Kill the Queen was an engaging read. Everleigh, Evie, Saffira Winter Blair had a strong voice. And the author, Jennifer Estep, did a pretty good job explaining how Evie went from low status royal family member, seventeenth in line to the throne, to challenging her cousin in a duel for the crown. Sure the training sequence was a little rushed, but waiting years and years for Evie to develop the skills would have been less exciting to read about.
Besides, Bellona is a land of magic mixed with a gladiator tradition. It was interesting setting for the story. I of course liked the strong female presence running through the entire world. Here men and women are treated equally. The rich and the poor are not.
There was political intrigue with the neighbouring courts of Morta, Andvari and Unger. There were fierce fights between skilled gladiators, pageantry with the gladiator shows (feeling more like a circus with their acrobats and food sales) and of course there was a crown up for grabs by the strongest and most cunning of the Blair family line.
In many ways this was a story about family, a large and dysfunctional family that was massacred by one of its one in the first chapter. So, perhaps it is better to say this was a story about surviving ones dysfunctional and very deadly family.
Escaping the castle and its bloody court, Evie joins a gladiator troop where she puts some of her random skills to work and befriends a number of the prominent people in the group. One of the weak points for me was her keeping the secret of her identity for so long. Mostly because the Queen’s final words before dying words were to find the Black Swan gladiator group and seek help from their illustrious leader. It is not like Evie didn’t have a number of opportunities to come clean about who she really was.
That aside, I liked that Evie was an older heroine (~ 28), understandably skilled in a number of random areas like cooking, dancing and small talk. That she was a strong character, who had learned the value of silence. The magic in the world was interesting. The politics were thoughtful. The overall word was detailed.
I lament the way that we equate strength to the physical prowess needed to destroy another person. There are more ways to solving a problem rather than just running a sharp blade through its heart, but that is a general comment on trends in writing and society.
Importantly this was a fun read and I look forward to the next book, which just might address a very important aspect of these power plays. It is one thing to kill the queen, but how do you keep the throne (and stabilize your country). Killing and ruling are not the same skill set, at least not entirely.
Much like Pride, Prejudice and Zombies the Elle Katharine White is tweaking Jane Austen’s classic romance by adding more fantastical elements to the well worn narrative. One of the biggest differences, and greatest strengths of Heartstone was the author’s choice to create their own world. It is not Hertfordshire with some dragons roaming about. Rather, the story of of Pride and Prejudice has been reskinned with new character names and a world of fantastical creatures. But don’t worry, you will not have any problem connecting Aliza Bentaine with Elizabeth Bennet.
My first question upon completing the Heartstone was: Why? Why did the author restrict herself to following the plot points of Pride & Prejudice, when she so clearly struggled to contain her own voice within these narrow confines? The greatest failing, in my mind was the fact Heartstone mirrored Pride & Prejudice. Granted, there are some obvious differences, one of the Bentaine sisters is dead. Their family lives and belongs to the great house in the neighbourhood. THere are dragons that act as elite cavalry units in hunting and killing dangerous creatures of myth and legend. I could go on. But the differences pale in comparison to the similarities. The overall plot, the arch of the narrative is undeniably P&P.
This meant that I knew from the second paragraph what would help, at least in broad strokes. There was no great surprise at the inevitable betrayal. Not great victory when Aliza and Alastair Daired acknowledge their mutual attraction. To me it felt like the author sacrificed the potentially interesting world, filled with magic and manners, for something people already recognized. This was disappointing. The story could have been great. It could even have started as a mirror of P&P, but it should have been allowed to grow and flourish on its own terms, not someone else’s.
Before you write off my complaints as those of a person who hates everything. I didn’t hate everything. I like dragon riding warriors. I like fantastical worlds of magic and dangerous creatures merged with regency-flavoured societies. I like the tensions that arise between the snobbish upper-upper crust and those who are on the lower rungs (but still part of Society). The setting worked. It had potential. But there was not mystery, because the story was so obviously Pride and Prejudice.
What I would have loved instead, was for the story to feel reminiscent of P&P without following the events like a paint-by-numbers drawing. The movie, Age of Adaline, feels as though it was inspired by Sleeping Beauty. But the authors did not have a princess prick her finger and fall asleep. Instead they explored a different form of agelessness and what happens when someone comes into your life talking about love.
Heartstone could have been heavily inspired by Jane Austen’s work, without copying it so closely. This would have been amazing, instead of mediocre. But then this brings up another important question: Would I have chosen to read the book without the blatant reference to Jane Austen? I would like to say the answer would have been yes. But it is just as likely I would have skipped over this story, as I have skipped over many others in my search for a really good read. So instead, I will ponder my third question: Do I bother to read the sequel?
I really wanted to like this movie. Despite my best efforts to temper my expectations, I was still hopeful – unreasonably so. I will not go so far to say that Captain Marvel was a bad movie, but it was lackluster. It was missing the punchy colour and world building that went into Black Panther and sadly, unlike Wonder Woman, I found Captain Marvel largely lacking the ability to engage the audience.
I wanted to say how I thought that Captain Marvel was missing a personality and any decent characterization. I still think this is true, but I have been reminded by friends that most superheroes are pretty flat. They have a good point. Thor and Captain America – particularly in their first movies – were rather drab as characters. They did not emote a great day, being all bushed with warrior stoicism that we attribute to epic heroes. So, really it comes back to my foolish hope for something more. Because I certainly don’t think it would have take much to make some huge improvements to the movie.
For a better Captain Marvel, I would only tweak the script enough to give more dialogue and character development to the principal leads and supporting cast. Something I strongly feel should have been done as there really is a rather small cast on this film and small cast means we should know them better.
Starting at the begging, please give Vers more of hook than occasionally emotional. Also, if she is going to be the joker on the team, the reactions of the others should reflect this role. Not only do they fail to make interesting the alien homeworld where we first meet Vers, the also fail to explain who the Kree are. Now, I am not an expert in superheros. I have never read a Captain Marvel story and I come to this movie largely ignorant. So, please, take a few minutes to lay the framework for the plot. Who is this collection of various aliens, spread across the galaxy with incredible tech and an AI overlord/god? What is interesting, unique or quirky about them? What do they stand for? Are they a melting pot of alien cultures? Doe something with these first few minutes beyond a generic hand-to-hand training room and public transit railcar.
[Note: I have since learned the Kree are not a melting pot of different alien races, rather they show some variation in their appearance. I wish this had been noted in the movie.]
When Vers goes to join her team for that first mission, I cannot tell if this is her first mission ever or if she has worked with these people on many prior occasions. I almost wonder if the writers know this information, because the reactions of the rest of her team should be either to welcome/tease the newbie or role their eyes at her regular antics. There should be either feel that Vers is just joining a group of strangers, or that they have a longer (6 year even) history of working together. If the latter is more true, then some of these teammates should demonstrate this history through their comments and actions. There should be passing references to previous missions, or inside jokes that develop between friends. Some of the team can hate or dislike Vers, but some should be friendly. Also, their names should be far clearer. Coming out of the film, I couldn’t name anyone of Vers’ Kree team that I think she worked with for at least part of her 6 years with them. This would certainly make the twist at the end more impactful.
