Powered by Blogger.

Tuesday, February 25, 2020

Small Things Come In Good Packages

I was drawn to the Kickstarter campaign for Deadwood 1876 by its terrific artwork and simple, elegant graphic design, so let's talk about that first.

It is a great looking game. It comes packaged (like all of the games in the "dark city" series from Facade Games) in a box designed to look like an old leather bound book with a magnetic lid. All the game components other than the cards are made of wood (no plastic) and beautifully designed, especially the three engraved discs that represent the locations in the game. The artwork on the cards is very well-rendered, in a style that is just cartoony enough to be expressive but without looking silly.

The game's design is also very minimal, which appeals to me as a respite from the current trend towards overproduced Kickstarter games with hundreds of plastic miniatures and overdone, hard to read boards and rulebooks. Finally something simple and (hopefully) easy to play.

Or is it?

The rules and mechanics of the game are simple enough. The game consists of Safe cards, Deadwood cards, and three locations at the center of the table. Each player starts with two face down safe cards in front of them, and there is a stack of three more in the center; Safe cards consist mainly of gold in various denominations, with a few guns and other items sprinkled in.

Players also start with a hand of Deadwood cards that represent items used to perform actions: guns for fighting, horses for movement, and various bits of leatherwork such as hats and holsters for manipulating the cards in various ways. Player pawns are randomly distributed among the three locations (more on this in a moment).

The goal of the game is to be in the location whose occupants collectively have the most gold (depicted on their face down Safe cards) at the end of the game. Once the winning location has been determined, the occupants of that location use their remaining weapon cards to fight it out to see who the final winner is.

Play consists of each player playing one Deadwood card from their hand. A card can be played as a weapon to attack another player, in order to either take one of their safes, or to switch places with another player's pawn or force them to leave your location. Weapons have variable strengths but use dice to determine the outcome of combat, so a lower card isn't necessarily a lost cause. Or, it can be played for another effect such as moving between locations (if there's room, each location is limited to a certain number of player pawns), peeking at face down Safe cards, or drawing extra Deadwood cards from the deck.

After each player has had a turn to play a card, there is a heist round, where players use weapon cards to fight it out for one of the safes in the middle of the table. Then another round of play begins, and so on, until all the safes in the center have been claimed. At that point there is one final round, and then the winning location is determined and the final showdown happens.

It sounds like there's a lot going on, and there is, but there is one critical problem. A key strategy to the game is figuring out who has the high value safes, so you can either steal them or make sure you're at the location with the most gold at the end. It's supposed to be a "game of shifting alliances" where you side with the others in your location to make sure you collectively have the most gold, and then backstab them in the final showdown. The problem is that with only four turns per player before the final showdown, you just don't have enough time for the amount of social deduction or level of strategy that the game calls for.

Because of the amount of bluffing and secret information involved, the game relies on all the players having a roughly equal understanding of the rules and especially the strategy, which makes it very difficult to teach. This is a major problem for a game that, like any "shifting alliances" game, needs a large number of players to be interesting.

On the other hand, I think there is a fun game here somewhere, and the gorgeous design and components make me want to keep trying to make it work.

Rating: 3 (out of 5) Too much social deduction for a board game, or perhaps too much structure for a social deduction game, but the game is beautiful to look at.

Monday, February 24, 2020

Storium Basics: Assets And Goals

We've already discussed Storium's first (and my favorite) Neutral card type, the Subplot, but that's not the only Neutral card type in Storium. Today, I'm going to discuss the other two types: Assets and Goals.

Unlike all the other cards in Storium, Assets and Goals are not things that you start with - they aren't part of your character from the beginning, and they aren't chosen at Refreshes or upon spending a stack or anything like that. Whether you have these cards or not isn't up to you, entirely - it depends on the narrator. These are both given to players - or provided for pickup - by the narrator at his will.

Assets represent things like items, people, or other resources that are sufficiently important to the story to be specifically noted. Narrators vary in how they use them—some toss out a ton, some toss out generic ones that players can customize (more on that later), and some provide only very specific, story-critical assets. The use is the same, regardless: You play the card and move things forward, telling how that resource is important in pushing the challenge closer to conclusion. It can sometimes be easier to write asset moves if you play a Strength or Weakness with them, so you can write how you use that asset well or badly.

