Say U.N.C.L.E.

Yesterday I saw Guy Ritchie’s The Man from U.N.C.L.E.  Today I shall give my impressions:

See Mission Impossible: Rogue Nation instead.

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The Man from U.N.C.L.E. belongs to Ritchie/Wigram Productions, Davis Entertainment, Warner Bros. Pictures and whoever else.

If you’ve been keeping up with my jaunts to the theatre, you’ll know that I was rather lukewarm towards Rogue Nation. The story was loosely hamstrung together. The first half was incredibly weak. Character motivations were sorely lacking and the best part of the film was hopelessly spoiled by the studio’s own marketing.

For some bizarre reason, I had high hopes that The Man from UNCLE would be different. I’m not certain why. Perhaps it’s a plaguing persistence of optimism. Maybe I’m just that desperate for some decent action/spy-thriller release. I mean, the name isn’t the most elegant for a movie/series/franchise. What is UNCLE? Why is there only one man from it when clearly there are two main characters working together? Could they have possibly shoehorned in a female role more awkwardly than Alicia Vikander’s Gaby?

Actually, scratch that. If you’re bored, I’d suggest you watch both films as on reflection they’re basically the same thing but you can see where one woefully fails whereas the other… well Rogue Nation is still a middling production but still you can note the stark difference between them.

Anyway, as a succinct summation of my feelings towards The Man from UNCLE, I felt it was a rather poor movie that struggled to find any sort of interest or engagement with its audience through boring and two-dimensional characterization, dull plotting, rote action beats made confusing by a film maker’s signature style applied haphazardly and without any sort of integration with the greater piece. If Rogue Nation was riddled with missed opportunities for jokes and levity then UNCLE is so far from the mark that it might as well be a needle jettisoned amongst the stars.

Eh, that metaphor sucks but not quite as much as the movie.

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Can I just say that Napoleon Solo is one of the most tragic names for a person let alone someone trying to be a suave thief?

So, where did things go so wrong?

First, I’m not certain Guy Ritchie is the best director for established franchises. I don’t know if he has studio executives breathing down his neck or what but I find that when he’s playing with someone else’s material, its flaws always glare brighter than its strengths. His Sherlock movies were troublesome. While I can appreciate the different direction and tone he used, as a fan of Doyle’s original work I couldn’t get how very little of the elements of what the made the original character and stories great in them. I would have probably appreciated the effort more if he had just made up some new characters and could have explored them without any concern for making enough references that those characters retained some amount of recognizability. His best movies that I’ve seen–Snatch and Lock, Stock and Two Smoking Barrels–were successful because Ritchie was able to mix in the crassness that seems so tied to the sole of his endeavours. Those characters aren’t “clean” by any Hollywood definition and the fact he can have a villain beat someone with a rubber dildo makes the strange and surreal choreography add to this strangely artistic nightmare that Ritchie films invoke. When you remove these bizarre elements from the characters and world, however, it simply makes his filming technique feel like a gimmick and one that’s more distracting than not. The best example of this is whenever an action beat started in UNCLE, we got multiple frames over-layed at once in a format that looks like a comic book spread. There’s very little to organize this mess but there’s also no benefit from creating confusion in the audience either. It lacks a thematic or character driven reason and so it mostly comes across as obnoxious.

Accessed from http://cdn3-www.comingsoon.net/assets/uploads/2015/06/UNCLEbar6401.jpgAnd that’s probably the biggest issue with UNCLE. Unlike Rogue Nation, Guy Ritchie doesn’t really do the big spectacle, set-piece kind of film. Outside of his distinctive filming technique, there isn’t a lot of visual marvel to enjoy. So when there’s an incredibly weak plot, the last pillar you can balance your movie on is character. And this ties back to Ritchie clean characters are really boring.

I can tell that Armie Hammer and Henry Cavill are trying to work their lines. It’s just that there’s absolutely nothing to work here. Cavill is playing a personality-less womanizer. He’s James Bond without anything British to his name. Perhaps if this were played as a satire of how shallow James Bond is, it could work. When it’s played straight and even less engaging than the real deal, however, we’ve got a major problem. Hammer is an angry Russian. Their interplay is about as boring as their character description. The romantic subplot between the Russian and the German mechanic is also painfully cliched that even if they pulled it off it with any sort of skill it would have still remained a weak point of the film. At least, once again, Rogue Nation had the decency to not shove a romance between old man Cruise and Ferguson–tease it as they might.

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I can’t be the only one amused that the British actor is playing an American, the American actor is playing a Russian and a Swede is a German. It’s just a wonderful nationality blend.

The banter between the leading men is so painfully devoid of anything, however. The major arc of development–two rivals coming to rely on each other to succeed–is so poorly executed even ignoring how tired of a plot it is. What I found most surprising was the chemistry between them was inert. In the Sherlock Holmes films, there’s at least a charming tension between Downing and Law. It was really… awkward for that pair given the source material of the story but had they basically lifted it wholesale into this film it would have fit like a glove. Instead, we have Cavill playing an American Robot and Hammer spending most of his time trying to not drop his Russian accent whenever he’s doing his best cocaine addict hand waver.

If ever there was a perfect example for the importance of good writing, I think UNCLE would be a prime candidate. It’s clear that no matter how hard the actors try, they can’t save a script so lacking in story or heart. Ritchie’s direction is woefully in-adequate in hiding the boring writing beneath his heavy style and flair. It’s only a pity that writing quality is so unnoticed and undervalued that this major issue will either be misdiagnosed or simply swept under the rug. Then we can enjoy the same cycle when a studio executive attempts to revive another long past intellectual property in the hopes of snagging some quick bucks.

A World of Competition

Yes, this is another Dota 2 post.

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Dota 2 belongs to Valve and whatnot. The International I’d like to think belongs to us all.

I give my yearly impressions of the premier competitive event for a video game. Before, it probably seemed like a quaint little commentary on a budding hobby. But, really, I’m not certain we can truly consider this a small time thing anymore. For one, the prize pool for this International was over 18 million dollars. Eighteen million. That’s a lot of hats.

For pointless rivalry, that’s 16 million more than Riot Game’s League of Legends. But don’t worry, they’re future proofing their competitive league. Certainly, this furore for Dota 2 will abate. I mean, it’s not like we didn’t almost double from last year’s 10 and a bit. Which, to be fair, was insanity considering TI3 only had 2.8 million for it’s prize pool. Could this be a flash in the pan? I suppose. But two years in a row is a little surprising and, more than that, Valve is a very savvy developer and it’s hard to argue when the fan base is more than willing to throw money at this competition.

And why shouldn’t we be?

In case you aren’t aware how the International prize pool works, Valve sets the base prize every year at 1.6 million dollars. From there, everything else is contributed by fans through purchases of merchandise related to the event. Primary amongst these is the Compendium: a digital program with information about the event, teams and location. As this is a digital book–and part of a digital game–the compendium offers a number of interactive elements. You can vote for your favourite team and player, create your own all-star team and submit your most wanted for the goofy match which shares its namesake, make predictions of heroes picked and banned throughout the event along with other statistics and much more. The program is priced at ten dollars. Which, if you’re playing Dota 2, doesn’t seem that grave an investment given that the game is free. This is the first year I bought one, the prior two I was graciously gifted them, but even if I had bought all three that would mean I’ve spent a grand total of $30 on this game over three years. Considering that games, on average, launch for $60-70 in Canada, I have a few more to support before I even reach a point of overspending on this game.

From these compendium sales, 25% of the proceeds go towards the prize pool. Even more devious, Valve has released several chests filled with special, limited time hats for the event. Purchasing the chests also adds 25% of their cost to the prize pool. If any other company had been behind this scheme, it would be exploitative but since these hats really do nothing other than provide a vanity item to the game and their quality is rather top notch, it’s hard to fault this method. It’s so simple yet effective that, once again, I’m shocked no other developer has followed suit. Even more, these chests are rather reasonably priced (I suppose) at $2.50 a box. Granted, there’s a gambling element that I’m sure people will be quick to criticize as every chest that’s opened has a chance to hold an additional rarer item but it’s so minor that to complain about it feels more petty than anything else.

And even with all that, it comes packed full of goodies that it’s hard to argue with the value of the compendium itself. If you choose not to spend a single extra dollar outside of that original ten, then you get three immortal items, announcer pack, emoticons, wallpapers, taunts, in-game effects, new map type and courier. Granted, most of this stuff wasn’t assured as they were stretch goals achieved as total compendium sales reached specific milestones. Both years Valve has placed the stretch goals, however, they’ve been reached both times so it’s a moot point right now.

Anyway, all this just means that we have a big prize pool. What I really want to discuss is the competition itself.

Last year’s Internationals was good but there were some elements that detracted from the overall experience. I’m glad that Valve addressed those format issues this time around. This year, every team participated in the main event (instead of half of them being eliminated during the group stages a week before the main event. However, the group stages wasn’t just for setting up seeding in the main event. I liked how they made all the games important for the players. First amongst it was that the top four teams of the two divisions began in the upper bracket. This is a big deal since the first games in the lower bracket were a best of one.

That is a big deal.

Most tournament matches for Dota 2, especially if you’re in the later stages of a tournament, are a best of three. Resting your tournament hopes on a single match is incredibly dicey. Especially since the outcome of a game can be heavily reliant in the first ten minutes of the draft. A surprise hero pick can really turn a game and even a few mistakes can spiral into a crushing defeat. In this way, even the strongest teams can drop matches to much weaker or inconsistent teams. It’s a real dice roll and everyone’s going to be fighting to be out of that position.