I really liked the pre-2000 time setting. I thought the jokes about slow and simple tech cute. While I would like to have seen more for this time, though I am not actually certain what they could have done differently. I thought they did a great job with Nick Fury – one of the highlights of the movie. I also thought that the impeding of Vers’ powers until the end was notably well done. I understand that Captain Marvel can easily be overly powerful, so their use of her fire-blasting hands and military training to kick butt and still be at risk was a good balance.
While I will always argue that more time should be spent on dialogue and character development and far less time should be spent on fight scenes, there were some moments of visual interest. One that stood out was the early fight with the old lady on the train. I liked that the bystanders worked to stop Vers – I would have loved to see them have an even faster, stronger reaction, but the scene ended in a pretty good manner. I guess, that is something I would have liked to explore, the cultural differences between life on the Kree homeworld and Vers’ return to earth. After all, she is missing her memories, so she wouldn’t know or understand things. They had a moment or two of this, but there could have been greater humour derived from these social misunderstandings.
There were good points in the Captain Marvel film. Not knowing anything about the comics, I would not change the arc of the plot. But certainly, this film needed stronger characterization of not just Captain Marvel, but also her friends/enemies too. With the notable exception of Fury, everyone else needed some character work. Oh, and I don’t like the explanation of the eye. That was better left to the imagination as mystery is more powerful than explanation. In the end the movie was fine, feeling more like a middle chapter in a longer narrative and over missing the engaging hook to make it stand out from the rest of the Superhero Movies.
It’s been awhile since I’ve given a good little review of a video game. Well, outside of mentioning my mixed adoration of Artifact’s design and lamenting it’s anemic launch. Well, over the holidays, Firaxis has been slowly revealing all the bright and juicy details for their next expansion to the sixth entry of their Civilization series. Civilization has been a mainstay in my life and a cornerstone franchise of the video game industry. It’s the poster boy for the 4x strategy genre (so called for its key game mechanics surrounding eXplore, eXpand, eXploit and eXterminate) that tasks players with choosing a civilization from human history and navigating it from the stone age to modern times and beyond, racing against other heavy weights of textbooks to see who can achieve victory first.
Course, there’s a lot of definitions in that explanation that require a bit more exploration and certainly the discussion around each of them could be a post in of themselves. For simplicity sake, victory is typically broadly defined as achieving dominance in one of several key developmental fields, whether that by dominating all your opponents by capturing their capitals, completely a space faring project and being the first to successful set out into the emptiness of space or (much recently) convincing everyone through the sheer power of your pop music and blue jeans to adopt your culture over their own or anyone else’s.
The evolution of the series has certainly touched upon some fascinating concepts and later additions are starting to question even the basics of what it means to be a civilization or what victory truly means. Religion has become a mainstay element. Diplomatic relations between leaders and world governing bodies are becoming more prominent. Perhaps that most interesting is the development of cultural game mechanics and the idea of a victory sheerly through these cultural means and peeking at a world beyond colonial expectations and philosophies.
It is hard to tear Civilization and the 4x genre away from clearly western colonial ideals and the clearest example of how cultural influences heavily impact our lens through which we process our understanding of the world. Literally all four components of the 4x genre are key elements of colonization and, as a consequence, Civilization gameplay typically revolves around repeating the brutality and severe consequences of colonial activity. It values land solely by its productivity or commoditization and treats the people and environment in that territory as simply a further evaluation in the cost/benefit analysis of that territory. Sure, there might be quite an enticing deposit of steel over in those hills but is there enough arable land to warrant plopping a city down in that area and do I have the strength to beat out the Shoshone who are angling to settle that territory? Can I afford to have them gain access to more iron and build up more of an army to threaten my own borders?
It’s a decidedly limited scope to view all of human history and motivation though I have no intention to obfuscate the fact that colonialism certainly led to the foundation of my home country. In fact, it was the inclusion of said country, Canada, that brought me back to the genre recently. Civilization VI is far too expensive for my blood currently but it was the perfect time to jump into its predecessor Civilization: Beyond Earth.
Now all this rambling about colonialism isn’t some long winded academic whinging. It’s the very foundation for Beyond Earth – the spin-off game released between Civilization V and Civilization VI. Here is where I take a moment to explain my own biases and background. I’ve never played Sid Meier’s Alpha Centauri which most certainly had a huge influence in the development of Beyond Earth. As such, I cannot judge the game based on the expectations of those looking for a proper spiritual successor to that game. On the other hand, I think it can allow me to look at Beyond Earth with a little more objectivity.
Second, I have the complete version of Beyond Earth. Which is to say I’ve been playing on the Rising Tide expansion. I did briefly disable the expansion in order to earn an achievement impossible to unlock otherwise and I can definitely say whatever mixed reviews Beyond Earth received on launch are quite likely justified. If you’re interested in Beyond Earth, Rising Tide is a necessary component. That brief game without it certainly made the experience far more shallow and a lot less interesting.
With that out of the way, let’s get into the bones of Beyond Earth.
Civilization V had a science victory awarded to the player first to launch a spaceship to the far distant Alpha Centauri. Beyond Earth is a theoretical continuation of this timeline with some necessary assumptions set into place to make it work. First, it takes place quite a few years into our future where long distance space travel is possible. It also occurs after an event referenced simply as The Great Mistake which is the impetuous for these spacefaring seeding ships to launch into the next great frontier.
The Great Mistake is never truly elucidated, a clearly conscious decision by the developers likely to allow players their own interpretations of what constitutes its events. What does seem clear is some terrible ecological tragedy occurred that changed the shape of the earth and its geopolitical organization. If countries exist, they are certainly not drawn along lines familiar to us. Instead, Beyond Earth utilizes a “sponsor” system wherein twelve great conglomerations have pooled resources in order to huck a bunch of theoretically doomed individuals into almost certain death and obscurity. As a player, you get some choice in how these sponsors shaped the fateful ship that, against all odds, managed to find a habitable planet (of which you can choose some basic qualities like size, terrain and climate). Then, you set down on this planet and begin the difficult process of colonising it.
Course as fate (and game settings) would have it, you were not the only seeding ship to make the successful discovery and your opponents make planetfall an indeterminate number of turns after you. This is such a simple but I find effective measure since it gives you those initial turns of loneliness in an alien world that is surprisingly populated by some terrifyingly alien organisms. Functionally, this is no different than the starting turns of a regular Civilization game since you’re unlikely to discover your opponent right away anyway (and the AI always has some advantages to ‘catch up’ on the player regardless). But Beyond Earth has taken some notes from the Endless Legends game and tried to wrap more of its pacing in a loose narrative overview.
This narrative hinges entirely around your relationship with the planet around you. It breaks down three generic routes that a hypothetical space colonialist would have to their alien world. They could cling to their native home, trying to cultivate their new planet into a replicate of the Earth they left behind. They could seek to understand this strange and radically different environment, seeking to reach some sort of communalism with the radically and oftimes hostile nature. Finally, they could lean heavily on the advanced technology that brought them here, incorporating the new resources they’ve discovered to develop their cities and themselves into hitherto unimagined heights of new synthetic superiority.