Goals are kind of like Subplots, but they're things the narrator would like to see you address during the game. Like assets, narrators use these for all sorts of purposes. I've seen them used to represent injuries, enchantments, objectives…I've seen them used as requests to world-build or create NPCs that the narrator can use…all sorts of things. They work similarly to subplots - you get a stack, and when you play all the cards of that stack, you get a free Wild Strength as a reward. Basically, these are the narrator's way of saying, "Hey, talk about this in the story or show this happening, and if you do it, you can get a Strength card for making the story more interesting."

Narrators may give Assets or Goals to you directly, or may lay them out to be picked up. You can pick up a card that a narrator set out by using the "pick up cards" button at the bottom of your move editing window when writing a move. If picking a card up, you'll often want to actually show the item being picked up as part of your move, or show your character now thinking about the Goal and deciding to take it up, but that isn't always necessary (for instance, I often use Assets to represent other characters traveling with the group).

Whether given to you or picked up by you, you can then hold on to the asset card until you feel like playing it. You can also pick up and play an asset card in the same move.

Like subplots, assets and goals are neutral cards–they push a challenge closer to conclusion but don't themselves tip the scale one way or another. I look at it like this: You might have a gun, and that might matter to a scene, but whether it is a good thing or a bad thing really depends on how you use it…so Strengths and Weaknesses are still what you use to affect outcomes. That's not to say you have to play one of those cards along with an asset or goal, but I do have to say I generally find it easier to write moves for asset or goal cards if I play them with a Strength or Weakness myself.

If you play an asset or goal card on its own, think like you do for Subplot cards: the card is important to the scene and pushes things towards a conclusion, but doesn't change the current Strong/Weak balance so things still feel like they're headed for the ending they were headed for before, overall. As with Subplots, that can feel good if things were headed towards a Strong outcome, or bad if they were headed for a Weak outcome, or just...well...uncertain if they were headed for an Uncertain outcome. The overall feel of the situation hasn't changed, but now there's less time to change it.

Asset cards can be rewritten, as I've noted above. If an asset card has multiple uses (a "stack"), you can use the "browse your cards" button in your move writing window to look at it and rewrite the asset. This consumes one use of the asset card stack, but lets you rename it to something that seems more narratively important at the time. That means that if you have, say, a stack of asset cards representing a gun and you don't have access to that gun in the story presently, you can just rewrite the stack into something else–maybe your character always keeps a city map around.

Note that not all narrators allow that – some really prefer assets to represent one thing and one thing only. But the basic idea of how they're set up is to give you something to use when you feel like your character would have something to help out and you want to highlight that. I believe Stephen Hood called them "ways to plug holes in the plot," and that's a pretty apt description.

Assets and Goals will feature majorly in some games, and barely at all in others, depending on the narrator's style, but they're cards you need to be aware of. I actually haven't written all that much on Assets and Goals over the course of my writing on this blog, as in my own narration they are cards I don't use much! This is a case where I suggest talking with other players and narrators on Storium more than looking to my writing for advice. That said, here are a few articles that cover Neutral cards more generally:

Saturday, February 22, 2020

Ween : The Prophecy - WON! (No More Strawberries)

Written by Alfred n the Fettuc

At last, I have vanquished Ween! It took me long enough, not because it's a particularly long game but especially because I have had a few extremely busy months, and very little time to play or write about it. I apologize for my fellow readers (and to the ones who were playing along and have probably finished the game by last October). But we are closing in on KRAAL and the REVUSS! Last time we stopped, we were entering the heart of the Volcano and been greeted by a menacing gargoyle resembling a Ghostbusters demon dog.

Ray, when someone asks you if you're a god, you say YES!

Let's look at this new room. A drawbridge blocking my path with some letters above it, a bowl (that I take) and five alcoves, one lit and four dark. In the lit hideaway, I find a lever. If I pull it, a stone rises from the ground. Pulling it again makes the stone get back in the ground and some of the letters light up. In the statue itself, a greyish spot attracts my attention. Clicking on it brings me a close-up of an ornament stuck into the stone skin of the statue. Not one to use violence to solve my problems, I turn my cauldron into a sword and hit the statue. It works and the ornament is freed from its stone grasp.

