So do I wait to hear from them? Or do I move forward?

Do I take it as-is to Duotrope? Find time to edit & expand it to make it better? Perhaps even lengthen it to novella-size and toss it up on PubIt?

Give me your thoughts, Internets. I’m feeling a little lost here.

Game Review: Dragon Age: Origins: Awakening

Courtesy BioWare
This review contains spoilers. Fairly be ye warned.

This is a review that’s admittedly been a very long time coming. My experience with Dragon Age: Origins, from my initial enthusiasm to my gripes about bugs and length, is pretty well documented. I picked up the expansion, Awakening in lieu of playing through the base game again. Having finally made the time to finish it, long after my wife played, beat and reviewed it herself, I was surprised with how much the expansion had in common with the original game, for better and for worse.

Having saved Ferelden from the Blight, the Grey Wardens now under your command are given the arl of Amaranthine, a land in the northern reaches of the kingdom that formerly belonged to one of your biggest and most irritating enemies. It is your charge to both protect the people of the land and rebuild Vigil’s Keep and the order of Grey Wardens it now houses. This is easier said and done for a variety of reasons. The nobles of Amaranthine are wary of you, the Keep is in shoddy shape and the darkspawn, who usually all but disappear following a Blight, continue to assault the countryside and, despite the loss of the archdemon, appear shockingly organized. It’s down to you to lead the charge against them, and try not to lose your new land in the process.

Stuff I Didn’t Like

Courtesy BioWare
I wore this face of Sigrun’s a lot.

Okay, I know that a patch came out back in July for some of this stuff, but damn are some of the initial bugs in Awakening annoying. Approval ratings on companions were messed up pretty badly, some quests were impossible to complete and others you couldn’t pick up at all. Some of the character posing was a bit off as well. Nothing catapults you out of the gameplay experience like your character wearing a dumb expression or standing in a ridiculous pose while something of great dramatic import is happening.

Another major problem I have with Awakening is a minor one I had with Mass Effect 2. There are fewer opportunities to chat with and get to know your party members. While Anders is Alistaire 2.0 (less shy, magely, every bit as snarky) and Velanna is Morrigan 1.1 (defrosting ice queen but now with pointy ears!), the additions of Nathaniel and Sigrun are quite welcome and I would have liked to talk with them more. And why are there so few opportunities to commiserate with our old friend Oghren over some brews? It’s like walking up to Garrus to ask him how he feels about Tali being back and all he says is something about calibrating the guns on the Normandy, only worse because we get even less dialog with the new characters in Awakening.

Don’t even get me started on how often this game crashed in the middle of a boss fight. I don’t know if it’s this computer or the unpatched game, but it’s like Crash Man got bored working for Dr. Wily and decided to start screwing with Amaranthine instead.

Finally, the game is frustratingly rigid in its handling of its ending. You are given the choice between saving the city of Amaranthine or staying to defend Vigil’s Keep. If you’re like me and got every upgrade for the Keep you could, and left it to save the city hoping to ride back to the Keep in your very own Big Damn Heroes moment, you’re in for a massive disappointment. Also, choose your ending party well, because you’re stuck with them for the rest of the game. Finally, the choice between destroying both the Architect and the Mother and listening to the Architect’s persuasive argument as to why he can and should help you shouldn’t be so black and white. Either you listen to him and give him a chance to free the darkspawn or he’s a monster and you kill him. Where’s the option to enlist his help but then chain him up in the Keep’s dungeon under guard while he does his work to ensure he keeps his word? All in all, Awakening feels a lot less open-ended than its core game.

Stuff I Liked

Courtesy BioWare
“Let me live and work to free the darkspawn, and there will be cake.”

On the subject of the Architect, I will admit he’s probably my favorite kind of villain. He’s intelligent, well-spoken, propelled by complex motivations and willing to do just about anything to accomplish his goals that doesn’t compromise them, even allying with the heroes if necessary. Being that my character was an intellectual mage despite wearing plate and swinging a magical sword (Arcane Warriors rock), I listened to what he had to say and saw things from his point of view. Again, it would have been nice to not be tied down to only the two options in this part of the ending, but I appreciate the distinction existed at all. It would have been easy to make him less dimensional and water the motivations of the heroes down to “kill everyone” right from the off.