These ideologies, named Purity, Harmony and Supremacy, serve as the primary pathway to victory. By specializing and developing your ideology, you’ll eventually unlock a means to bring this discovery and taming of a new world narrative to a close. If you’re an adherent to Purity, you eventually establish contact with Old Earth, construct a warp gate through which the population can travel to and rescue the old world from whatever indescribable horror had led to its near extinction. Harmony members turn their back wholly on Old Earth, recognizing a heightened awareness and sentience with the planet itself. Through a fusion of gene manipulation and technological integration, they develop a mind flower that will allow communication with the planet as a whole, bringing ultimate unity with the human species to the oddly coordinated flora and fauna already found there. Lastly, Supremacy establishes contact with Old Earth but not to bring its remaining refugees to their new home. No, using their advanced cybernetic enhancements, they send an undefeatable “diplomatic envoy” back to earth in order to cure the last remaining vestige of humanity of the flaws of their decidedly weak meat bodies so everyone can live peacefully as one synthetic society.
There’s also a strangely disconnect victory condition of making contact with some alien species that had left a bunch of their own structures behind on the planet like an irresponsible child forgetting to put away their toys and discovering their walkie-talkie has managed to fall into someone else’s hands.
It’s an interesting system and one that kind of encapsulates Beyond Earth. It’s different and neat but not without some glaring flaws. For one, despite the emphasis on narrative, there’s not a whole lot of incorporation of these ideologies in with the leaders. Despite each representative of the sponsors having a fairly interesting and detailed background, there’s nothing stopping the exploitative and money driven Hutama from seeking harmony with the earth (like I did in my first game) despite there being little narrative justification for doing so. On the one hand I can understand not limiting player choice and strategy but on the other hand, the game does anyway in regards to the quests which provide specific rewards to your buildings when they are completed. These quests are essentially decided based strictly on the rewards and not on their narrative consistency, so I don’t know why there was so much emphasis placed on splitting them in the way they did.
On the other hand, I do like the idea of customising your units and structures towards your strategy. There’s just little rhyme or reason for how they justify the customization. Furthermore, the sole determinant for your ideology is based on your research order (and random quest rewards). So you are forced rather early into deciding which victory condition you want to pursue as any of the major three require you have a staggering level fifteen in their respective ideology. So once you land on your little plant, you get some early turns to check out your starting area and basically commit to whether you want resettle old earth here, make friends with the aliens or just assimilate everyone into your collective hivemind. There’s a bit of mechanical nuance to these three victories that means you need to decide early what you are doing.
A Harmony victory is the most research intensive but the least interactive. You want to have a wide presence on the map through multiple cities. There are two buildings you can construct that will speed the process of the mind flower’s awakening. Course, Beyond Earth is running on the Civilization engine, so you have a natural anti-synergy in that the more cities you have the more research it costs to unlock the mind flower wonder. This naturally pushes you down the science virtue tree which makes technology cost penalties lower from number of cities. Thus, a Harmony victory requires a science and settlement focus which at least aligns slightly with the technologies that give you Harmony affinity (mostly ones to alleviate unhealthiness which is a global malus on your cities’ growth and production that grows due to number and size of cities).
What you’ll find, however, is that you start slipping into a Harmony/Supremacy hybrid since Supremacy technologies are generally science boost technologies. Rising Tide added hybrid affinities which allows your units to customize in different directions from the primary three ideologies. It’s a necessary component but, sadly, should have opened alternative victory conditions as well which they sadly don’t.
Finally, I find it really incongruous that you can murder the indigenous life without impunity with no negative towards the victory condition that follows you merging with said indigenous life.
Purity and Supremacy are a bit too similar as well. They both involve researching a satellite to contact Earth then building a wonder like the mind flower. Course, the two gates are on different tech but it’s what follows after the gate that makes things a little more interesting. Purity needs to settle twenty refugees in separate colonies that follow normal city settling rules. Supremacy has to shunt one thousand strength worth of units through its gates. Thus Supremacy is going to require a high production city or have built up a large army reserve. Unfortunately for both gates, they each can only transport one unit a turn. So Supremacy ends up needing a fair bit of technology in order to unlock the highest strength units in the game to make its progress as fast as possible. It’s still less than Harmony since the strongest Supremacy unit is just a few tech nodes from its gate but it does require a lot of the firaxis resource. Purity, however, need only protect the colonists so once their gate gets up there’s a pretty hard twenty turn timer to stop them. Though their colonists do move slowly so it’s helpful to either have spots picked out along the ocean or build roads to the places you want to keep them.
So there are some interesting elements and strategies that arise from these different victory conditions. But they don’t intersect with the other elements of the game particularly well. For instance, while the leaders are colourful and interesting there’s a neat dynamism with their visual appearance changing to reflect which ideology they are pursuing. It’s a neat visual flair that’s great for quickly understanding diplomatic relations just by looking at the leader screen. It’s unfortunate that the leaders themselves have little connection with the goals.
There are some interesting abilities and I like that Beyond Earth leans more towards game warping uniques to set their sponsors apart. Daoming is capable of building wonders instantaneously in any city that does not have a wonder. That’s a pretty incredible ability tempered only by the fact that none of the game’s wonders really contribute to any of the victory conditions. CEO Fielding has incredibly fast spies who can accomplish their covert operations in half the time as her opponents and really opens up the espionage game. But, once again, this doesn’t really predispose her towards any ideology. While flexibility is appreciated, I think it holds back both gameplay and narrative. Without some direction, the leaders rather come off as generic. Half the time Elodie is in my game, she’s a warlord conquering the entire map. Other times she’s just sitting back trying to put out wonders and looking to build the mind flower. Outside of her avatar, there’s not much that really distinguishes her from Bolivar. It would sacrifice some replayability but if they could have given the leaders some manner of predisposition, it would have been great. Make some more likely to pursue warmongering or purity. Others focused on establishing contact (and generating lots of money to accomplish this) or looking to set up the mind flower. I think with more distinct victory conditions they could have made the leaders even more prominent and put their personalities front and centre. I can’t help but compare it once more to Endless Legend where some factions are cut off entirely from victory conditions due to their perks and detriments.
One thing that Beyond Earth does do really well is lean into its science fiction theming. I really like the separation between land and water cities and how both have slightly different mechanics for how they work. Then there’s the woefully underutilized satellite layer which has so much potential for additional strategy and development that it could turn into something really unique and distinct.
Beyond Earth is ultimately an ok game. I’ve enjoyed my time with it and don’t regret the purchase by any means. There’s lots of really wonderful ideas and ingenious twists on the genre kicking around in this game. I would really like to see these ideas given room to grow. I’d also like to see it push the boundaries of a 4x game and maybe start examining some of the core game mechanics and ask what can it do differently. Could you make a Beyond Earth like game that has different focus rather than on conquering, exploiting and exterminating? Technological or ecological integration are ideas ripe for bending the traditional approach to these types of strategy games. And I’m not opposed to the narrative elements but I am unsure how you can reconcile them with the base game mechanics as well as form a cohesive story arc.
At any rate, I know this review is far too late to the discussion to provide much for impact on the game or it’s development. But perhaps it can serve as a source of inspiration or merely act as a resource for looking back on a release and examine why it wasn’t just quite right. Since I’ve kind of vowed to work through my backlog as well as do more of my purchasing on dated releases for cost reduction, I think I may have more of these retrospective looks in the future.
Or we can just see if older games truly stand the test of time.
So this is the accompaniment article to last weeks disappointments of 2018. And, more than anything, I hope to bring attention to a little gem of a game that I feel has not received as much buzz or attention as it really deserves.