Yeah, we'll ask KRAAL to send us the bill.

Picking up the jewel tells me it's missing a piece, so it didn't really solve anything. I realise that I can use the sword again to make the hole in the statue bigger so I hit it three times and the hole reveals a ruby. And we know what to do with rubies, don't we? I turn my sword back into a cauldron and mix a Luciferys potion. I light the ruby up because the place is probably not hot enough already with the lava river. The ruby consumes itself and reveals… another jewel. This one seems intact however. It's shaped as an insect of sorts. Not knowing what to do with my insect jewels, I search the dark hideaways. Three of them don't do anything but the fourth hides a weird looking monster.

Yes. With teeth.

Trying to use the jewel on the monster doesn't work and clicking around doesn't seem to reveal a lot. It's time to ask old man PETROY for some clues. When asked about the letters, PETROY tells me to "never lose sight of your enemy". Asking him about the different hideaways, he tells me numbers, one to five. More interesting, asking him about the jewel tells me that "the sculpture is so good that the animal seems real". Facepalm moment! Of course, a stone sculpture of an animal may as well be a real animal turned to stone. I make some Vitalys potion and use it on the jewel. It works! And now I have… errr… some kind of little firefly thingy flying around. Yay. Considering it's flying around the letters, I try my bow to shoot it and realise I can actually shoot arrows at the letters!

Yes, I'm confident enough about my archery abilities to try and shoot a firefly 50 feet away.

As PETROY has told me not to lose sight of my enemy, I shoot the letters KRAAL in order but nothing happens. I guess I have to light all the letters before trying again, so I have to find a way to light up these hideaways. Pixel-hunting the whole place, I find a hotspot hidden in the lower-left corner of the screen labeled "crack". Clicking on it tells me that I can hear a bubbling noise behind it. I turn the cauldron back into the sword (grr again) and smash the crack. Some lava starts flowing out of it. More interestingly, the firefly stops flapping around and lands near the lava, allowing me to catch it!

No fireflies were harmed in the making of this game.

I try using the firefly in one of the dark hideaways and the little wretch flies away. However, I think I'm on the right track because in the close up it looks remarkably like the light in the lit alcove. I have to find a way to make the little bugger stay. I try to mix another Vitalys potion but it doesn't work in reverse. I spend quite a lot of time trying different things to no avail. After that, I go back to the monster in the fifth alcove and bug it several more times until it vomits something onto me! Turns out it's glue... I get some with the help of the bowl, trying very hard not to think about the way this game looks quite centered about different types of monster vomits.

Yeah because the first thing you want to do when a monster vomits on you is keep a sample. (Maybe it's another Ghostbusters reference?)

Putting the glue on the firefly (because putting the firefly on the glue doesn't work for some reason), I can make it stick! I go to the first hideaway on the right and glue the little bugger into it. It reveals another lever and another piece of broken jewel. I put glue on the part of broken jewel and stick it to the other part. I now have to turn back my sword into a cauldron, make another Vitalys potion and turn the jewel back into a firefly. Then I have to turn the cauldron into a sword in order to hit the crack (because the lava seals it back every time) and catch the firefly. Considering I'll probably have to do it four times, it's gonna be a long screen.

I think I have seen this animation a million times now.

I also try to pull the lever in the alcove that was labelled as "one" by PETROY. This time, the rock lifts and the letters light up simultaneously. I'm guessing that the number is the number of times you have to pull the lever for the letter to light up, but maybe I have to make all the stones rise at the same time? We'll see about that once we have lit all the alcoves.

Too bad the bad guy isn't called LEVATT or VATELT...

Putting my new firefly in the third alcove, I reveal another lever and another jewel falls from the ceiling. Sigh. At least I can verify my theory by pulling the lever three times and lighting up more letters. Now I turn back the sword into the cauldron and bla bla bla until I have another firefly-with-glue-on-it to light up another alcove. In order to break the monotony, I light up the fifth alcove instead of the fourth one (ain't we crazy?), which is the alcove where the vomiting monster was hiding.

The fabulous invisible vomiting monster!