It also makes those single matches very intense. And, once again, it’s great to see all sixteen finalist teams at the main event even if it’s just for a single match. The only complaint I have for this setup was that we had the lower bracket games after the upper bracket games. This meant, especially with the delays, some of these high stakes matches occurred well into two to three o’clock in the morning. Unfortunately, it was simply not feasible to catch all these matches.

The rest of the tournament, outside of the finals which was a best of five, were best of three sets. Teams in the upper bracket would drop to the lower with loses but if they won their first match in the upper bracket, then they were assured a top six final position. With this year’s division of the total prize pool, Valve went with a more distributed model. Last year saw the lion’s share of the tournament go to the winners with only the top eight teams really earning any significant portion of the money. This year, every team that got to the International got a piece of the pie and I preferred that. And that covetous top six spot meant that your team would get an excess of 1 million dollars.

I have no problem with every team getting paid for this tournament especially since almost half of them had a gruelling gauntlet to get to the tournament in the first place. Only ten of the teams got a direct invite. Four had to qualify from intense regional tournaments and two had to have a wild card tournament to get into the event. Even more than that, the regional tournaments were open to everyone in the world so there was competition from everywhere. Granted, while every Joe could sign up, the teams that got into the actual regional competition weren’t any real surprises and consisted of familiar professional players that weren’t on an invited team.

I’m really curious to hear more of the Major League that Valve is brewing for next year as well. I get the feeling that they prefer not having the International be an invite only competition though how they’ll make the qualifying process more transparent will be interesting to see. Opening up the competition beyond the twelve or so same faces, however, is really good and this tournament showed why.

Part of the compendium fun is trying to predict who would take the title and who would follow them closely behind. I can safely say that no one has correctly predicted the top six teams for the International 2015. That’s because two of the top six teams came in through the qualifiers. One of those teams came in through the wild card slot.

I would be surprised if anyone, in their wildest dreams, would have imagined CDEC getting into the grand finals. It’s unprecedented. The International has had the wild card before but they were usually eliminated rather quickly in the tournament. This year, however, this team of relatively unknown players simply crushed the competition. They came out of nowhere. And that isn’t an exaggeration. I believe four of them had never participated in a tournament before. The one that had did not win. It was a dream story and so unexpected that Valve didn’t even have any introductory video for them like they did all the other teams–and how could they?

But it wasn’t just CDEC that came out of nowhere. Ehome–while not a new face to the International–was resurrected and got a respectable 5-6th position. Complexity was mostly full of new players coming from Heroes of Newerth and they posted a 9-12th spot. MVP Phoenix snagged a 7-8th spot and won many hearts through March’s roars.

Even better, the grand winners were none other than Evil Geniuses themselves. Not only is this their first International victory but they’re also the first North American team to take the aegis as well. They even managed to maintain the surprisingly accurate tradition of having the tournament pass hands back and forth between eastern and western hands. I’m really happy that there hasn’t been a single team to win the tournament more than once. We haven’t even had a single player win multiple Internationals and no one region dominates the scene. I feel it’s really healthy for the scene to have such a diverse and competitive field. For the fans, you can’t know who is going to take the crown and if you’re a fan of western or eastern style Dota, then you’re going to be happy to see either thrive. Maybe even next year we’ll get a few more regions qualifying. I know South America has been on the cusp of making it and with MVP’s respectable placing maybe we’ll see more from the Koreans.

And with all this, I still haven’t even touched on how much better the actual production of the tournament was. We got more Kaci and her interviews. We had better insights into the players and their situations. The arena looked spectacular and that stage with its special effects were incredible. Deadmaus was kind of… odd as a closing celebration but at that point, most of us were simply ready for bed so whatever.

Accessed from http://cdn.dota2.com/apps/dota2/images/blogfiles/ti5blogimage_full.jpgIt’s great that Valve is still learning and improving with the tournament and it just keeps getting better and better. It’s hard not to keep interest when everything that was good is even greater than before. We’ll be entering into the post-TI slump were pretty much the entire scene takes a much needed break but hopefully we’ll hear what this new Majors system is going to be soon since it’s going to start shortly. And that’ll give teams very little time to do their team shuffle (which I hope leads to more stability which is still the one element sorely lacking).

It’s never been better to be into Dota.

Mission Improbable: Middling Production

The worst thing about movies that are middle of the road is how very little there is to comment on them. I’ve just seen the new Mission Impossible and it’s neither good nor bad. It’s the Schroedinger’s Cat of action-spy movies. It’s basically the white noise of day-to-day living. I was not offended or irate with squandered potential while watching it nor was I so enraptured that a gorilla could have broken into the theatre and danced before the screen without me noticing.

It’s standard. It’s banal. It’s safe. It is a movie which exists and one that I had watched. It’s one that within a few weeks time I’ll have wholly forgotten and it makes writing about it even now an ever increasingly difficult task as its nuances and pieces disappear like a humdrum dream before waking.

So what can I say of it? Well, let’s start with the good. I love spy movies and I enjoy action. I have no qualms about a mixture of science fiction into these genres as I’m an avid James Bond fan despite recognizing that most of them are pretty rubbish. Mission Impossible has never really gone through the tonal shifts that the Bond franchise has faced and thus it’s campiness is somewhat expected at this point. I’m prepared for that and it doesn’t phase me one bit.

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Mission: Impossible – Rogue Nation has silly punctuation in its title that I don’t adhere to and belongs to Paramount Pictures, Bad Robot Productions, Christopher McQuarrie and a bunch of others.

Perhaps the most surprising element of Rogue Nation is just how good Rebecca Ferguson is. More to the point, the handling of her character–Ilsa Faust–is surprisingly well handled. We’re in 2015, so it really shouldn’t be necessary to applaud a female representation in a movie that is both as capable and complex as the leading male. In many ways, Ilsa is a more interesting character than Ethan Hunt who, after four prior Mission Impossible movies has about as much character development left in him as Sean Connery in Never Say Never Again. In fact, I would have placed Ilsa as the most compelling element of the movie if her role hadn’t been so blatantly spoiled in the pre-showing marketing blitz that ruins and sort of ambiguity which the script writer and direct strove agonizingly to achieve. However, she doesn’t really get into any situations that necessitate Tom Cruise to come swinging in to her rescue nor does she fall head over heels in love with him either by the end credit crawl. We’re in Mad Max: Fury Road territory with this type of character and not only is it refreshing but it’s also surprisingly comfortable as well. It never once comes across as weird or contrived that a woman can be just as effective as a spy or a character. There isn’t any fanfare or grand standing over it. Ilsa is just a woman that happens to be damn good at her job and nothing more.

Funny that.

Outside of Ferguson’s portrayal, what else was there good about the movie? It had a number of excellent set pieces that, as contained events, were well executed. The primary beat is the opera scene. There’s a wonderful balance between executing a covert operation while juggling between the action between two characters while still building tension through the masterful weaving of the increasing drama on the stage. I’d say this scene was really stand-out if it didn’t join a oddly long list of good opera scenes in otherwise unremarkable to bad movies.

Seriously, what is it about the opera? Quantum of Solace’s only really interesting scene was at the opera. Downing Jr.’s Sherlock Holmes had a good opera scene as well in that otherwise atrocious sequel. Hell, even video games have really well crafted opera moments as in Final Fantasy VI. I can’t help but feel that this conceit is the film version of photographing flowers: impossible to screw up.

The opera aside, however, there was a good Morocco chase scene and heist beat that worked quite well. Oddly enough, Rogue Nation has the opposite issue as the preceding Mission Impossible: Ghost Protocol. Whereas the previous film had an incredibly engaging beginning and utterly dreadful second half, Rogue Nation starts off as a snore and gradually picks up into being half decent by the end.

So that about sums up the good. What about the bad?

Well, it’s kind of boring.

And this is why I struggle with Rogue Nation. Sitting and analysing it is a rather difficult task. Not because I can’t pinpoint its flaws. Outside of Ilsa Faust, there’s woefully little interesting characterization amongst the primary IMF squad and its supporting characters. Simon Pegg and the others feel too much like they’re going through the motions and Alec Baldwin and the whole “going rogue” story arc adds nothing to the story. Even the quips are rather feeble and few as though the writers simply could not think of anything good to set up. The antagonist’s plot makes very little sense with Solomon Lane receiving inadequate attention until the last act of the movie and by then there’s been far too much contradictory behaviour to really pull together the muddied justifications for all the scenes leading up to it. Generally speaking, criticism of why something doesn’t work takes far longer than praising things that do, so I’m not going to quibble over all the little details for why Rogue Nation falls apart.

No, more than anything I couldn’t help but feel an overwhelming sense of deja vu while watching the film. Rogue Nation felt very much like Skyfall, both in its successes and failures. In noticing the similar issues, I couldn’t help but reflect on the genre as a whole. And I’ve mentioned before how the spy genre has been sort of teetering on irrelevancy for awhile but its only with Rogue Nation that I feel we begin to see why.

The face of the world has changed. The spy genre essentially was born as artistic propaganda during the Cold War when a battle was fought without tanks and soldiers. All that espionage and covert missions made sense in a world where enemies were smuggling missiles into ideologically antagonistic neighbouring nations and threatening things like a mutually assured destruction with nuclear warheads. We had an atmosphere were two super powers were butting heads in as roundabout a method as possible. They were akin to fencers, poking and prodding for a weakness in their opponent’s defence but too worried that full committal to a forward assault would leave both of them eliminated upon the other’s sword.

And then the Cold War ended but not through sabotage or heroic warfare that could be milked for untold number of war stories. No, the Cold War ended with the incredibly boring and film unfriendly collapse of an economy.