Last week I pointed out Artifact which is a digital card game by Valve Software and is really well made. Well, this time we’re looking at another game but this one is wholly physical.
For those that have followed the gaming posts on my blog, you are probably aware of my love for Summoner Wars by Plaid Hat Games. Despite being a bit niche amongst my board game friends – to the point I only know of Kait and myself who enjoyed the game – I managed to play a lot of games and actually buy many of the new armies for the game. It got to the point that Kait and I developed eight custom factions as well, so we could play decks both new and more tailored to our tastes.
The process of variant creation was an interesting one for me. It helped me to view the game through a different lens and I appreciated and despaired over different design directions key to Summoner Wars. On one hand, I came to really appreciate the element of luck and uncertainty that the dice provided. On the other hand, I did not like the use of high health walls for deployment and instantaneous response it provided along with the timing of discards and card draw.
Overall, however, I really enjoy Summoner Wars and my only regret is that I cannot find other people to play. Sadly, this carried over to Plaid Hat Game’s newest release: Crystal Clans.
I don’t know any other way to describe Crystal Clans other than it’s Summoner Wars version 2.0. This, unfortunately, turns off pretty much everyone I know because they do not like Summoner Wars. So a far more intuitive game with better balanced objectives and alternating game mechanics is not enough to alleviate people’s concerns. So, in order to do Crystal Clans a greater service, I shall attempt to describe it better.
Crystal Clans is an area control board game that pits separate clans represented by unique decks against each other to fight for the coveted crystals. Cards represent different forces of an army which move across a battlefield and vie for two of three crystal locations necessary to claim a crystal card. Players can contest crystal zones by moving their own armies into the space and duking out with their enemy.
Each clan deck is composed of six different commons and three hero cards. Two of the common cards form the backbone of the clan with six copies of those units while the rest have three copies each. There is only a single copy of heroes but heroes are generally stronger and cheaper commons.
Well, that’s the best I can really do. It is near impossible to discuss Crystal Clans while ignoring the Summoner Wars lens and, I feel, something only possible by a player who has never played Summoner Wars. But let me just tell you why I love Crystal Clans far more.
First, the game design is really slick. Clans have a reference card which denotes the signature ability of their faction. This ability isn’t found on all their cards but usually represents a core strategy for the clan. For example, the Skull Clan has Undying as their signature ability. This allows their warriors with that ability to be summoned from their graveyard as though they were in their player’s hand. Unsurprisingly, this represents the classic “undead” faction in fantasy games.
However, these aren’t your stereotypical graveyard robbing ghouls with an unhealthy obsession for black and mortification. One of my consistent gripes with Summoner Wars was how woefully shallow its theming was. Well, Crystal Clans is a terrifically beautiful game. While the style is a bit too cartoonish for my taste, I can’t deny how consistent and committed it is to that style. Those aforementioned necromancers are more Day of the Dead themed with lots of flowers, bright colours and – yes – an unhealthy obsession with skulls.
Curiously enough, only about a third of the undead faction is actually undead. The rest are units built around supporting them with necromancers allowing them to deploy outside of your clan’s home zone or devout cultists which allow a free undead unit summon to their space when they are killed.
Contrast the Skull Clan with their distant kin the Blood Clan. These swamp rednecks are most easily associated with the swarm like factions in fantasy battles. Typically its represented by goblins or something and not bayou farmers and their colossal crocodiles. This faction, however, is fun since they are not restricted by the number of units they can use to form an army. Stack them up as high as you can and form an old school Civilization III stack of doom to terrorise the board!
And this transitions into my next point about Crystal Clans. One of its immediately tangible departures from Summoner Wars’ formula is this squad formation mechanic. You can stack up to three units into one space (for most clans) with only the top unit contributing its special ability while every other unit lends its strength and defence to the whole. This eliminates the need for spells or buffs since any card can, essentially, turn into a persistent improvement to a single card’s power. But there’s more consideration here. Most battles will remove lost troops from the top so you may want to organize your forces to accommodate expected loses so the unit you want to live is buried on the bottom.
Even more interesting, every card also has a “battle effect” tied to it. See, Crystal Clans removes the oft maligned dice mechanic from the game. But to maintain that same element of uncertainty, when two armies battle, each player provides a battle card to their side in an attempt to turn the outcome to their side. The battle effects are split between two options and serve as a simplistic rock-paper-scissors mini-game. At the start of a battle, cards are revealed and you compare your chosen battle card with your opponent. Bold beats Guarded, Tricky beats Bold and Guarded beats Tricky. Generally speaking, stronger effects are regulated to the stronger pairing. For example, Big (Blood Clan Hero) provides an additional 8! attack if you happen to play him into an enemy’s guarded card. But if your opponent played a tricky or bold themselves, then you only receive 4 attack for the fight.
For most games, this little contest will typically be treated as a random effect that you pay little attention to. However, as your understanding and skill with the game improves, you may realize that you can pop your Dandelion Knights out from a horrible Meteor Clan knight stack in your home zone and scurry to crystal zones for the final score by initiating a battle and utilizing your Pollen Faeries battle effect.
And this is what I most love about Crystal Clans. It looks like a cutesy, simplistic version of Summoner Wars with streamlined decks, clearer objectives and much smaller battlefield. However, my experience has been anything but. Crystal Clans mechanics are simple to understand but much harder to optimize. I still don’t know how to “properly” play the game – which is to say I am never certain which action is the best one to take at any turn. This is very similar to Artifact where the mechanics are simplified by the strategy is far more compelling.
Compounding Crystal Clans decision making matrices, its resource system is far more elegant and far more tricky than Summoner Wars. Crystal Clans uses an “initiative track.” There is a numbered ladder on the side of the board and you track your spending by moving a marker up this track towards your opponent. Once it crosses the 1 threshold on your opponent’s side, it is their turn. However, actions cost different amount of initiative. For example, you make take a summon action which allows you to play 1 to 3 cards from your hand to your home zone. This alone can cost anywhere between 0 to 9 or more initiative depending on what you play. If you were on the neutral 0 space of the tracker, that could give your opponent a whopping 11 initiative (since play will only pass back to you once it cross your 1 initiative space on the track)! Scoring is likely the most expensive action since you need to pay the cost of a crystal in order to grab it for your side. Crystals are, on average, about seven initiative themselves and this is not accounting for the initiative you need to spend to control two of the crystal spaces.
Sadly, despite digging how sly its mechanics are plus the unique and coherent design of its clans, Crystal Clans simply does not seem to be catching. I know Kait was pretty lukewarm to it and my friends who didn’t care for Summoner Wars weren’t big fans either. Somehow Crystal Clans managed to alienate both those that loved Summoner Wars and those that hated it. There was a delicate line to walk between too familiar and too different and from my experience Crystal Clans failed to attract those turned off by its predecessor or draw along its ardent fans. I’m really digging their expansion clans who provide very interest twists to the basic game mechanics. I’m also eager to see how Plaid Hat Games finalizes their deck building rules before I start dropping too much money into the game.