No monster here but another lever (which I pull 4 times to make the letters ORT appear) and a twig. The monster statue is holding a vial of sorts with which I tried several things before but wasn't able to achieve anything with it. But the twig is the perfect item to try again. I use the twig in the vial and I get… another jewel! Oh joy! Oh variety! I do the whole ordeal again to get another glued firefly and light up the fourth and final alcove! But there… no lever!

No! Just when I thought I was on a roll!

Nothing but a hole in it. I try several things on the hole (mainly the sword and the pipe) but nothing works. Considering I only have the NIA letters to light up, maybe I don't need them after all. I may use the letter A for the upper left twice? But no, it doesn't work (as it was somewhat expected, I may have found the empty alcove way earlier if I had chosen another order for my fireflies). But what to do now? I try everything. Pouring the glue in the hole, calling URM (only to hear that without any kind of fruit, I can get lost. Ingrateful flying rodent). I spend a lot of time there. Finally, a bit by accident during an umpteenth transformation of cauldron-sword-pipe, I use the copper ball in the hole and it works!!!

Facepalm moment #237

I admit I had completely forgotten the copper ball at this point despite transforming it every five minutes. This is the first time I actually use it as an item since the very beginning of the game and at no point it occurred to me I could use it as is. Well I did do it eventually but I spent a lot of time on this screen and I kinda stumbled upon the answer. Anyway, pressing the ball in the hole reveals another lever and another jewel (confirming the fact that you could do the alcoves in any order and not that the alcoves would change depending on the order you light them). I pull the lever 5 times and light the remaining letters. We're getting close! I shoot the letters KRAAL and the drawbridge lowers… revealing… KRAAL himself!

I had literally a bow and arrows in my hands… how exactly did he get the upper hand?

KRAAL thanks me for bringing him the three grains of sand and he tells me he will put them himself in the REVUSS, so the prophecy won't be fulfilled and he'll gain more powers. However, he tells me he has designed a mechanism for the grains of sand to be automatically put inside the REVUSS while he is getting married with OPALE. Why he doesn't put them now in the REVUSS is anyone's guess, but I think this is a James Bond villain thing : design an overly-complicated Rube Goldberg device in order to let the hero win in the end. OPALE appears to me and confirms I still have one chance. However, I'm now locked inside KRAAL's jail.

Is that Djel or Azeulisse in the lower left corner?

Graffiti on the wall says "None will leave here without the help of the blazing star". There is also another carving. A D and an A with a heart-shaped hole in the middle, telling that Djel and Azeulisse have also spent some time in KRAAL's cells. The question is whose skeleton is this? Anyway, searching the skeleton in the corner brings me a heart of stone, which I can insert inside the heart-shaped hole but it doesn't do anything. Another carving on the left shows me two suns, with an arrow in the middle and I can reach the lock through the bars.

Miracle or very bad prison design?

Fiddling with the locks, I can make the needle spin around but it doesn't do anything. Pixel-hunting thoroughly the walls, I find a nail stuck between two cinderblocks. I rip it out with several clickings (despite WEEN whining "it's impossible to rip it out" twice which is a fine example of a protagonist trying to lure the player away from the right solution) and can use it to play with the locks. Putting the nail inside any hole on the two clock-like diagrams lift one bar and one bar only. If you remove the nail, the needle goes back into the up position. Whatever you do, even if you wait a few seconds, the bar goes down again and blocks the exit.

The only clue available.

Following the clue, I try to put the needle in the 9 of the second lock, then remove it and put it in the 3 of the first lock but it doesn't work. It's becoming pretty obvious that I need a second nail to make any progress but no amount of pixel-hunting gives me anything. I try lifting several different bars in order to make something happen but nothing works. Everytime a bar lifts, there is a hole in the ground that becomes atteignable. Considering it's not a hotspot of any kind, I dismiss it quite quickly because it's tedious to try every clock position… but after a while I eventually go back there and test every hole under every bar, and what do you know?

It was a hard clue to pin down.

Considering you have to randomly try to look under every bar, this puzzle is quite infuriating, but once the second pin in my possession, the rest was quite easy. Following the clue, I put the nail in the western position of the right clock and the pin in the eastern position of the left clock and tadaaa. The door opens!