This has left a rather large void in the espionage genre. That ideological battle between America and the Soviet Union was far too easy to distil down into distinct sides. You had the “Good” and “Democratic” versus the “Evil” and “Communistic.” Very little nuance was afforded in these situations. Look at James Bond. All the opponents he face are irrevocably evil. More than that, their aims are always the same–to take over the world. This encapsulates the fear of the Cold War: of the ideology of socialism and communism defeating capitalism and democracy. As one side, it was so much easier to paint the other in shallow, broad strokes. The Russians became synonymous with evil. Western powers and America were inherently good.

But politics have changed and things aren’t so easy now. The troubles we face are harder to so easily dismiss with a wave of our hand. Our enemies aren’t great, unified super powers. They’re underground cells. They’re rebel forces. They’re misguided or brainwashed individuals from poor nations lashing out in all directions. Suddenly, this isn’t two opponents of equal skill. It’s more like a trouble child getting beat up by an adult. Not to mention, it’s getting harder and harder to ignore the potential exploitative motivations of said adult in their meddling of others affairs. Those simple black and whites have become incredibly tangles shades of grey.

You would think this atmosphere would be perfect for spy movies, though. This is the perfect environment for when intelligence networks would be the most useful. You can’t tell clearly who is your enemy and who is not. An ally today could be a rival tomorrow and sometimes you’d have to accumulate debts with historical antagonists in order to accomplish the goals of the present. There’s a wonderful world of nuance and ambiguity that those who “work amongst the shadows” would need to thrive.

Accessed from http://blogs-images.forbes.com/scottmendelson/files/2015/08/mission-impossible-rogue-nation-motorcycle-explosion_1920.0-e1433808025568.jpgAnd yet, these movies don’t work. Skyfall had this problem. Rogue Nation has this problem. I speak specifically of the “going rogue” issue and the question of what the old vanguard divisions serve in a world that has completely flipped the script. Skyfall and Rogue Nation both put their respective main branches up towards a bureaucratic committee sceptical of their need. And both struggle to explore this conceit to any adequate degree.

It isn’t a concept that is undoable, however. I think the issue arises that it’s more a concept that is incompatible with what worked before. Just as the nature of our world has changed, the way we explore espionage in our media has to change with it. Instead, we have these studios trying to cram these old pegs into rusted and warped holes that no longer accommodate them. And I’m not certain that a film can adequately explore this thought. It might be too long for the cinema. It might be too complex.

Because, let’s face it, if you have to chop up half your movie into required chases, explosions and gun fights, you’re not going to be able to do a modern spy story any justice. The action portion of the spy-action genre is really sucking whatever value we could get out. We need simple plots and short hands to communicate how bad the bad guys are so that Ethan Hunt can spend all his time shooting them in the face without there being any messy morality brought in. It’s no wonder that all the villains for the last while have been amorphous, faceless “terrorists” often of an inoffensive variety. The Bourne Trilogy was lucky that it could frame its nemesis as the American CIA itself. But Bond and Hunt haven’t been so blessed and we keep getting more contrived enemies by the day for them to tackle.

At its heart, this genre is a narrative driven one so we need compelling enemies for our heroes to face otherwise the whole package starts to fall apart. Solomon Lane and Raoul Silva tried a similar tactic as Bourne with rogue elements that are the foil to our heroes but ones that have gone bad. Neither ever really get the attention they require to pull off their role, however. As I mentioned Sean Harris doesn’t get any real motivation to his character until the last final scenes and even then it’s never really made clear why he’s doing what he’s doing. Has he decided to go rogue just to be an independent dick? Is he trying to steer the world to a better place but being the decider of where that should be without bureaucratic senators who only care about their tribalistic agendas? Does he just want to make loads of money?

In some regards, Silva in Skyfall worked better because at least it was made abundantly clear that he was in it solely to ruin M. The failings of that movie was not making the whole story built around that motivation and instead wandering amongst a bunch of random set pieces that spent way too much time on Bond without saying anything. And here we are again, in Rogue Nation, watching motorcycles explode and assassinations in theatres without there being any reason, motive or message.

It’s hard to not see these products as the flounderings of ageing executives desperate to strike a relevant cord with its audience and world but being so out of touch that they don’t know what to strike. In a way, they reflect the same general unease and uncertainty that the world faces. They’re looking around desperate for villains but finding only people like them staring back.

There’s an identity crisis here and I feel it’s more telling that the story around the shortcomings of these films is more interesting than the films themselves.

I Made A Thing Part 2

So last week I showed off the second summoner for my custom Summoner Wars faction: the Sylvan Vargath. There were several design goals I hoped to achieve with this deck. I wanted to make a melee focused force that were hyper aggressive but did not rely on free units to score an economy advantage over their opponents. Instead, I wanted to try and create a more expensive troupe that was too tough to kill before they got across the board. Furthermore, I wanted them to balance on a very thin edge by getting a number of bonuses for being wounded even though that brought them closer to death. My final challenge was to wrap all these mechanics in a flavour that gave a wild and dark impression as though the force were fashioned from the rejects and outcasts of a fantasy society.

Andrasteia and her events represented the hard to arrange but powerful if you did concept. A number of her events require very specific triggers before they can occur with, perhaps, the Child of Nyx stealing the show as a powerful one attack, four wound conjuration that has the potential to do up to three wounds every Sylvan Vargath round.

Now we’ll cover the forces that work beneath Andrasteia. Here, the concept of fringe society is really pushed to its limits. And we’ll see the question brought up again and again: what is the price one is willing to pay for power?

Accessed from http://www.wga.hu/framex-e.html?file=html/h/haen/satyr.html

Satyr Drinking from Grapes by David de Haen (1597-1622).

Barbaros (1M-2W-2M-Untamed Heart) – 6

Untamed Hearth – When moving this Barbaros, you may move up to 1 additional space. If this Barbaros moved through 3 different spaces this turn, increase its Attack Value by 1.

Ah, the Barbaros. I thought this guy was going to be super underwhelming. It almost falls into the Plaid Hat “one card must be trash in every deck” design. However, the first game my sister played with the Sylvan Vargath abused the hell out of these guys. They are designed to be a 2 melee, 2 wound common for 2 magic. At six in a deck, you’ll be able to reliably find them in any decent amount of draws. But in order for them to be worth their price, these guys have to run otherwise you’re overspending two magic for some rather lackluster stats. In comparison, the Shadow Elf Swordsman is a 2 melee, 1 wound for one magic that can move an additional space. So how are these guys suppose to be any good?

Well, for one you will make them run and having multiple three space moving units hitting for two melee can get bewildering. They can block lanes or threaten summoners are just a slightly larger range. Most importantly, they’re fantastic targets for Andrasteia’s Shroud of the Mother since this can increase their movement by a really impossible to predict amount. Best case scenario is you summon a fresh Barbaros, play Shroud to hop that Barbaros to a unit two spaces in front of a mid-board Andrasteia then run him three more spaces to strike some backliner–preferably the opponent’s summoner. That’s five plus squares that can be achieved by as many Barbaros which qualify for the maneuver.

While I was rather unimpressed with them when creating them, I don’t think I would buff the Barbaros either. Sure, you have to work in order to make him not be an overpriced Guardian Knight but his unassuming stats make him easy for the enemy to ignore. He also needs, on average, three dice to statistically bring down and if you leave him wounded he can threaten a Retribution on his turn before running off and punching some sucker or a wall in the face. Or blocking for Andrasteia and turning into a Child.

Vates (1M-3W-2M-Blasphemous Rites) – 7

Blasphemous Rites – This Vates may move through other Units but must end its turn on an unoccupied space. If wounded, move 1 extra space and roll a die every time this Vates moves through a unit. On a result of 3 or higher, place 1 wound on the passed unit. Otherwise, place 1 wound on this Vates.

Yerp, that’s movement. Here’s two commons at two magic for one attack. But both focus on turning out extra dice through other means. I like the Vates myself, though they have a tendency for blowing themselves up on me than actually throwing out three wounds. Truthfully, it took a long time to create this common and it wasn’t until I decided that I wanted a deck that turned on abilities as its units drew closer to death that I settled on this design. The moving through units was important so a defensive player couldn’t easily block off their summoner from the Sylvan Vargath charge. At three movement, you have to stack your defenders quite deep to keep them out.

It wasn’t until I settled on the design I realized I’d just created a common Satara. And I love Satara and think she’s bonkers. So I added the self wounding for the failed attacks they get when they pass through units. It’s a gamble but one that can be quite painful if you’re lucky. Since the majority of units in Andrasteia’s army are melee, it means that the opponent generally gets to focus their attention at killing each unit one by one and the Vates being incredibly unthreatening without wounds makes them perfect targets for a Child’s range attack. Their three health makes them far harder to focus down in one turn if they’re fresh too. With seven in the deck, they’re kind of the bread and butter of Andrasteia’s forces though, despite my love for them, I find I don’t summon that many in a game.

Accessed from http://www.wga.hu/framex-e.html?file=html/l/lotto/1/03rossi3.html

Allegory of Virtue and Vice by Lorenzo Lotto (1505).

Hamadryas (3M-3W-4M-Deep Roots) – 5

Deep Roots – Abilities and Events may not exchange or place this Hamadryas or enemy Units adjacent to this Hamadryas. When moving adjacent enemy units, they must move at least 2 clear straight line spaces away from this Hamadryas or they may not move.