And I certainly have not played enough of the game to do a deep dive into its balance but my initial experience seems that while the core box offers pretty good options, there’s a few standout clans. Stone and Flower are distinct among the rest but for opposite reasons. Stone Clan is all about building a strong board presence with immovable armies that destroy the enemies. But all their units and activations cost far too much to really get that board built. On the flip side, and perhaps the fuel for my bias, Flower is incredibly tricky and fast. It’s a pretty frustrating match-up (that I’ve played too many times) and Flower is both able to run circle around Stone (and the other clans for that matter) while also providing rather powerful punches given the power of their signature clan ability Sleep. If you want to try Crystal Clans and really enjoy rolling a game, I suggest picking up the faerie clan.
As of today, however, I’m very happy with Crystal Clans with my only disappointment being that I have no one to play and, given the battle card component of its battles, I’m unable to play by myself. I’ll shamefully admit that I’ve played Summoner Wars on my own many times with only mild conflict of knowledge. But truly randomising the battle cards really strips out a key component to the game.
Of all the things I’d like to see the most in later releases, however, are more crystal cards. To win, one side needs to collect four and they’re purchased from an open set of three. So you can see quite a lot of the same ones through multiple games especially if they’re close. I’d also like to have the option to remove some crystals from rotation and allowing customization of the crystal deck would be fantastic.
So… yeah, if this long rant piqued your interest, I encourage you to give Crystal Clans a try. It might not click at first which is its biggest weakness. But it’s such a lovely little refinement that I just want it to do well enough to see even more!
Maybe it’ll even encourage Plaid Hat Games to put the rest of their clans on their card browser which, to date, still only has their launch cards listed. Or maybe it they could even release more scenarios which also haven’t been seen since launch. There’s so much promise here, I would hate to see it squandered.
Yes, I realize I am very late coming to
this party, but ages after the film released to video I have finally gotten
around to watching it. There was a combination of factors that resulted in me
seeing Ocean’s 8 some eight months after its launch. On one hand life got in the
way. But also, the first reviews I heard were pretty lackluster. And I can see
why.
*Note: This review is filled with spoilers.
First, let me say I am a huge fan of the
2001 version of Ocean’s 11. I love nearly everything about the movie that I had
no expectations for. I loved the heist. I loved the acting and in particular
the way it was filmed. There was a great cohesion of costume choices, music, props
and stage layout that really worked seamlessly together to create a great environment
for the story. Everything worked together, so it felt unified and purposeful in
design.
There are also some very classic scenes
that stylistically are so interesting. For example, there is one scene with
Danny Ocean (George Clooney) and Rusty Ryan (Brad Pitt) sitting in a bar. Danny
is talking about the numbers of his crew for the heist and whether they need
one more person. Rusty is flopped over the counter of the bar, with a glass of alcohol
in one hand. The only reaction from Rusty in the entire scene is when he blinks
his eyes. The interaction of these two characters suggests a history that
monologues of words couldn’t convey in the same elegant fashion. It is these moments
of quiet, mixed in with moments of banter and action that really add to the
pacing.
While, Ocean’s 12 was not as much a
favourite for me, I have come to greatly appreciate the experimentation that it
took. Unfortunately, Ocean’s 13 demonstrated the film-makers didn’t really know
what had caused 11 to be so successful (strong plot and excellent filming!) and
as a result we get something that is watered-down and mostly boring. This is
one of the biggest failings of Ocean’s 8. It is a paler version of a great
movie. Here the film-makers knew that having one great heist with a twist was
central. But they missed all the other stuff that elevated Ocean’s 11 into
greatness.
I like the all female cast. I even like the
basic premise of the heist. And the costumes, particularly for the MET gala
were pretty awesome too. Unfortunately, the plot was shallow, the characters
were one dimensional and the twist at the end was not cleaver so much as a
cheat. If I was to describe the film in one word, it would like be: Flat.
Everything was pretty boring, which is a shame when you have such a talented caste.
The actors did not shine in this film, where the most interesting character is
the Fence/Stay-at-home Mom, Tammy (Sarah Paulson). Debbie Ocean (Sandra
Bullock) and Lou (Cate Blanchett) did not have great chemistry. They felt more
like strangers than long time friends that understand how the other works. I
know there is not enough time to develop every character in the crew, but
surely they could have done more with Debbie and Lou.
The heist could have been interesting, but
it wasn’t. There was never any real sense that things could go wrong. With a
lack of stakes, it was difficult to become emotionally engaged. There was a lack
of set up, which meant the big final twist was so unexpected I really felt
cheated in the process. One of the great things about Ocean’s 11 is re-watching
the movie knowing how the ending works. Doing this you can see all the little signs
and clues of how things are really going to work. The first time you watch the heist,
you are following the characters with great interest and anticipation. You
think you know what is going on, you believe you are watching the heist play
out. And when it looks like they are going to be caught – well, you are nervous
as you should be. When the twist is revealed, you can look back over all those
previous scenes and see how it fits together. This was cleaver filming and
story telling. Unfortunately, Ocean’s 8 was not cleaver. It was bland. Roping
in a character you never heard about in this film, to pull off a stunt that the
characters expressly said they were not going to do – it was cheating, not
smart story telling. Other’s may have thought it was cute to have the return of
Yen (Shaobo Qin), but I thought it was disjointed. Two reasons, one Debbie
makes a point of turning down men for this job. And two, it was like they were
trying too hard to connect back with Ocean’s 11 instead of doing their own thing.
Also, the pacing felt off. Partly because
you think you know when the ending is going to strike but then it keeps going. In
concept, I don’t mind pushing the actual ending back further, but then de-escalate
the importance of the heist. I also would have loved to see more of a set up
with Claude Becker (Richard Armitage). This could have been way tenser if he seemed
to be catching onto Debbie’s plan. Also, her revenge streak felt a little
contrived. The writers needed to flesh out that plot line in more detail. They
also should have show how much of a player/con Claude was throughout the film. Using
him properly, they really could have upped the stakes during the heist.
I liked Daphne Kluger (Anne Hathaway) being
in on the plot. I even like the idea that most of the crew would have no idea she
was part of it. But I would have had her in from the beginning – because I can
see how this could played for a good laugh.
I think the most frustrating aspect of Ocean’s 8
is how they squandered what could have been a really good movie. They had some
descent ideas, a fantastic caste and some wonderful costumes. They lacked depth
of character, a unified presentation (in visual and musical design) and an intelligently
filmed heist. I wished it was better, I wanted it to better. In the end it is a
fine movie to watch on a plane or an evening when there is nothing else to do.
Most places do a year in review at the end of December or beginning of January. I’m not one of those people but there were two things that released last year that I do want to discuss. These are, regrettably, my biggest disappointments. Both have a similar trajectory, however, so while I’m making a more positive push on content and such this year, we’re going to start on shaky ground.
The first game I want to discuss (and both my disappointments are games) is Valve’s Artifact. It was one of those few games that I’ve been anticipating because it frankly sounded exactly what I wanted. Kait and I both enjoy Dota 2 but are simply too busy to really play the game as much as we like. It is unfortunately a rather lengthy experience. It is also unfortunately a team game that involves relying on four other players to coordinate and cooperate in order to achieve success.
Dota 2 is also a complicated game so you’re very reliant on your compatriots to perform well. Thus, there’s a bit of a negative feedback loop for the game as you get older. The more work makes you busy, the less you play. The less you play the worst you do. The worst you do, the more your teammates get angry at your performance. So while Kait and I like to watch the International every year, we’re simply incapable of committing to the game itself anymore.