The new spells, specializations and equipment in the expansion are all pretty well-done. I liked that I could spend skill points to get some increases to hit points and stamina/mana instead of putting more points in tracking or something equally useless. It was difficult for me not to notice that mages were still rather over-powered in comparison to the other classes, and realizing that the final boss fight was a rehash of one from Origins, once I had the positioning down it was a matter of waiting for the big area of effect spells to recharge after casting them one on top of the other. Still, it added to the epic feeling of the game, even if it was felt a bit “more of the same.”

Stuff I Loved

Courtesy BioWare
Yeah. “Fucking epic” indeed.

The Queen of the Blackmarsh, on the other hand, was a breath of fresh air. Or lightning. Not only was her introduction pretty damn epic, the fight itself felt like it belonged in an instance in World of Warcraft. It required changing tactics mid-fight, coordinating party position and being fully aware of what was going on. Provided you didn’t get killed by Crash Man, the process of trial and error was that equal part of frustrating and exhilarating that I’d missed for most of Dragon Age.

What dialog we do get from the new characters is pretty well-written. It shouldn’t come as a surprise that one of the things I love about most of BioWare’s work is the character interactions they build into their games, and Awakening is no exception. In addition to this, the actual story of Awakening is well-told for being somewhat unnecessary in the wake of the core game. It conveys a lot of that medieval fantasy feel and continues the BioWare tradition of hard decisions that need to be made. While there’s surprisingly less coherence between this expansion and Dragon Age: Origins than there is between the two Mass Effect games, it’s still more time spent in a well-realized and familiar setting. In addition to decent writing and memorable characters, BioWare seems very good at world-building. And this one didn’t require the applied phlebotinum of Element Zero, unless you count lyrium.

Bottom Line: The biggest thing that kept me from finishing this expansion sooner than I did were the problems I had with its bugs, crashes, companions, structure and superfluousness. Unlike Mass Effect 2, which recaptures and deepens the experience of being in that particular world, Dragon Age: Origins: Awakening: Revenge of the Colon is an expansion in every sense of the world. Everything from the core game is extended, from the stuff you liked (companions, classes, epic scope) to the stuff you hated (bugs, length, stupid story points). If you’re a fan of the core game and are curious to see what the characters are like with a few extra levels or what came after the fall of the archdemon, pick this up. Otherwise, I think you’re better suited waiting for Dragon Age 2.

We Apologize For The Inconvenience

Test Pattern

Despite the fact that this is my day off, bugs continue to plague me. I’ve been squashing them left and right in the application I’m building at the dayjob, but now they’ve crept into other bits of my life.

Yesterday’s audio, for example, does not play correctly. With the source files up at the dayjob, my alternatives are re-record it here or wait until Monday to re-sample and re-upload the file. Neither of which I particularly like, but there it is.

I also finally finished a rather buggy game that’s been a long, long time in the playing. I’ll get a review put together for tomorrow.

For now, I have computer cleanup to do.

IT CAME FROM NETFLIX! Amélie

Logo courtesy Netflix.  No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/amelie.mp3]

If one were to look up ‘charming’ in the dictionary, the definition would read something like this:

1. pleasing; delightful. 2. using charm; exercising magic power.

Of course, that’s an English dictionary. If one were to look up ‘charming’ in a French dictionary, I imagine you would likely see a picture of Audrey Tautou in her title role of the comedic romance Amélie. And knowing her, the picture would wink at you.

Courtesy Claudie Ossard Productions

The full title of the film, translated from French, is “The Fabulous Destiny of Amélie Poulain” and we catch up with her in Paris where she works as a waitress. Her life has been somewhat odd, to say the least, and sadness and tragedy are all around her. But Amélie is unwilling to let such little things ruin her sunny disposition. A chance discovery behind a loose tile in her bathroom launches her on a transformative journey that soon sees her affecting the lives of those she encounters for the singular purpose of bringing joy. She is just as comfortable and as happy being a matchmaker as she is a prank-playing vigilante. The one life Amélie seems incapable of repairing, however, is her own — it will take someone as singularly steeped in imagination and quirkiness as herself to draw her out of her Technicolor shell. The young man who collects the discarded photographs of strangers from passport photo booths, for example.