Good thing KRAAL didn't think to put the lock three feet further from the door.

Leaving the cell behind me, I go up the stairs and finally discover the REVUSS! And the overly-complicated contraption designed to put three grains of sand inside an hourglass in the most ridiculously complex way possible.

I think this deathtrap lacks a shark or two…

So what do we have here? The REVUSS itself appears to be locked under some kind of glass tube, while the three grains of sand are suspended above it in some kind of container, held in place by a rope that's getting slowly cut by a blade on a pendulum going back and forth (19,95$ at Villains'r'Us). Beneath the hourglass, three levers above an engraving representing three snakes. Finally, two stone slabs, probably hiding some caches. Under the left slab is an engraving with letters I can click on : DEUS, J*LL, Z. In place of the * is a hole where a letter is obviously missing. My first instinct is to spell DJEL on the letters but it doesn't work at first. Turns out you have to exit the close up view of the letters then go back in and spell DJEL for it to work if you've fiddled with the letters before that. Done properly, the word DJEL reveals a cache containing a statue behind it.

I've spent long enough on this caption then decided I couldn't write anything that's family-friendly

The statue is holding a knife and putting the heart into the chest orifice does… well absolutely nothing. I think this will be useful at some point but not right now. Not finding anything else to do, I sweep the place to find what I had missed and I find a bamboo stick behind the REVUSS. This is perfect to make another flute to call URM, even if I can't find any strawberries, I hope he will be useful at something… I use the knife to carve the bamboo but blowing it doesn't work. I have to use the knife a second time to finish the carving.

Good thing I remember my boy scout training.

URM arrives and makes a stone fall from the ceiling while flying around. He tells me KRAAL has put a spell on him and he can't help me because it would make the three grains of sand fall immediately inside the REVUSS (again : why didn't KRAAL simply put the grains of sand inside the REVUSS?). Anyway, I look at the stone URM dropped and it shows the letter A! Now I know what to do. I go back to the carving with the missing letter and put the A inside the hole. Now I can spell Azeulisse! Good thing I paid attention during the game because if you're at that point and don't remember how it's spelled, well it's reload time for you.

Ahzelis? Aseullise?

So I spell correctly AZEULISSE and the second stone slab opens! And… time's up. The rope finally gives way and the grains of sand fall in the REVUSS! What? A real-time puzzle?

You mean "you can still reload a save"

So there is a Game Over screen after all!

No problem at all, I told myself, naively. I spent quite some time looking around, so I just have to be faster and to the point. I reloaded a save, I did everything much faster and… well no idea why but this time, the rope gave way even faster. I first thought that I needed to mess with the internal clock revolutions of my computer or whatever magic mumbo-jumbo (yes I'm very fluent in technical lingo) like in the old Sierra games when suddenly a puzzle was unwinnable because my computer was way faster than it was supposed to be. (I have moving souvenirs from the beginning sequence of Space Quest IV notably) However, I noticed something on my third try. I just clicked a few times on the levers beneath the REVUSS to see if they did anything and it made the blade go notably faster.

Snake centipede?

If the blade could be accelerated by the levers, it could be slowed as well. However, I didn't find any clue whatsoever other than the three snakes drawing under the levers. I thought that if it was the only clue, I should try the first thing that came to mind just looking at the drawing. So I pulled the levers all the way down then all the way up, one by one, from right to left, following the wave pattern of the snakes. It visibly slowed down the blade! Well, to be honest, I had to try it once again from the start because you have to do the lever action immediately when you enter the room or you're doomed from the start.

Oh and when you try this four or five times in a row, the part when you talk with URM is sooooo slow under a strict time limit

So once you've entered AZEULISSE in the carving, the second niche opens and reveals a woman statue. You have to take it and use it on the first statue. The two merge and a fairy appears.

I thought I was the one born of the love between DJEL and AZEULISSE?

The fairy flies to the receptacle and gets back the three grains of sand. She gives them to me, allowing me to put them myself inside the REVUSS and finally fulfill the prophecy and destroy KRAAL!!!




Now THAT's what I call a rushed ending!