But a two player card game that plays very similar to Dota 2 is exactly what we needed! Kait even had rudimentary design documents on her own homebrew Dota 2 board game. And since we play each other there isn’t any worry about meeting grumpy people who have no interest in being patient with lapsed players who have no idea what the strategies for the newest big update are.
So despite the lukewarm reception of Artifact’s initial reveal, I had been steadily growing interested as information dripped out over the year leading up to Artifact’s release. The game does, indeed, have a very familiar framework: players build a deck including five heroes. These heroes, when killed, are returned to the “fountain” and can return to the lanes two turns later. They each have signature cards and abilities often reflective of their characters in Dota 2. The goal of the game is to push down your opponent’s towers to get access to their ancient. Either you destroy towers in two lanes or you destroy one tower then the ancient in one.
In order to help destroy these towers, you can play the cards in your deck. Now, all the heroes have been split between four different colours and the cards each have a corresponding colour as well. Thus you may only play cards in a lane with a colour matching a hero in that same lane. So if you want to play your Bronze Legionnaire (which is red) then you will need a red hero (like Legion Commander) in the lane you want that Bronze Legionnaire. The colours naturally represent game archetypes with red focusing on strong heroes, green highlights powerful creeps and buffs for those creeps, blue is focused on destructive and controlling spells while black is all about making gold and murdering heroes.
You can have any mixture of colours in your deck but since you’re limited to exactly five heroes, that creates a natural focus for your deck. I am far from good at the game so have mostly kept myself to two coloured decks. You have a primary focus (say strong heroes in red) and pick two supports for those heroes (like two black to make lots of money to buy those red heroes game winning items).
There’s another element in Artifact that is reminiscent of Dota 2. At the end of each round – a round ends once both players have passed in all three lanes – there is a shopping phase. Also included in your deck construction is an item deck. It must consist of at least nine items and these are, essentially, a baked in sideboard. During the shopping phase you get one random card from your item deck, one from the consumable deck (which has the same items for all players) and one item from the secret shop (a random item from all the possible items in the game). Your item deck has the benefit that if you purchase the item from it, you draw a new item from your deck to replace it. For the secret shop and consumable deck, you need to wait for the end of the next round to have them replenish.
Now, I may not be the most devoted card game player but there’s a few modern updates to the game that make me really enjoy it. For one, your economy is automatically managed. You have a mana pool for each lane that you use for your spells (but not your items, they’re free to play after you purchase them). This pool increases every turn so you don’t have to worry about being mana screwed like a certain other game. You also get to draw two cards at the start of your turn so your card draw isn’t as unforgiving especially since deck sizes are forty (or more) cards. Also, rounds are shared. So one player (who has initiative) will get the first chance to play a card in a lane. Then, their opponent gets to go. This continues until both players pass.
This sharing of actions is really neat for a couple of reasons. For one, it cuts down on the ability for “degenerate combo” gameplay. Netrunner had a few decks that, once the player got the necessary pieces, they could win the game without their opponent getting any chance to react (with the sole exception of trying to close out the game before their enemy got their combo assembled). The problem, of course, was that it was difficult to tell if you were playing against a combo deck sometimes so you may not even know you were in danger until it was too late. But in Artifact, your opponent gets a chance to respond after piece of your combo gets played and allows more interactivity between the players.
This core game element also means that sometimes playing nothing is the more strategic play. And that’s what I really love about Artifact. It’s a fairly simple game to understand, and the cards themselves are rather straightforward, but the actual strategy is insanely deep. I haven’t really lost any games where I felt I couldn’t do anything but mostly made really poor choices. And that’s where the difficulty of the game lies. There are so many choices to make in the game that it is hard to know exactly what you should do.
It’s an exciting game that’s deliciously complicated and I love.
So how is this game a big disappointment for me? Well, the game simply is not doing well. And while the Internet is full of personal theories for this, I have my own. There are a large number of factors that have led to Artifact’s dwindling numbers. Some are rather unpleasant. There is a certain amount of negativity in the gaming space that has, unfortunately, only seemed to have grown over the years. Unfortunately, there’s a rather vocal population that would like to see anything Valve creates fails. Plus, there’s a strange brand loyalty amongst gamers and many see competing games against their favourites as a threat against themselves. Course, this sort of brand loyalty has been cultivated by companies and I am concerned what this will mean for the future.
But I don’t believe this hostility is the only reason Artifact is floundering. And I would rather focus on causes that can be addressed.
I honestly believe that there’s a fantastic game in Artifact and, while it isn’t going to interest everyone, I think it’s got more appeal than some would argue. It’s first couple of days also saw a huge amount of interest and players that have been steadily dropping off since launch. So, how did that happen? I don’t think so many players bought into the game thinking it would be something else. It’s not the gameplay that’s pushing them away.
No, unfortunately I think Valve misread the market. Artifact has a rather novel monetization scheme compared to its competitors. The game is $20 to play. But that just gets you a couple of packs and two starter decks that don’t include any of the best cards. The idea was to copy the marketplace for games like Magic: the Gathering. And I’ve expressed my distaste for Magic: the Gathering’s pricing before. One of the reasons I like Netrunner was its living card game format felt more approachable to me. Plus, Artifact’s rivals in the digital card game space are all free.
Now, most consumers these days are savvy enough to know that “free” games aren’t truly free. The closest would be Dota 2 as its only paid options are strictly for cosmetic items. Thus, by branding Artifact as a Dota card game, I think it created the expectation that it too would be free. Granted, the first adopters clearly saw that it had a $20 buy-in but I feel that Valve did a really poor job of selling their pricing scheme.
This is perhaps the most egregious mistake from Valve. They knowingly bucked the market trends in order to adopt a pricing scheme that has a fairly established history of criticism. Now, I’ve read people actually compare price between Artifact and, say, Hearthstone at a competitive level and Artifact is actually cheaper unless you devoted half a year or more grinding out wins to “earn” free cards that can be recycled into what you need in those free games. Valve also mentioned in earlier interviews that they wanted a more traditional price scheme because they wanted players to retain the value of their purchased cards.
Which I think is a poorly considered tactic. When Artifact launched, it may have been cheaper to play competitively compared to other games immediately, but everywhere you looked in the client there was a price tag. Packs cost money ($2 each with a random assortment that could easily be doubles). Individual cards cost money (Axe himself was $40 at launch!). Game modes cost money ($1 for tickets to enter ones with packs as prizes). Within the first few days, Valve made a free Draft mode available but its first launch had only games against bots or constructed play as free for players. And constructed play would pit you against players who had sunk over a hundred dollars to get the best cards.
This did feel exploitative, even if the numbers “crunched” better. It was also increasingly demotivating because players had just dropped $20 dollars to load the game up and they were immediately with a overwhelming cacophony of prices and transactions to extract more from their wallets.
So I don’t fault anyone for dropping the game at that point. I had only intentions of playing with my sister so us being restricted to our starter decks was fine. But even I felt that I could get my $20 worth of game by playing with those decks alone and then waiting for months to see if I could pick anything else up for a more reasonable price.
Thus I believe that Valve chased off its consumers by coming across as far too greedy. Their competitors offer their games for free, so it was already going to be a challenge convincing players to drop $20 upfront. Then, Valve themed the game on their premier free game ostensibly expecting them to come over while now “nickle and diming” them like Dota’s competitors do. Finally, the justification for this expensive route was to compare Artifact to traditional physical card games without acknowledging that Artifact is a digital card game with no physical product to produce.