Technicolor is no exaggeration. The color palate of this film leaps directly off of the screen. Paris is portrayed with a great deal of splendor and whimsy, though director Jean-Pierre Jeunet got a little bit of stick for not including more minorities. This is a minor quibble, compared to the volume of praise he’s rightly earned for the vibrant colors that permeate this film. Clever editing has underscored the tint of Amélie’s world without making the people look discolored. Unlike other tricks used to supersaturate a movie, like those in Revenge of the Fallen for example, these Parisians don’t look at all like they have cheap spray-on tans.

Courtesy Claudie Ossard Productions
I wish I had a better shot of this moment.

As pretty as the film might be, it absolutely would not work without the singular and unforgettable performance of Audrey Tautou. She inhabits the unique character Amélie with an innocent pixiness that makes her incredibly endearing. Many of the things she does are things that might not to occur to a “normal” person, but in her mind they make perfect sense and not once does Tautou convey any sort of confusion or even hesitation when it comes to her behavior. It’s a refreshing and unapologetic blast of optimism and goodwill in a cinema and culture dominated by “escapism” that tends more towards realism than surrealism. And isn’t escapism about escaping from the real world? Or at least, shouldn’t it be?

Amélie certainly thinks so, and challenges us to do the same thing as its blithely child-like protagonist. Not necessarily the introversion and pouring salt into people’s liquor, but finding joy in the little things during the course of our everyday lives. There’s no need for Amélie to boot up an expensive multi-player shoot-em-up experience or troll the Internet in search of the human contact she’s loathe to admit needing, when she gains just as much pleasure from skipping stones, sticking her hand in a sack of grain or wondering just how many people in her neighborhood are experiencing orgasms at a particular moment. As much as it’s necessary for her to occasionally emerge from the world she’s built herself inside her head, it’s still a world full of vibrant color and unabashed joy that has a universal appeal and, as much as some marketers would have you believe otherwise, is incapable of being captured in bottle, package or pill form.

Courtesy Claudie Ossard Productions
Is this image showing Amélie, or us?

This movie’s title doesn’t mean it’s just about someone named Amélie. In a way, this movie is Amélie. It has a spring in its step, an overall lightness of tone undeterred by the harsh reality it runs into on occasion and an attitude that refuses to turn things down or conform to societal norms. It never crosses that line into ‘crass’ or ‘gross’ humor that seems required of so many American comedies. Oh, there are bits about sex aplenty in Amélie and it is definitely an adult comedy, but it’s every bit as smart as it is funny. And therein lies its greatest strength, in my opinion.

Rather than take your intelligence or imagination for granted, Amélie takes it by the hand and pulls it through the streets, breathlessly telling us everything we could be seeing if we just opened our eyes. There’s a sequence in the film itself that parallels this overall sentiment. We all have blind spots, where wonders and benefits and whimsy sit unnoticed, and the moments when those spots are illuminated need not be so rare. As much as the film wants to teach us this, it’s something Amélie herself needs to learn and so we’re learning right along with her. Despite the lightness of the movie’s tone, its meaning is pretty dense, in that there is a lot of it. With only a little smile and some whimsical music from an excellent soundtrack behind her, Amélie says a great deal more in a single moment than some other films can over the course of two hours.

Courtesy Claudie Ossard Productions
“Obtenons dangereux!”

It’s not often that a movie takes on a life of its own in one’s headspace like this. Amélie isn’t trying to make you think in some socially conscious or disturbing way, however. It doesn’t come into your head bearing portents of doom or badly-written pamphlets full of shoddy logic. She brings mulled wine and her famous plum cake, just to make you smile. It’s a deeply personal and intimate movie that has the good sense never to take itself too seriously or dwell overmuch on its subject matter. Yet, at the same time, its whimsical lightness of tone completely belies the way it affects its viewer. For my part, at least, I found myself touched, encouraged, enchanted and delighted. The sort of feeling Amélie engenders is difficult to quantify and I for one wish I could bottle the feelings it’s given me. Not because I want to make a million dollars, though the money certainly wouldn’t hurt — I just want to feel this way more often. There’s too much darkness in the world, too much dour doom and gloom. If you’re as sick of it as I am, put Amélie on your Netflix queue. I guarantee that, among other things, you’ll never crack a fresh crème brûlée the same way again.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

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