This is the reason you don’t see many Vates. There is but one other common with the same stat and that’s the Swamp Orc Savager. Which is a pity because I really like the three attack, three wound line. It makes them hit hard but fall fast. Hamadryas having a confusing ability (sorry about that) which is designed specifically to feed of Andrasteia’s Inescapable Night. So what does it mean? Any enemy beside a Hamadryas gets caught in the tree spirit’s entangling clutches and must spend all of their movement escaping them or face that terrible three melee attack. These are the bodyguards for Andrasteia. Enemy forces trying to skirt around your army to strike your summoner get stuck against these tree spirits and in order to break free have to move out of position from hitting Andrasteia. Even worse, if they’re on the wrong side of the Hamadryas and within Andrasteia’s Night they can’t move at all because they lack the number of movement points to run away.

And this triggers on enemy units. That includes conjurations and summoners! Yes, Andrasteia can lock down an enemy summoner with a Hamadryas and Night. This doesn’t happen that frequently, that 3 wound stat coming in strong here. But given that these spirits are almost always beside Andrasteia, they’re the motivation the Sylvan Vargath outcast needs in order to have souls to entice those Children onto the field. A Hamadryas at one health is still a terrible foe and obstacle and your opponent will rather have the Child flinging wounds on the board than deal with this very effective blocker.

So what’s the downside? Hamadryas can not move with Shroud. Which is for the best as they could have had some crazy combo turns if I had not put this restriction in. However, it’s also a boon as it prevents tricky plays through Silts Cunning, Woeful Brother’s Swift Maneuver or anything else that shifts opponents. However, not all is lost as Hamadryas can be moved by Controllers, Brutes and the like. So Andrasteia has to be mindful that her defence isn’t impenetrable. It’s just very tough. And kind of scary.

Accessed from http://www.wga.hu/framex-e.html?file=html/l/langetti/marsyas.html

Apollo and Marsyas by Giovanni Batista Langetti (1660).

Lycaon (3M-6W-8M-Cursed Blood) – 1

Cursed Blood – Once per turn, after attacking with Lycaon you may place 2 wounds on an adjacent Sylvan Vargath Unit you control and immediately attack with Lycaon one additional time.

So… yeah. This is a thing.

One of the original weaknesses of the Sylvan Vargath was I intentionally designed them to be poor against enemy champions. The first summoner produced so many wounds against commons that they could cleave through other common focused forces with great ease but a strong, tanky champion like Gror or Krung could really do some damage. I didn’t want to create a silver bullet with the second summoner but since Andrasteia doesn’t create nearly the same attack bonuses as the original summoner, I felt like there should be an option to deal with a single, massive target.

Lycaon is that answer. Six attack is pretty unprecedented. Lycaon can, with some luck, one shot the majority of the game’s summoners. But to do this, you have to maim a unit. Also, eight magic is a massive sink on par with the aforementioned Krung. Only Hellfire Drake is more expensive but there’s no way to reduce the cost of champions in the Sylvan Vargath like there are in the Fallen Kingdom. And you’re only getting six health for that investment as well. He’s probably the most fragile of the highest priced champions. I feel like he’d be rarely played and often for Hail Mary situations.

The other thing to keep in mind is that nothing in this deck is cheap. All the commons cost two or more magic and now they have one of the most expensive champions? There’s some tough magic management built into the Sylvan Vargath which adds an extra layer of complexity to an already complex faction. This is not a beginner deck and Lycaon is perhaps the most straightforward of the three champions.

Still… you can one shot summoners…

Diactoros (1M-6W-6M-Tranquil Envoy) – 1

Tranquil Envoy – When Diactoros is not adjacent to any Unit you control, reduce the Attack Value of all enemy Commons and Champions within 2 spaces of Diactoros by 1. A Unit’s Attack Value may not go below 0 from this ability. 

Alright, I really struggled with pricing this champion. His wording is designed specifically so he doesn’t make the first Sylvan Vargath summoner stupid broken. But since Andrasteia has a bunch of single units running all across the board on their own, keeping them away from the Envoy is pretty easy. So what does Diactoros do? He adds toughness to your army without actually adding health to your units. He shuts down sections of the board, stripping units of their ability to wound your forces.

I won’t lie, I have no idea of this guy is incredibly broken or not. He has a big question mark over him in terms of balance. He almost all but shuts down common play where I feel the majority only have one attack value. At six health, he’s incredibly difficult to bring down as well. The only saving grace is that he has but one attack value so if he does get into a fight with a tough opponent, he’ll probably fold… eventually. The range on his ability is also very strict because, once again, I’m unsure if it is even suitable for Summoner Wars or not. I think he hit the table once during our few playtests which is why I’m so unsure of him.

I do like the theme I built around him, however. He’s like the Sylvan Vargath peace ambassador that just happens to be bombing around the area when Andrasteia attacks. He’s not really part of her forces (he loses his ability if beside an ally) but all he wants to do is spread peace and tranquility so he doesn’t really interfere either. Just another outcast of society trying to change the world the best he can.

Accessed from http://www.wga.hu/framex-e.html?file=html/g/gervex/satyr.html

Satyr and Bacchant by Henri Gervex (1852-1929).

The Horned Priest (2M-4W-4M-Presence of Cernunnos) – 1

Presence of Cernunnos – Instead of attacking with The Horned Priest you may target an adjacent wounded Common Sylvan Vargath Unit you control. The target Unit may move up to 2 spaces and attack with an additional 1 Attack Value. If it fails to kill an enemy unit, place 1 wound on it.

So we’ve gone from one of the most expensive champions to one of the cheapest. This is my idea of a hard “support” champion. Despite being a champion, The Horned Priest has statistics akin to a common unit. So what does he offer?

Well quite a bit, actually. And that’s partly because I discovered he was super over-priced the first iteration I did. Originally, he just let another common attack a second time with a free move but to give up his attack to do this proved to be incredibly useless. But with the additional 1 to the attack value, things get more interesting. First, he can push those Barbaros into their Untamed Heart territory through that extra movement. They can then be three attacks at over five spaces! He can make those Hamadryas suddenly hit for four dice. Wounded Vates can pass through even more enemies. He does something for every single common that he shouldn’t ever be a bad choice no matter what your board state is. Furthermore, he can hang in the back, constantly propelling units forward with two additional movement, encouraging them again and again to draw more and more blood for his mysterious unspoken deity.

Oh, and did I mention that he turns Vates Rites on if they fail to get kills so even if your target whiffs you’re still getting a bonus? And he opens up that boosted Barbaros or Hamadryas for a Retribution if they’re not killed on the opponent’s turn?

Suddenly, spending the four magic on him doesn’t seem so bad.

The one downside is that he only triggers adjacent enemies so placement does get tricky. But you aren’t forced to move his target so Vates and Barbaros can still hit for a decent two attack and protect the priest at the same time. And he turns Hamadryas bodyguards into little murder machines. He’s not really a game changer like most champions are, however, but I feel that plays better into a common focused deck. Your commons are suppose to steal the show and the Horned Priest gives them all the spotlight to shine.

And this is why I’m reluctant to improve the Barbaros even further. The deck really needs to take together all its pieces and, while on a card-to-card basis it may be weaker to similar offerings in other factions, as a whole it brings a whole lot more to the table. I think this is the direction to design a faction. Fill it with pieces that all work together so that a player is reluctant to deck build them out. While I have a reinforcement pack designed, I don’t know what I would replace. I would certainly experiment with some of the new pieces but it does leave a difficult question of what I remove for the new toys. This is in stark contrast to other factions like the Sand Goblins where you’re more than happy to drop all those useless Scavengers from your list as soon as possible.

So how does this deck fare? Honestly, it has lost more games in testing than it’s won. Granted, it has a small sample size and, more importantly, its facing decks that we’re far more familiar playing. It has a rather high skill ceiling for the game, however. More importantly, it’s fun and I can’t help but grin every time I pull off a new trick even if it doesn’t win me the match.

Charmingly Charmed

Well folks, it is nearing the end of June and the beginning of my Grand Adventure. I will shortly be flying off to Japan to soak up the  cultural differences while pretending to teach English to children. It will be … different from my normal job. But this is post is not a speculation on what is to come in my uncertain future, rather it is (likely) my last book review – for a while at least. I don’t know how much I will be reading in Japan – nor do I know when I will once again be connected to the internet…

Book Cover - taken from the internet.

Book Cover – taken from the internet.

I digress. I placed my order over a week ago for a book entitled Charming by Elliott James. If I wasn’t so suspicious about the Main Branch of the Public Library, I should have known their reluctance in lending me the novel came not from malice but a desire to spare me the necessity of reading it. Charming is not a deliciously bad book, but is a long way from good.

My problem started early with the first person narrative. I am not fond of first persons who talk to their audience. I am not fond of lengthy exposition that is written in the most mundane manner.

John Charming was trained as a Knight to hunt and kill monsters from fairytale (and every other sort of mythical legend). Sadly, (for him) he was kicked out of his order when it became apparent John was also a werewolf (one of the abominations to be hunted). His name reflects his families link to all the Prince Charmings of Fairytales.The book begins with John working in a pub when a stunning blond and Vampire enter. The author tries way too hard to be cutesy with his quips, clichés and chapter titles. Sadly, the writing lacks enough depth to produce anything beyond bland.

The narrative commences with a bold declaration that all magic is real and around us we have just been spelled into not seeing it. As set ups go this is neither terrible nor original. Unfortunately, I have read better. Free Agent does a good job of the Fairytale world – playing with Fairy Godfathers (and Godmothers), wicked step-mothers, Charming Princes, the whole works. The world has everything – every monster, mythical creature and fey to have been imagined. As such, there is nothing defining about this world. It works very hard at being grounded in reality, while dealing solely with the supernatural aspects – a contradiction perhaps? There is nothing particularly wrong with writing about werewolves and vampires (besides being ubiquitous). I have certainly read any number of ridiculous supernatural fluff. Perhaps this is why I found Charming to lack any real charm.