Naturally, people are going to value a digital product where they have nothing to show for their purchase as being less valuable than something than can physically give to their children or sell at garage sales or burn to heat their homes in the dead of winter.
So, is Artifact dead? I don’t think so. I think Valve needs to recalculate their price for the game. At this point, they need to demonstrate to players that Artifact is worth the price to enter. I don’t agree that it needs to go free to play as that will just introduce the predatory grinding components that free to play subsists on. No, Artifact needs to go “dirt cheap” to play.
I’d say make Artifact’s base purchase $5 or $10 dollars. Packs should be fifty cents. Cards should sell for pennies on the marketplace with the sole exception of really rare cards maybe fetching several dollars. Valve makes money off every marketplace purchase, after all (two cents for your one at the lowest listed price). Then, Artifact should instead push cosmetics as its primary source of income – just like Dota 2!
There’s a wealth of ways that Valve could sell digital hats for this game. Animated or alternate art cards are a very common and very successful option used in traditional card games! You can sell card backs, different boards, different imps (animated mascots that are pretty adorable), different animations and environmental effects! Some of these cosmetics can be tucked into your card packs as a rare chance to drop for those that want an equivalent to loot boxes.
To compensate for players that initially bought in at a higher price point, Valve should offer them three custom hero art cards: Rix, Legion Commander and Sorla Khan to represent the Call to Arms story arc. I don’t believe it should be free to play Artifact since that leaves the game open to cheaters and scammers. Having an initial price point means that account bans actually carry some weight to them. But it should be very cheap to buy in to the game.
With these alternative, cosmetic options as your primary source, you can market the game as actually being competitively priced to the others on the market. I think most people will be far more forgiving of the difference between free to play and long to grind versus pay to play but $20 to get everything in the game.
I think this will bring back a lot more players who won’t mind investing a little more of their time into the game. Then the tournament circuit and pro scene can keep interest along with variable game modes and future releases. At any rate, something has to change or else the game won’t be around by the end of 2019.
Which is unfortunate because it is a really fun, well designed game that really resonated with a lot of people at one time. I’m really hoping we get to see where these game systems can go because the foundations leave open a game that has a lot of potential. And Dota 2 provides a number of fantastic heroes that still need to see representation here. Valve is always going to face an uphill battle with any of their new releases but there’s no reason for them to abandon their old methods of pro-consumer decisions which had garnered so much goodwill. People don’t want to see a price breakdown between four different games to understand that what they’re playing is somewhat cost effective despite all the price tags attached to everything.
I confess this is being written far later than I intended. I was able to watch Mary Poppins Returns over the holiday. I enjoyed the experience. It was a nice to sit numbly for the 2 hours that I was in the theatre. But alas, it does not come close to replacing the original Mary Poppins with Julie Andrews.
First, I think it is important to point out some of the good things about the film. The animation was very pretty. The choreography was well done to my untrained eye. Lin-Manuel Miranda and Emily Blunt were fun to watch. The guest appearances by Dick Van Dyke and Angela Lansbury were cute. (I was not so sold on Meryl Streep’s character.) There were also several catchy songs – most notably the bathtub song: “Can you imagine that?”.
Now onto a few of my disappointments. This was not a proper sequel. Yes, it had the Banks children grown up, but it was trying to follow the same plot line as the original movie only less well done. It was so like the original in pacing, design, layout, song type … that it felt more like a remake than a sequel.
In fact, Mary Poppins Returns spent so much time referencing the original film, I am surprised anyone of a younger generation who didn’t grow up with Julie Andrews likes the movie at all. Nearly every scene, song, and design choice was a direct “hey-do-you-remember-this-from-Mary-Poppins”. It was very paint by numbers and because of that, it felt shallow, disconnected and ultimately unsatisfying.
If the writers were set on doing a sequel with the Banks children then they really needed to come up with a more original issue. Having Michael Banks, a creative artist with his head in the clouds, try to pull off being too serious like his father was utterly unconvincing. In fact, Michael Banks was the least successful character in the film.
The easiest fix, would have been to follow a different family. This way, the paint-by-numbers format, where every song and scene in MP Returns mirrored the original MP would have felt less creatively flat. As it stands I wonder at all the work that went into producing a film that was a paler reflection of the original source material.
However, a different family, even if they still lived on the same street would have added just enough variation that the thin plot would have worked. To improve the movie and really appeal to the audience, I would have loved to see the writers go beyond a regurgitation of old material.
It would have been wonderful to have a fully realized and relatable problem facing this new family. MP Returns didn’t have a strong problem to solve, so all the characters, both the good and the bad felt weak and washed out. They could have then themed all the songs and scenes around this new and original issue. In stead have having a collection of disjointed musical numbers. Also, the writer should explore an issue other than the idea we should all have a little more fun in our lives and be more like children. It is an overdone concept and this film did not pull it off successfully. But they could have worked with kindness, honesty, truth, perspective, oh, any number of different themes.
Rather than trying to constrain Mary Poppins to a few familiar lines from the original movie, I would love to have seen greater development of her character. At least better dialogue. There were too many instances when what she said didn’t really make sense. I suppose she needed to be less focused on sounding like and enigma and more time sounding like a wise nanny – which in theory she is supposed to be.
In the end I would give the movie 2.5 stars, because Emily Blunt and Lin-Manuel Miranda tried so very hard to do something special.
We have exciting news to share. Between the Covers has published its third book! It’s a bit different than the others. Wherein Thyre and Clockwork Caterpillar were steampunk fantasies occupying a shared world with marginal crossover, this next book is instead a speculative fiction/science fiction anthology!
Called Synthetic Landscapes: Science Fiction Anthology Volume 1 this collection of short stories explores the effects of near future technology on societal order and personal development. It represents a body of work done in recent years which I’m hoping will be the shape of releases to come. While I enjoy fantasy and have no intentions of leaving Felicity and her crew behind, I’ve been fascinated with the potentials that face us as we march forward into the great unknowns. I suppose there’s some overlap between The Red Sabre and these futuristic shorts in that regard.
But more than just a change in subject matter, there’s another reason to be excited for Synthetic Landscapes. This is the first publication of Kait’s work and she is the featured guest author! So if you’re wondering what her stuff looks like, be sure to pick up a copy!
Course, it would be remiss of me to not give some idea of what lies within Synthetic Landscapes. There’s The Thousand Faces of Buddha which follows a liberated clone in a futuristic Seattle mega-city as he investigates a peculiar murder. This story was inspired by the peculiar will of PETA’s president and looks at the idea of people being seen as little more than a commodity.
The Affairs of Catherine Hill is a little piece of spy fiction wherein the titular character Catherine Hill is charged with corporate espionage. Unfortunately for Catherine, corporations have replaced nations and employees are the new citizens. Catherine herself is unincorporated and so is left to the mercy of currying favours from the monolithic corporations that determine the policy of a central bank.
Then there’s Awaken, Hatshepsut! This is a story that revolves around the curious industry of cryogenics and the desire for some people to freeze themselves with the hopes of being resuscitated in a future where they can be cured of terminal illnesses or live forever. Unfortunately for these hopeful souls, Kian Pious has made a living breaking into their storage facilities and stealing their heads. Why? He hopes to utilize a one-of-a-kind device that will allow him to read their memories and access the funds these members have to live comfortably once their preferred future arrives.