Three screens, one of pure text and the exact same screen than the game over screen only with letters of different colors. Earlier in the game, there used to be a cutscene every five minutes or so because a worm had stomach ache or because UKI and ORBI had some little dance moves to show. I can't help but think the whole ending was seriously rushed. That's weird considering the rest of the production values in the game seemed pretty high until now...

But anyway, here it is, we vanquished KRAAL the sinister wizard and fulfilled the prophecy! This was a pretty nice ride, even if an inconsistent one in some ways, but overall, I really enjoyed my time with the game! Join us next time as we explore the alternative paths to see what we missed in this playthrough and then apply a PISSED rating to the game. Hopefully, the stupid twins won't cost too many points to the rating!

Session time : 2 hours
Final Total time : 9 hours
Final Inventory : Flute
Companions : PETROY, URM (after their stunt with the grains of sand, the twins were never seen again)
Number of times the fast travel option was available : Zero

Friday, February 21, 2020

I Remember 9/11, And All That Came Afterward...


Image used for criticism under "Fair Use."


I remember 9/11, and all that came afterward. I remember...

But I was only a child. A child uninterested in politics, war, religion, terror, or even New York City. No, my biggest concern on that day was getting to see Digimon that afternoon. I can't recall if anything out of the ordinary happened at Fulton Elementary that morning. Nothing stands out, so I assume the teachers kept matters quiet. They sought to prolong our innocence before it was violently broken.



When I turned on the TV that afternoon, I saw then-President Bush speaking amidst the wreckage of the Twin Towers. We had been attacked, brutally. I knew at once that there would be another war, they always began with murderous attacks. The Civil War began with an attack on Fort Sumter. World War I began with an attack on Archduke Ferdinand. World War II began with an attack on Pearl Harbor. The pattern had repeated itself. I was afraid. I thought that war was an activity relegated the history books, that there would be peace in my time. So when I saw the wreckage, I immediately wanted to block it out. Those three thousand that were killed, the impending war, the loss of innocence. Horrors such as this weren't supposed to happen in America, these were the tragedies of other countries. That illusion fell. I recall later that one of my middle school teachers was three when John F. Kennedy was assassinated. The news of this event interrupted her puppet show. At the time, she didn't care about the president's death. She just wanted to get back to her puppet show. I wanted to get back to my Digimon. Yet she was only a child, and so was I.

It was a long time before I understood the gravity of that day. Perhaps I still don't understand it, not entirely. Even now, my stomach gets unsettled whenever I see the videos of the planes crashing into those towers. The flames so red, the smoke so black, and the screams so piercing. It gnashed a hole into our psyche. The Pentagon, the brain of our defenses, was also crudely ruptured. Flight 93 was meant to assault the Capitol, the organ of our legislation, yet was stopped by the brave crew and passengers at the cost of their lives. This is what triumphed that day. Not the depravity of our enemies, but the heroism of our citizens. Few moments in American history, few, have revealed such an outpouring of solidarity and courage. In the rubble and white ash, police officers, firefighters, EMTs, the coast guard, and other first responders rushed into cataclysm. Many of them still suffer health problems as a result. Rick Rescorla, the head of security at the Morgan Stanley firm in the WTC, helped evacuate some 2,500 employees from the building at the cost of his own life. On that day, we were all weeping, but we were also inspired. As Shingo Annen said in "Luv (Sic.) Pt. 2", "All good souls lost may they rest in peace."

However, the years following the 9/11 attacks were dreadful, to say the least. By November of that year, we were at war with Al-Qaeda in Afghanistan, and the Taliban regime that gave them cover. Our military toppled the cruel government with great speed, but the campaign became entrenched in a manhunt for the Islamofascist Osama Bin Laden. Bin Laden was eventually killed by a committed team of Navy SEALS under the Obama Administration, an act who's legality is still debated. While the loss of Bin Laden is welcome, the war in Afghanistan had by that time devolved into a quagmire of poverty, corruption, and lawlessness. The revelations from Chelsea Manning and Wikileaks have done much to throw doubt into our continued presence there. If one compiles the casualties listed by Voice of America, roughly 54,255 to 69,255 have been killed (Dawi). 15,000 of those killed have been civilians, though most of those civilians were killed by the Taliban. My heart weeps for Afghanistan, is there an end in sight acceptable to them? I really don't know.