As I said the world has anything and everything, so there was nothing original about it. The explanation for why we normal humans don’t see the supernatural is a bit silly. There is a spell woven over all humans to ignore anything that doesn’t fit with our conception of reality. A spell that is apparently breaking down, while the supernatural elements grow stronger around us. I have read explanations along similar veins before – some done more successfully. By picking up an urban fantasy, I am already committing to the idea that weird and unexplained things could be happening around me. I don’t need my author to explain why I haven’t actually seen any of this with my own to eyes – it detracts from the story and breaks my suspension of disbelief. In fact the author has just done the opposite of his intended – he has made me even more aware of how ridiculous his world is.

Many people would surely enjoy the very light, mindless read that is Charming. I thought it would be good fun. Instead I found myself working at finishing the book (and skimming more and more as I rushed towards the promised end). Not surprisingly this is book one and as you can guess from my lack lust review, I will not be looking for the next novel in the series.

Oh, two this of interest did cross my mind as I was reading. 1) Apparently there is a lot of interest in old Norse mythology as the Blond was yet another Valkyrie to pop up in my readings. 2) The author really is fascinated by women’s hips as a defining physical character trait (at least for the first few females we meet).

I Made A Thing Part 1

Late post because Rogers Internet is awful and was down all weekend. What can you do?

I was cleaning up some things and stumbled across my old Summoner Wars Alliances box. Yes, this is a Summoner Wars post but the rest of my work is rather disinteresting so deal with it.

I’ve been pretty quiet on this little board game despite spending quite a number of posts covering my thoughts and feelings on it. As it turns out, I was gifted a whole bunch of Netrunner for my birthday and, as such, I’ve been transitioning to picking up that little hobby. I suppose you can expect more discussions on that game design in the future… once I start wrapping my head around it. Alas, Netrunner is a lot more complicated than Summoner Wars so it might take some time before I feel I have any input to make on that game. But between Netrunner and the day-to-day business of life, I haven’t had a whole lot of time to focus on the Summoner Wars. As such, it has started to gather dust quite a bit sooner than I would have anticipated. Thus, imagine my surprise when I opened it up and recalled that I had been busy tinkering away on the little thing.

Thus to the title of this article–I’ve made a thing. Specifically, I’ve created a custom faction for the game.

This started with my misguided attempts to tweak some of the shipped products I wasn’t particularly happy with. Primarily, I was trying to adjust the Tundra Guild so they weren’t quite so disappointing out of the box nor as reliant on cards that I didn’t own in order to stand a chance. As I’ve mentioned before, Summoner Wars is a rather simple game with straight forward systems which makes comparisons between factions and mechanics a lot easier to analyse than in something like Dota 2. Speaking of which, that’s coming up…

Anyway, after coming up with my own variant of the Tundra Guild, my sister was quite eager for me to take a stab at one of her favourite factions–the Mountain Vargath. I don’t know why she likes the little blighters but their performance in our games had always been underwhelming. I wasn’t originally going to tackle the challenge but once I started tweaking the Tundra Guild I struck a wellspring of ideas and couldn’t resist toying with her request.

I’m not going to post the products of either of those, however. They ended up being sufficiently different that I felt it was more appropriate to simply go ahead and treat them like unique factions all on their own. So, I created a “reinforcement pack” for my newly christened Sylvan Vargath and even went so far as to make a second summoner. It is this deck that I wish to post because I feel that it has the freshest ideas as I was unshackled from trying to tweak existing mechanics and concepts. I was free to explore any design space I cared for and after playing with them a little, I think there’s something valuable in what I produced.

Do note, I have not sufficiently tested these cards to say they’re balanced. As mentioned, our interest in Summoner Wars has waned to the point that we don’t really play it anymore. Which is a pity because I think there’s quite a lot of opportunity available now that we’ve broken the gate on personal modifications and house rules that could take the game into really fascinating areas. Anyway, this is my disclaimer that I wouldn’t try and sell this deck in the state it’s in. There’s probably a bit more number tweaking left to truly align it with the rest of the game. But here’s what I made and my thoughts behind it.

Accessed from http://www.wga.hu/framex-e.html?file=html/a/altdorfe/1/1satyr.html

Landscape with Satyr Family by Albrecht Altdorfer (1507).
Obviously, as a custom creation, I don’t have any art to go along with these cards so you’ll have to use your imagination. I did find art for the cards but that’s obviously under copyright so here’s more classic paintings!

Andrasteia (2R-6W-Inescapable Night)

Inescapable Night – Enemy Units that start their turn within 2 spaces of Andrasteia can only move up to 1 space on their turn.

Well, no better place to start the preview than the summoner herself. I designed Andrasteia with all the tweaks that I made to the original Mountain Vargath in mind. She was, from inception, a second summoner so a number of her design elements take into account the abilities and play style of that first faction. It may make explanations a little more difficult but I’ll try to be as clear as possible when explaining my thought process.

First thing to notice is that Andrasteia has the standard summoner statistics. If I had taken a census, I don’t remember it now but I wouldn’t be surprised to find the majority of the summoners in the game to have six health and two ranged attack. Normally, this wouldn’t be noteworthy except I want to draw specific attention to Andrasteia’s ranged attack. Since I was trying to create a faction that my sister would like, I was restricted into trying to create a deck whose primary strategy would align with her preferred play style. Which is to say, the Sylvan Vargath have to be a rush down deck. My sister likes moving pieces across the board and pummeling her enemy’s face. Unfortunately, this strategy is one of the weakest in the game. One of the more successful implementations of it is the Cave Goblin Frick. But he relies on zero cost commons and extra attacks to overcome the inherent advantage a defensive player gets with instantaneous reinforcement and superior positioning. I couldn’t just copy the same formula but I also had to make sure that I didn’t inadvertently make something that would be better at defence than offence.

Thus, I focused on the Vargath design of goats and came up with the idea of ‘The Herd.’ The way the original summoner works is by making a very tight, compact phalanx of troops that are so robust they can weather a passive enemy’s defence but were near entirely melee focused so had to rush towards them if they stood any chance of winning. In the original deck, there is but a single card with the bow symbol and it’s an overpriced champion. In this deck, I decided I’d give the sole ranged option to the summoner herself. Part of this bled from a thematic perspective. The original Sylvan Vargath are all about camaraderie and cooperation. Andrasteia, I knew, was going to be the faction’s dark half. She was the outcast and, as such, she would eschew all the noble ideals of her society. Whereas the first summoner wants honourable man-to-man combat, Andrasteia was all about pitiless results and brutal efficiency. Thus, she didn’t want to be in the thick of the battle like her predecessor but nor did I want her hiding in a corner either. I wanted her to be in the middle of the board, a design space wholly neglected at that point.

So how do I balance that? Well, giving her a ranged attack will keep her from the very front lines. But I needed something that would encourage her to creep out of the furthest row. Enter the Inescapable Night.

Phew, what an ability. To be honest, I’m not one hundred percent satisfied with it. The purpose behind it is to lend some sort of superiority when the Sylvan Vargath get into their desired board state. Specifically, once they’ve locked their opponents down in melee combat, they need some sort of bonus that puts things more in their favour. Typically, melee units have far greater attack power and health, so they’re more likely to win one-on-one engagements. Unfortunately, it’s rare that combat is ever one card against one. Part of the difficulty of a rush down faction is that ranged units will add extra dice against melee targets. Especially when you’re taking the fight on their side of the board and giving them more territory to maneuver in. This is compounded further by events and card abilities.

Inescapable Night toys with that. Units caught within that short bubble around Andrasteia aren’t going anywhere.  With properly positioned bodyguards, it makes it really difficult for opponents to flank or surround Andrasteia. It also–as the name implies–makes fleeing from her very difficult. In some instances, it becomes impossible. This is to play up the design idea of Andrasteia’s cruelty. So it’s trying to hit both flavour and design goals. Only issue is, I’m not certain it really makes it. The problem is, extend the radius on the ability and it will be too powerful. Make it too short and it’s nigh useless. I’m not certain there are enough spaces in Summoner Wars for Inescapable Night to hit that sweet spot. I erred on the side of making it too short otherwise the ability could win games all on its own.

This is certainly one aspect I’d like to re-examine and tinker with before I declared it final. But as a design concept–hindering the opponent’s movement in order to grant yourself an advantage–I kind of like. It also means that in certain late game match-ups, Andrasteia can be a titan on her own as weakened summoners will be unable to run away or attack from a distance in order to achieve victory.

But what good is a summoner without some events?

Pitiless Retribution (3) – Add 1 wound to every enemy Unit adjacent to a wounded Sylvan Vargath Unit that you control.

I feel that the most successful melee factions are ones that out wound their opponents. I suppose that could be said about every faction since wounds are the only way to win a game of Summoner Wars. More specifically, to overcome the positional advantage of ranged units, melee units should be able to wound on average more often than their ranged counterparts. The power of ranged units is that they get to–essentially–make a free attack against their enemy. If both cards are throwing equal number of dice, the ranged unit will win through greater successes because they’ll get more attacks to make. This arises because there’s no penalty to a ranged unit engaging a card in melee distance. Typically, ranged units have lower attack than their melee counterparts but with the numerous different cards released, there’s a number of factions that shore this weakness up rather handedly. Fallen Kingdom Warlocks, Sand Goblin Shamans and Javelineers are examples where this “balance” doesn’t hold. This wouldn’t be an issue if melee units had more tools and that’s where Pitiless Retribution comes in.