These are just three of the stories that away in the anthology. Synthetic Landscapes can be found here on Amazon. It is available in digital and hard copy from all the usual printing options. If you pick up a copy, I would really appreciate – and it would go a very long way – if you could write a quick review and leave your thoughts!
Thank you so much for your love and support! I’ll see you lovely folks next time!
Well, it has been some time. Through a series of escalating events, I have been quite busy and unable to attend this little piece of digital space. First, I found myself seeing to the care of guest for a month longer than expected. Then, just as that was finishing, Nano happened and I was neck deep in writing that had fallen to the wayside. And, of course, Nano usually starts a pretty long dry spell as we spill into the holidays.
So that is pretty it. Unfortunately nothing exciting like international intrigue or combating the forces of evil or unearthing long-forgotten secrets.
There was a brief respite in there, however. And that is what I would like to close this year off discussing. You see, my uncle recently moved to the east coast. This was an unexpected development, especially for my mother who had tickets to attend Come From Away with them at the Royal Alexandria in Toronto. My uncle was clearly not flying over half the country to attend the play now so my mom had some spare tickets. She graciously offered me one.
Course, this was not just a ticket. It was a whole day affair. We went through some travel company which meant we were riding a bus into Toronto and we got dinner out of the whole event. It also meant that I was squeezed into a herd of individuals with a median age of 68. So I was the sole, young and sprightly member surrounded by a sea of experience.
Which is a convoluted way of saying that the theatre is mostly for old people. Course, that’s been the case for a long time now. It’s not like theatre tickets are cheap and when you’re going to see a popular show like Come From Away, you’re not going to find ticket offices trying to coerce people into unsold seats. As such, my mom and I were hardly in prime seating territory though we had an orchestra row which at least meant that we wouldn’t be distracted by behind the curtain action.
Also, our tour guide was absolutely in love with Come From Away. While certainly part of her exuberance would have been played up for her patrons in the hopes of selling more tickets (either to another showing or whatever other tour they would offer for the next show), she seemed genuinely happy to be seeing the play again. This is the point wherein I share my hipster concern. It is hard for me to get excited for a show that has seen universal acclaim. Primarily, this is an indication that the producers have shot for general appeal with hardly anything new, interesting or risky in the material. Wide appeal is typically indicative of safe work. Which is usually indicative of derivative work. Nothing is safer than that which has already been proven to work.
This likely is why I get confused for hating everything.
Well, guess what critics, I liked Come From Away! Nay, I really enjoyed Come From Away! I may have even adored it!
There’s really no simple place to start with discussing the play. It’s a straightforward, well-done musical. Is it an instant classic? I’m hardly one to make that distinction. But I can’t remember having this much fun at a musical since seeing The Evil Dead and being one row from the splatter zone.
I suppose I can discuss the story. Come From Away is the sort of heartstring tugging schmutz you’d expect it to be. It’s a story about the small town of Gander being overrun with foreigners when America suddenly closed their airspace during the 9/11 attacks. Given that the creators clearly had their sights set on Broadway, the play really focuses on this American connection, to the surprise of no one. Course, there’s a fair number of Newfoundlander characters as well though the entirety of the emotional journey rests on the American passengers.
I would say the most interesting part of Come From Away’s narratives arise when there’s mention of the other travellers. It’s easy to focus on the people whose country was attacked by the terrorists but the ripples of the event stretched much farther than that. There a moments when the people of Gander need to accommodate those that don’t speak English and there’s the added fear and confusion of, say, African passengers being stranded in the middle of world they don’t even know. And of course, Gander is hardly equipped to handle this level of international pressure.
This is where, of course, the entirety of Come From Away’s strengths lie. It’s the little stories and struggles that people face which has been turned into compelling pieces. No one would expect a shortage of sandwiches and blankets to really resonate with audiences but the writers have cleverly focused the story through the lens of about a dozen characters on both sides of the situation. There’s no conflict other than the uncertainty and anxiety of dealing with the unknown: whether that’s what do you do with almost seven thousand visitors in a town of the same number or how do you cope with the terrifying realization that a terrorist attack has been committed on your home and you were so close to it yourself that people aren’t even sure if you are a potential threat or not.
The way the writers weave their narrative of emotion is through combining the real life stories into several cornerstone individuals. So, there’s the first American female pilot, the Gander veterinarian, the town’s mayor, an American environmental business consultant, mother of a New York fireman and many more. Here, the different real life stories have been condensed so that these twelve individuals experience the whole gamut of human emotion as they struggle to either comfort or cope with the loss and tragedy around them. Structurally, Come From Away is a one act play. From what I can gather, this is a novelty for musical theatre. However, it does lend itself to a fast and frantic atmosphere, leaving the whole production as just a brief moment in everyone’s lives – including the audiences.
Course, this does leave very little time for the play to cover all the action. The pacing feels like it was, at one point, a two act play with how thoroughly it introduces the characters and setting. About three quarters of the way through, however, things are rushed to an ending. While this is a great way to demonstrate the whirlwind of feeling and action, it also leaves the motivations and emotional development of several its character along with their arcs undeveloped. A few characters relay decisions that are not fully understandable in quick succession while the emotional climax of the piece reaches its crescendo… then quickly wraps up with a time skip final song that tries desperately to tie all the action into a messy little bow.
It’s inelegant and the only blemish I have for the play. Technically, however, it’s absolutely a marvel. The stage is mostly several wood pillars, twelve chairs and a central rotating platform. From that, however, the cast is able to seamlessly transport you across airplane cabins, holds, Gander’s Tim Horton’s, a scenic lookout and various shelters and buses along the way. There’s very little in props but between the motion allowed by the rotating platform and the physicality of the actors, the audience receives a terrific sense of motion and pace that makes them feel like they’re flying through the three tumultuous days.
And the actors’ performances were top notch too. There’s very few scenes where all twelve of them aren’t crowded on the stage, flipping between the four or five characters each one of them is tasked with bringing to life. But regardless of the minimal costume changes, you’re never left wondering who is playing what. There’s excellent application of accents but it flows so effortlessly that it’s hard to pin down which technique adds the most clarity to their personas. But it’s very impressive to observe.
The music is catchy too. The band takes the wings of the stage, showing up to play as local bandmembers whenever it is cute. The songs are uplifting and joyful though I would have liked to see a bit more Newfoundland flair to them. My biggest complaint is, however, my highest compliment. Watching Come From Away only makes me wish there were more Come From Away.
There have been a lot of stories about the unforeseen impact of the twin towers terrorist attacks. Many of them even search for the positive and human reaffirming lens that lets people heal from the tragedy. Come From Away hits these notes but doing so without coming across as preying upon a simple and straightforward topic for easy emotional capital. More than anything, it felt like the creators really wanted to honour this small town that opened its doors and its heart for these strangers that came from everywhere. Having travelled to Newfoundland myself over the summer, the hardy folk that call it home truly are something else. It really is a delight to see and whether you want to watch some clever technical prowess or simply be lost in the music and people, you’ll discover something to love from the production.
And Come From Away really goes to show you can find something truly special in even the most unlikely of places.