While the attempt the right the wrongs of 9/11 in Afghanistan could arguably be called heroic, much of what the Bush, and even the Obama Administrations did afterwards was anything but. What we needed following 9/11 was rational leadership, instead, we received a long train of abuses known as the War On Terror. Where do I begin? Torture became official public policy through "waterboarding", and worse, they tried to whitewash their crimes by labeling them "enhanced interrogation." Waterboarding was halted under Obama, though none of perpetrators were tried. With the Eighth Amendment flagrantly violated, the Bush Administration went on to violate the Fifth in the construction of the Guantanamo Bay detention camp. It gave the government carte blanche to detain "suspected terrorists" without charge or trial. Initially, the suspects were refused minimal protections under the Geneva Conventions, though a Supreme Court ruling later changed that. The Washington Post's Dana Priest also found that the CIA ran secret prisons she dubbed "black sites" on foreign soil. Untold numbers of "suspected terrorists" were detained in these places under obscure legal grounds, many of whom were sent to Guantanamo. Japanese internment for the 21st century. Obama has tried to close Guantanamo, but to no success. Another legally suspect action was the use of targeted drone strikes to assassinate "suspected militants", again, without trial, and more often than not killing civilians, subsequently sending these foreign populations into chronic states of fear. Obama has since expanded the use of drones into a defining feature of his foreign policy doctrine. By no means, though, were these injustices limited to outsiders, as American citizens also had their rights breached. The Fourth Amendment was next on the guillotine, as the NSA began to wiretap the phones of American citizens and collect their phone records without warrants. The whistle was blown on this in 2005 by The New York Times, with former NSA intelligence analyst Russ Tice contributing to the report. The whistle was blown again in 2013 by Edward Snowden and Glenn Greenwald, who revealed the warrantless collection of phone records by the NSA had continued under the Obama Administration. Yet hardly any crime of this tragic blunder known as the War On Terror compares to the invasion of Iraq.

During the Nuremberg Trials, the Tribunal declared in 1946 that, "To initiate a war of aggression is not only an international crime; it is the supreme international crime, differing only from other war crimes in that it contains within itself the accumulated evil of the whole," (The Economist). The shame of that whole Iraq fiasco was evident from the day Colin Powell gave his infamous "anthrax" speech at the United Nations, as he requested that they cover up the mural of Pablo Picasso's "Guernica." A meaningless speech, as the United States soon acted of its own accord, disregarding any approval from the Security Council. We were told Saddam Hussein had "weapons of mass destruction." No such weapons were ever found. Truth is the first casualty. Many on the Left believe that the invasion was primarily over control of Iraq's oil resources. I disagree. As Cold War historian, Melvyn P. Leffler, has examined the memoirs of various Bush Administration officials and concluded that,

"What is clear in the memoirs is that the administration went to war in order to deal with a range of perceived threats – not to promote democracy, not to transform the Middle East, and not to secure supplies of oil. All these matters, according to Bush, Cheney, Rice, Rumsfeld, Feith, and Tenet, were of secondary or tertiary importance, and mostly influenced behavior after "formal" military hostilities ended in early April 2003. "I did not think," insists Feith, "that a U.S. president could properly decide to go to war just to spread democracy, in the absence of a threat requiring self-defense." Rice reiterates, we "did not go to Iraq to bring democracy any more than Roosevelt went to war against Hitler to democratize Germany." Saddam's pattern of recklessness, she emphasizes, simply could not be tolerated after 9/11. Military officials concurred. The nexus of WMD and international terrorism, says Meyers, was ominous: if Iraq supplied WMD to al Qaeda, Osama bin Laden "would undoubtedly use the material. With the United States still reeling from the shock of the earlier anthrax attacks, this was a threat no one could ignore," (Diplomatic History).