The Sylvan Vargath hold to the Vargath design of having hardier commons than normal. There’s not a single one health unit amongst the lot of them. This means they’re more apt to get into melee range (especially if you start to consider the reinforcement cards I created). Pitiless Retribution punishes every failed wound from the enemy. With three in the deck, you’re apt to draw one and, depending on timing and positioning, it can be quite a lot of free wounds. In practice, it’s closer to Greater Burn. You’re most likely to play it when you can achieve two wounds. Unlike Greater Burn, however, you can’t place them on the same target. Alas but another design goal was to push more towards common focus gameplay.

There’s a second element I want to draw attention to and that’s the wounded Sylvan Vargath trigger. Keep an eye on this as it’s a central theme to the Andrasteia deck.

Shroud of the Mother (2) – Any Common Sylvan Vargath Unit you control which is not adjacent to an enemy Unit may be placed adjacent to a Unit within 2 spaces of Andrasteia. 

Positioning, positioning, positioning. The first Sylvan Vargath summoner looked at being a good rush down faction by granting units extra movements over their opponents. I think every melee faction is going to need extra help in getting their forces into the enemy’s faces if they want to succeed. Shroud I wanted to tie into Andrasteia’s darkness and give some thematic idea that she’s pulling her forces through this malevolent night and attacking from all angles to confuse and disorient her prey. I also wanted to grant this ability as much flexibility as possible. It can be great for reinforcing a forward push with freshly summoned units (assuming Andrasteia is in that sweet middle board spot) or it can save stranded members of The Herd that may have been isolated–assuming they aren’t already engaging their opponent in mortal combat. Finally, it needed the added flexibility of transporting units right beside Andrasteia in case she does get surrounded by being in that dangerous territory close to her enemy’s walls.

With only two in the deck, however, it’s not really a card you can rely on. It’s tempting to carrying it in your hand but it can also doom you to stuffing your draw while you wait for the most opportune moment to play. I think this finicky aspect of it keeps it balanced despite it being a super charged Fall Back.

Outcast’s Mercy (1) – Do not play this Event during your Event Phase. Instead, when Andrasteia wounds an enemy Unit, you may play this event to remove up to 2 wounds from Andrasteia and place them on her target.

Yikes!

What I always wanted from Summoner Wars was for one off events to feel really “ultimate.” I wanted these cards which you can only ever have one of to really impact the game like your opponent just lay down his trump card. That’s not what we have, though. Instead, things like A Hero is Born are the sort of standard for single events. They’re basically auto builds since they’re so niche in their application that the one magic far outweighs whatever ability is lost from not playing.

Thus, Mercy is meant to bring that wow factor. This card is an auto two wounds (so a Greater Burn) plus a heal wrapped in one. I knew I needed some sort of healing, otherwise frontline summoners simply don’t stand a chance without a huge health pool. I do like that Summoner Wars is very strict about its healing options for summoners, though. Essentially, this is a game whose economy is in wounds. You have to have hard restrictions on who can abuse that. Most discourse circles around the game’s costs in magic but really, all magic is funneled towards creating wounds. Mercy gives you a four wound swing on the most valuable unit. It also, once again, strengthens Andrasteia’s late game potential. If the match comes down to a slug fest as Mercy hasn’t come out, you’ll probably lose the showdown.

It’s also an ability that does nothing if Andrasteia isn’t wounded. You need to be hurt in order to give hurt, reinforcing that theme again and again. This is a card that will stuff your hand because its potential only increases as the game goes on. Statistically speaking, you need nine dice in order to drop Andrasteia in one turn and those scenarios are very hard to create. But leaving a wounded Andrasteia is asking yourself to get a large blow back on the following round. I love when things can create hard decisions for players.

Accessed from http://www.wga.hu/art/r/rubens/32mythol/32mythol.jpg

Two Satyrs but Peter Paul Rubens (1618-1619).
I don’t like anthropomorphic creatures but I didn’t want to completely remove the connection to the Mountain Vargath either. I settled for a middle ground, creating my Sylvan Vargath as satyrs. This, naturally, necessitated naming them all with Ancient Greek names.

Glimpsed Fate (3) – Do not play this Event during your Event Phase. Instead, when a Sylvan Vargath Common you control adjacent to Andrasteia is placed in the opponent’s magic pile, you may place a Child of Nyx from your Conjuration Pile on that space if able.

Child of Nyx (1M-4W-Being of Night)

Being of Night – At the end of each player’s turn, place 1 wound on a Unit up to 3 clear straight line spaces from this Child of Nyx. If you cannot, place 1 wound on this Child of Nyx.

Yes, Andrasteia has a conjuration pile. Yes, I lied about Andrasteia being the only ranged unit in the game. Yes, the Child is amazing.

Honestly, this card seems bananas. Even looking at it now I still think it’s ludicrous. But I wouldn’t change it. It’s the strongest conjuration with four health but that is a hefty challenge to get it on the board. Just take a moment to appreciate all the triggers that are needed:

1. Friendly Sylvan Vargath Common – restricts mercenary usage and champions

2. Adjacency – only playable if you’re getting swamped or you’re playing with bodyguards thus positioning needs to be exact.

3. Opponent’s Magic Pile – this only occurs at your enemy’s behest.

Point three is really key here. Anyone that’s played against the faction before will have the prior knowledge to know that any wounded unit hugging the outcast is looking to summon in a baby. This can be played around. And since Andrasteia has no ranged units, the onus is on the Sylvan Vargath player to make the scenario too drastic for the enemy to not want the child to be summoned. However, since its ability triggers at the end of both player’s turns, you have that double edged sword effect. You can get two wounds from this guy on your turn–one of which can’t be avoided–but your opponent can arrange his units so you get hurt at the end of his turn. This guy is a wound spitter but he’s indiscriminate about who he spits on.

Also, since the unit has to die beside Andrasteia, there are a number of scenarios that can arise where Andrasteia takes the first wound from his appearance.

Obviously, it’s not all bad, however. Four wounds for no magic is a steal (well, one magic from playing the event I suppose). As I mentioned, he’s a potential three wounds per the Sylvan Vargath player’s rounds too (one for each end of turn and his own attack). A 3/4 for 0 is silly good. Also, those auto-wounds can really benefit you as well. Remember Mercy needs Andrasteia to be injured, so soaking a few of the Child’s hits is fine. You can also set up Retributions from units the opponent wasn’t wounding. We’ll also see another beneficial interaction in the commons where self wounds add more benefits.

Really, the Child brings home the whole deck’s design. It plays with the economy of wounds like no other and it generates those wounds at a ludicrous pace. But those trigger conditions are not to be underestimated. It is tricky getting them out on the board. And you really need to bury any delusions you have of three of these guys dominating the field. The event will clog your hand, especially if you’re trying to set up the other tricky to trigger events in the deck. Plus, these things do nothing against walls and will kill themselves after a certain number of rounds. They feel so strong when you pull them off but it doesn’t take long for you to realize the downsides of the card and how it can be abused by both you and your enemy.

Tune in next week to see the meat of the deck: the champions and commons!

Delia’s Shadow

So, Kevin finally wrote a post. Don’t count on mine being as long, we will see. Also, watch out – this ramble is full of spoilers.

Book cover from the internet.

Book cover from the internet.

Jaime Lee Moyer wrote a book called Delia’s Shadow. It is about a woman you can see ghosts. She leaves her home in San Fransisco to avoid seeing ghosts – cause that is crazy and she doesn’t want to be insane. weirdly, New York doesn’t seem to have ghosts at least for the first two and half years of her self-imposed exile. Then, one particularly strong ghost finds Delia and latches on, effectively driving her back to San Fransisco and the world of crazy people. San Fransisco is currently plagued with a serial killer and Delia’s ghost was one of his victims.

Back in San Fransisco Delia returns to her adopted home, where her adopted mother is dying and her adopted sister, Sadie, is about to be married, to Jack. Naturally Jack’s best man, Gabe, is single – as our female lead must fall in love with someone suitable by the end of the book. Of course, Gabe with his tragic history and dead first wife will match Delia’s own tragic history with two dead parents – being an orphan is sad. Both Jack and Gabe are lead detectives on the current serial murder case – which is theoretically the focus of the plot.

The story is set in the late 1800’s or early 1900’s – I don’t think a date was give. It is simple and logical in its set and competently written. I was going to say it was good, solid book – not brilliant as it lacked that indescribable spark that elevates good writing to inspired writing – until I started thinking about it.

The plot is simple – there are two detectives, a mass murderer and a city full of victims. The murders resemble those that occurred nearly thirty years earlier, down to the same brutality used on each victim, the same signature on the letters sent first to the newspaper and then to the lead detective. Threats are made against the city and then against the detective and his family (in present time, this includes Delia and Sadie). At the same time the Pan-American Fair is taking place in the city – oh and Sadie and Jack are planning their wedding.

Ghosts and emotional auras are the magic in the world. Technology includes cars starting to replace horse-drawn carriages, electric lights and cameras.

All the usual points seemed to happen. The ghosts try to threaten Delia. Delia and Gabe start off trying to be polite but indifferent to each other, but fall in love. Sadie is kidnapped by the murder towards the end and it is a race to save her life. Only, the story struggled in several key areas.

The main character is Bland. She is colourless, weak and while she defends her ghost from being sent away Delia doesn’t want to use her ghost to solve these murders. Delia’s sections are all written first person, which means a long steam of internal dialogue and a lot of ‘telling’ rather than ‘showing’. For example, we get a couple paragraphs of Delia reflecting on the stupidity of her decision to leave San Fransisco in favour of New York – because as she points out in the most high-handed fashion, that move did not change her ability to see ghosts, the way Sadie felt/looked at Delia and only meant Delia spent three years away from the people she loved. Thank you for that moral lesson.

Gabe’s sections are written in the third person – for contrast I assume. Though each time we have a change in perspective that character’s name in is written as the header. Gabe’s perspective is to show us insight into the workings of the police as they hunt down the killer. The police seem to act like those on TV; there is nothing rich or interesting about the manner in which the police are written.

Both of the above are more style points; writing. The other aspect of the writing was the error I found in one passage. The author has gathered five people for a séance and she carefully and precisely tells us where each person sits, then changes the location of two characters. It really stood out.

The biggest problem, the must unforgivable problem the book has is with motivations. Two people in particular were not well thought out. Jack appears to be irrationally angry with his family. His father, Jack discovers later in life, lied to him. The father told two lies: the first we learn is that the woman Jack knew as his mother was actually his stepmother. Though, if the woman raised him as her own, then I don’t understand why Jack was so angry. And I must have missed something because I don’t remember why there was any conflict between Jack and his stepmother – it seemed like forced conflict. The second occurs when we discover that Delia’s ghost, the woman who was killed in the murders 30 years ago and has been haunting Delia for the past six months, is Jack’s biological mother. Jack’s father told him his mother died of cholera (not that she disappeared). Of course the police at the time didn’t know the ghost’s name, so they could never actually inform the family. Again, I don’t know why Jack was so vehemently angry.

Bigger than Jack’s irrational anger, was the motivation of the killer. So, apparently the murder, Ethan, spends two years with his crazy uncle when his own mother dies and his father can’t cope. In those two years, normal young Ethan (about six when he leaves) because a crazed, death hungry psychopath. As he grows up he starts torturing and killing people in order to have their souls judged by the Egyptian gods. Really, really doesn’t make any sence. There is nothing inherently evil about the plethora of Egyptian gods associated with death. So to claim that Ethan kills on their behalf is bizarre and requires more of an explanation than ‘my uncle told me to’. What was wrong with the uncle? How was he able to brainwash and corrupt a child so thoroughly. I know the story was trying to say something about how even the most brutal people can appear normal with wives and children. But that Ethan, so depraved in the killings, so thoroughly obsessed had an innocent wife and child seems far beyond likely. The book tries to say that Ethan never stopped killing (during those 30 intervening years – he was a youth when he first terrorized the city and would now be late 40’s) but why did the ghosts suddenly take an interest in stopping him? Why did Ethan suddenly return to San Fransisco and start sending letters to the newspaper & police. The letters were not apparently a thing for 30 years (did he forget how to write for that length of time?).

Oh, and finally, how did the police manage to keep the entire city from knowing there was a serial killer on the loose? Someone, almost anyone associated with the crimes would have leaked the problem. This is not something you can covered up for months on end.

In the end Delia’s Shadow is Ok. I reads well at first glance, a little slow and colourless, but it does not hold up under further consideration. Passable, I suppose – if you want to discuss the psychology of crime and complain about how this killer is unrealistic.

Never Stop Running

Alright, the website has been a little remiss but I want to point out it’s been seven years since Derek posted. So, no matter how neglectful I get, Derek’s worse. But that’s probably a good metric for life in general.

Part of the problem with posting is that I have so very little to write for you, world. Life is. Unfortunately, until I become an international man of mystery, that means that the day to day drudgery is rather dull. It’s also the middle of the summer, so outside of me constantly complaining how hot it is, there isn’t a whole lot of culture to comment on.

Unless people would like to listen to me complain about the latest blockbuster release and why it’s bad and everyone should feel bad for enjoying it.

Well, today I do have something to comment on and it is tied to summer and heat. I’ve recently finished Harebrained Schemes’ original Shadowrun Returns reboot. This was my splurge purchase during the always excitingly disappointing Steam Summer Sale. At the very least, Derek was forced to pick up Dungeon Siege III so there’s that to look forward to on the horizon.

I should give full disclosure that I knew absolutely nothing about Shadowrun when I picked these up. Mostly, I’ve been salivating over the Xcom sequel news and broke down on this purchase because some people advertise it as Xcom-lite. It has nothing to do with Xcom save for sharing a similar combat mode so I won’t spend much time on the comparison. I merely want to paint a picture of my humble beginnings before digging in.

Accessed from http://cdn.akamai.steamstatic.com/steam/apps/234650/header.jpg?t=1432226421

Shadowrun Returns belongs to Harebrained Schemes, Fantasy Productions and whoever else is involved.

Shadowrun Returns is a kickstarter game based on an apparently successful table-top roleplaying series. Honestly, I had never heard of it beyond some luke-warm first-person shooter that was released eight or so years ago. If I had to describe what Shadowrun is, I’d say it’s a bizarre mash-up of Netrunner and Dungeons and Dragons. Which is an unfair comparison since it’s suppose to be a riff of Neuromancer and Dungeons and Dragons. Poor Gibson, you likely hated this derivative drivel and already your contributions to the genre are being pushed out. I feel a little sad, except I don’t remember Neuromancer very well and, quite frankly, your contributions beyond that haven’t really been as influential. But when you birth a genre with your first novel, it’s unavoidable that everything following will be overshadowed.

Perhaps there’s an article on that somewhere…

Nevertheless, Shadowrun is cyberpunk and, unsurprisingly, it was birthed during cyberpunk’s heydays of the early nineties. This is when all those delightfully pessimistic attitudes and themes of the eighties started to bear fruit: the wide-spread technological upheaval of the world wide web became a reality, corporate interests like Monsanto demonstrated moustache twirling villainy in regards to genetics and the environment and science started tearing apart DNA with the cloning of a sheep and the Human Genome Project. It was like we were on a crash course directly into the heart of Blade Runner. So when you take two popular forms of entertainment from the era and squish them together, it doesn’t shock anyone that the attitude of the one created during that time dominates the colouring of the other.

So, yes, Shadowrun unabashedly rips from Dungeons and Dragons with its wide-spread usage of fantasy tropes. We have elves, dwarves and trolls on display bearing all the hallmarks of a good Tolkienesque heritage with our surly stout dwarves and tall but haughty elves. Dragons are kicking around too, leaning very heavily on that hoarding aspect of Smaug and the Lonely Mountain. All of this is given that delightful gritty eighties twist, however. Dragons look to hoard their wealth the corporate mergers and acquisitions. Cybernetic enhancements give street warriors new strength but cut them off from the natural powers of magic and shamanism. Even the titular shadowrun is a branch of society devoted to the balance of corporate power–a black operation committed against an organization in order to steal data for a mysterious client who has a rather nasty tendency for being a rival corporate interest.

There’s that bleak dystopic inevitability on display. The little people are lost to the power shuffles of the mega-rich as they war over research and development for products that have zero intention of ever being released to a global market. The corporations are the new government, made explicit by the fact that there’s (apparently) no such thing as a police force. It’s all private security and para-military organizations exchanging blows within slick lobbies and office buildings. Society itself is stratified into two layers: the “free” people that make up the poor or unaffiliated shadowrunners and the corporate wage-slaves that do the grunge work of whatever corporate people do. Given the strong nineties anarchistic bent, Shadowrun Returns keeps its lens squarely on the romanticism of the unaffiliated shadowrunners and if you aren’t putting bullets or spells into hired security muscle then your unarmed corporate workers are always innocuously absent from the scene.

Shadowrun Returns is an interesting little project separated into two distinct entities: Dead Man’s Switch and Dragonfall. The first comes across more as a proof of concept. This is clearly the kickstarter game and its story seems more cobbled together as a demonstration of what can be done in an engine that appears to be very user content driven. Dragonfall, on the other hand, is a much more directed experience and a completed package you’d expect from a studio release.

And yet, I’m not entirely sure which I like best. They both have a different feel to them, carrying separate strengths and flaws. Overall, I’d probably give it to Dragonfall for being a more complete experience but I’ll try and give a brief run-down of both.

To start, there’s a persistent issue I have with both games and that is in the developers underlying assumption that the player has any idea of what Shadowrun is. I didn’t, and I had to consult online wikipedias in order to grasp concepts and terms which were thrown casually and haphazardly around. Part of the issue arises from the fact that Dead Man’s Switch is very cyberpunk that understanding the disparate fantasy elements is neither intuitive or apparent. Dead Man’s Switch focuses squarely on the player, its story following a very film noir arc of a lone individual trying to solve a murder. The player is hired, amusingly enough, by the victim himself who had the dead man’s switch installed to essentially release a video contacting you about his demise and promising a vast sum of money if you can locate his killer. You were both associates in a prior shadowrunning troupe but the game gratefully leaves your relationship and motivation for this investigation up to you.

So for the first half of the game, you’re basically playing private detective. Unfortunately, you’re playing private detective in a world that keeps yammering on about “shadowruns. leylines, otherworldly spirits and metahumans.” None of these terms are explained or even made clear in context, though the game is far too gleeful to remind you that this takes place on planet Earth and very specifically in Seattle. You can’t really use any of your real world knowledge to navigate this, however, since Seattle is (or maybe) half split with some magical kingdom called Tir Na Nog? I don’t know and the game doesn’t care to tell you though it does go through the effort of saying these things exist anyway.

Acessed from http://www.harebrained-schemes.com.s3.amazonaws.com/wp-content/uploads/2014/08/directorsCutKeyArt1920.jpgDragonfall is far better about explaining what shadowrunning is and who shadowrunners are. Its greatest strength is focusing on delivering what this conceit is for the player as the majority of the game revolves around you doing disparate jobs often obtained over shadowland bbs communications (which I’m guess is the game’s equivalent to “the deep web”). You have a handler and a staple number of runners to chose from for your missions and there’s some back and forth between different employers and their conflicting aims. The structure of Dragonfall is way better at introducing important elements of the world–like the aforementioned meddling dragons–but this comes at the sacrifice of Dead Man’s Switch more stylistic presentation. There’s a fair bit of character that’s lost in the do a mission, cash it in, get hired for next mission structure. And while I liked the inclusion of more permanent members for each of your jobs, I found their execution was a little too predictable. After every mission you saddle up to your companions and work through the prerequisite snippets of their life story until you learn enough to go on a personal loyalty mission and get them upgraded for the final fight. It’s very BioWare in its execution and it comes across as more cold and sterile than Dead Man’s Switches characters who show up briefly and only to perform missions personally relevant to them before they wander off.

The biggest hurdle for both games, however, comes in their final acts. Dead Man’s Switch does a massive heel turn in terms of narrative halfway through when you unexpectedly solve the murder but there’s this greater “massive conspiracy” underlying it all. This conspiracy involves Lovecraftian horrors and seems more concerned with a bizarre departure from the more focused personal tale to reframe the entire game on a horribly stereotypical “save the world” plot. Dragonfall, while initially couching the game in very obvious “big world problems” from the onset still tumbles into a story that’s more aligned towards some epic fantasy narrative that is far too discordant with all the quiet shadowruns and personal tales that lead up to it.

I think this is where the game and conceit really falters. At the end of the day, Dungeons and Dragons isn’t cyberpunk. It’s epic fantasy. You don’t get personal tales of a lowly merchant or peasant’s day to day struggles beneath cruel but not villainous magistrates. You kill sorcerer-kings. You fight gods. You hop between worlds and stop the ascension of mad liches. In Dungeons and Dragons, every day the world is threatened and adventurers need to pop up and rescue it. You are a powerful, enabled force that reaffirms truth and justice can make the world a better place against inextricable evil.

There’s no room for dystopia in D&D. Likewise, there’s no room for hope in cyberpunk. Not on this grand scale. No matter what you do in Shadowrun, you’re always reminded, at the very end, it’s rather irrelevant. The dragons and megacorporations win no matter what you do because they have all the power. You can be the biggest, baddest mage but it means nothing in the face of billions of dollars of net worth. You can hack all the servers you want but you won’t move nations with a single phone call. Taking out an entire corporate branch is basically chopping off the head of the hydra: two more are only going to spring forth elsewhere.

Shadowrun tries to strike a balance between this optimism and pessimism but it’s never well executed. The world is too cyberpunk for the dungeons and dragons power fantasy to really fit. It comes across as hollow and ultimately silly. Shadowrun is at its best when it’s going full tilt on its cyberpunk influences but that makes all the mages, orcs and spirit nonsense stand out in such bizarre relief. You can take the best parts of Shadowrun and strip them of all that Tolkien flavour and they’d be just as good. The elves and dragons don’t add anything.  It doesn’t even try to use fantasy races to explore social issues since you still have Turkish, African and Chinese elves, dwarves, trolls and whatnot. There is racism driven by these fantastic races but it doesn’t work when amongst those races you have real life issues of ethnicity and culture that has, seemingly, been magically forgotten in people’s prejudices.

I really liked Shadowrun Returns. Truthfully, despite all my complaining. It’s a solid roleplaying game in a market where roleplaying games have fallen from favour for distilled, cinematic, BioWare-tinged nonsense. But what I really like about Shadowrun is that it’s basically Netrunner with a bunch of silliness tacked on. It made me realize that I just want a pure cyberpunk roleplaying game free of the genre tropes of epic fantasy. If I could have a personal focused story of a ragtag group of vigilantes trying to get by beneath the oppressive omnipresence of a faceless, uncaring corporate world then I would be in heaven.

Harebrained Schemes has announced the next instalment of their Shadowrun series. It takes place in Hong Kong. I’ll definitely be picking it up since the games have been improving with each iteration. And they’re good fun. Mindless but good fun. I’ll still be playing a decker, however, hoping to fulfil that dream of being a world renown hacker that trashes the corporations secrets and exposes their filthy agendas to an ultimately uncaring world. It’s just half of those secrets are going to end up being sex scandals with dragons.

Shadowy Shadows

To begin with: Happy Canada Day! May you enjoy some delicious BBQ and Fireworks on this the first day of the seventh month. I am not certain I am going to actually make it out to watch the fireworks, but I am sure some of our neighbours will do the honours anyway.

This is the book cover taken from the internets.

This is the book cover taken from the internets.

The book: Shadows.

The author: Robin McKinley

The plot: Magic doesn’t exist in the Newworld, only science. Genecor has excised the gene from those living in the Newworld. Instead the populace realise on technology to deal with the weird and dangerous warps to the fabric of reality. Maggie, however, is starting to suspect there is something wrong with her new stepfather. When she looks at him, she can see them: the Shadows. An undulating mass that wriggled free of his own logical shadow. She is not happy about this new development, though she is determined her weird new stepfather is not going to ruin her senior year at highschool.

I am not sure I am doing that good of a job selling this book. Of course, that would fit perfectly with my first impressions. I want to start this review by saying that I like Robin McKinley. I have read most of her novels and enjoyed many of them. She is, or can be, one of the more artistic writers I read. Which is to say there are long expositions of description, perhaps some internal dialogue and very little action. I would, to my brother’s frustration, describe her work as leaning towards watercolour – a little washed out and hard to see. Perhaps more impressionistic?

That said she has some very beautiful prose and I do quite like a number of her other stories. This one was a challenge to get into. It felt like a slog to read the first half-dozen chapters. It was the style, not the story, that was my stumbling block. The narrative is told in the first person (not my most favourite) and it was rambling. It lacked a clear, clean, direct timeline as it tried to provide the reader with a lot of world building. Unfortunately this made for a very tedious start to the book. I had thoughts of putting on my shelf and ignoring its uncompleted being, except I had nothing else to read last night. Fortunately things do start to pick up, the narrator meanders less as she focusses on the present problems. There are still a number of reflective sections when we are told about past events, but those are skimmable.

The world itself is a rather interesting alternate earth. It is very science-fiction, despite the heavy inclusion of magic. The Newworld (as opposed to the Oldworld, Farworld, Midworld or Southworld) is science/tech focused. It is trying to rid itself of magic. It is also facing the regular problem of rips in reality (or some such thing) just like the rest of the world.

The expletives are largely tech focused: ‘hot wire’, ‘dead battery’. It is everyday slang for the characters of the story and a good detail in the world building. Though, it can feel a bit confusing, especially at the start of the narrative when everything is new and odd sounding.

I also really liked the inclusion of Japanese phrases. They were added for world building flavour as one of the secondary characters has a Japanese background. It just so happens that I am currently studying Japanese, so I was tickled to be able to read these inclusions.

So, to sum up this review. The story is rambling, particularly at the beginning. However, if you continue forward there are some excellent world building elements, solid characters and interesting story to be discovered. It is a good read, just not as smooth as some other stories.

After the Golden Age

Strawberries are delicious – especially those you have picked yourself.

Also, I just finished reading After the Golden Age by Carrie Vaughn. It is a superhero novel, that I probably wouldn’t have chosen based on the ugly cover or the title. I in fact found it on someone elses recommended list. It was a good recommendation.

Image of the cover from the internet.

Image of the cover from the internet.

The story follows Celia West, the daughter of two prominent superhumans (superheros): Captain Olympus and Spark. Unlike her talented parents, Celia is not gifted with amazing powers. She is thoroughly normal. Unfortunately that makes her an easy target for all the villains of Commerce City. I think she has been kidnapped some half-dozen times before the story starts and she is kidnapped nearly another half-dozen times before the story ends. She is very good at being a victim.

Celia rebels against her famous family and strikes out on her own. She goes to college, studies hard and becomes an accountant. Yup, that is the excitement of her job. However, despite efforts to live her own life, Celia is drawn back into the world of superhumans when the super-villian Destructor is brought to trial. Celia is called in as a forensic accountant. All the things she thought she had left behind suddenly come back into play.

I thought the book was very well written. The moments of going back in time do a good job of showing, rather than just telling, some of the incidents bringing the characters to their present point. The motivations of the heroes and villains are compelling – always a good thing in a story.

The book has a lot of comic book superhero influences. Warren West, aka Captain Olympus, is the head of a massive corporation (like Batman). He has a generic superpower of strength and invincibility (like Captain America – I suppose, with a little of the Hulk’s anger thrown in). Suzanne West, aka Spark, has a fire ability. Together they formed the Olympiad vigilante group that came to include the Bullet (super speed) and Mentis (telepathy). Naturally they operate out of West Corp. huge skyscraper, complete with impressive penthouse, and secret operations room. The asylum, where Destructor is residing during the Trial of the Century is reminiscent of Arkam Asylum. Commerce City is a sufficiently generic city filled with people, gangs, cops and superhumans.

I do like the trial aspect of the book, which seemed to pull from Al Capone’s own history. Simon Sito, aka Destructor, is brought to trial for tax evasion and other accounting illegalities. Even Captain Olympus is incredulous that the evil super-villain will be tried, not for his heinous crimes of destruction, but for tax technicalities.

That the emotionally scarred and very normal Celia is the protagonist makes this book. It is an interesting dive into a world where superheroes exist. I like the way it protrays the rather obsessed vigilantes. I like the way it looks at the negatives of being a superhero or being related/involved with superheroes. The story feels real, rather than cartoonish in its portrayal of the world and characters. In the end, superheroes aren’t that spectacular and just like other people super-villains have to stand trial.

In a world saturated with the glory of masked men running around in skin-tight suits and claiming they act in the name of justice, this was more interesting and believable way of looking at that world. I would recommend this book. It was a good and compelling story, even if it was a little fluffy.