No doubt, the Bush Administration saw the benefits of a steady oil supply and a U.S.-friendly ally in the region to counter Iran, but the primary motivation was to knock out any chance of another 9/11, not matter how irrational. Indeed, we saw just how irrational, as the road to Hell is paved with good intentions. Some 500,000 people died in Iraq. Iraq Body Count estimates that between 142,621 and 164,477 of them were Iraqi civilians ("Documented civilian deaths from violence"). Among the worst events to occur to Iraqi civilians was the usage of white phosphorus in Fallujah, which, like Agent Orange in Vietnam, succeeded in giving the Iraqi population all sorts of cancers and deformities. Another focal point in the war was the Baghdad Prison of Abu Gharib, where Iraqi prisoners were tortured by American soldiers. That Abu Gharib occurred at all, shouldn't shock us so strongly, as the Bush Administration had already made torture public policy at the time. Citizens tend to imitate the behavior of their governments. Many a brave American soldier fought and died in Iraq. Whatever valor they may have gained in defending their comrades or helping Iraqis is theirs alone. I'd confer none of it to Bush and his cronies. One such soldier was Tomas Young, made famous in the documentary Body Of War. Young was paralyzed as a result of the war and spent the rest of his life speaking out against it. Before his death, Young wrote an open letter to Bush and Cheney, condemning them as war criminals who stole American lives. One can only hope that they'll see justice before their time is through on this planet (though the prospect is unlikely).

So what did we get in exchange for all of this death in Iraq? Saddam Hussein, executed by hanging. Hussein was a deplorable tyrant, no doubt, who used chemical weapons against his own people and sparked the Gulf War of 1990 with his invasion of Kuwait. Yet the Bush Administration had no serious plans of what to do with the Iraqi state once it fell. They wrongly dissolved the Iraqi army, which had long suppressed Sunni and Shia tensions. Sure enough, an insurgency followed, and the Bush Administration made matters worse by installing Nouri Al-Maliki into power. Tribal man that he was, Al-Maliki clearly favored the Shiites in the state, further fanning the flames of sectarianism. Iraq soon devolved into a breeding ground for Islamist cults. When America withdrew her forces in 2011, Al-Qaeda flourished, as did the self-proclaimed "Islamic State." A shame that the Obama Administration would make a similar mistake in toppling tyrant Muammar Qaddafi of Libya. The fruits of that labor were made clear enough in 2012 with the death of Ambassador Chris Stevens in Benghazi.

Yet much of the violence in Iraq and elsewhere has been far removed from the ordinary citizen. The danger we've faced since 9/11 has more often come from domestic actors, rather than foreigners. We are more likely to be killed by our own neighbor than by an Al-Qaeda militant across the ocean. Since 9/11, America has suffered a string of mass killings in her own backyard: Aurora, Newtown, Isla Vista, Chapel Hill, the AME Church, and the Boston Marathon. What strings many of these massacres together, though not all of them, is ideology. It would be foolish the underestimate the prowess that ideas can have over the human mind, particularly bad ones. Having grown up in Sun Myung Moon's cult, I know this to be true. All that we see and do is made up of ideas. These killer's brains were infected with delusions. Eliot Rodger of Isla Vista was victim of the misogynist delusion, he believed that women owed him sex. Craig Stephen Hicks was victim of the anti-Muslim delusion, he believed that Muslims were inferior because they were religious. Dylan Roof was a victim of the white supremacist delusion, he believed that blacks were violently taking over the country. The Tsarnaev Brothers were victim to the Islamist delusion, they believed in the need to enforce their religion on others. Those who attacked us on 9/11 were also victim to this delusion. The Islamist delusion is rising with a similar fervor as the "new religious movements" (Scientology, Unificationism, People's Temple, etc) in the 1970's and 1980's. In the East, many are drawn to these ideologies because of their material situations. They are without economic security or opportunity, groping for some semblance of success in this world. These would-be Islamists may look on the prosperity of the West with envy, lest we forget the moral of Aesop's "The Fox and the Grapes": we often despise what we cannot have. Political opportunism also has its role. Ideally, we should achieve political goals through nonviolence and dialogue, yet such discipline is beyond those who are diseased with suicidal nihilism. Such desperation is evident is the eyes of those under an oppressive regime, disenfranchised of their land, or abused by foreign militias. In the West, we see people drawn to these Islamist ideologies who suffer from none of these grievances. They are indoctrinated early on, out of a genuine interest, perhaps, in finding a new identity, as many who fall under these ideologies are in an emotionally vulnerable state. Soon, their identities become melded to their ideologies, and are seduced by the romance of creating a caliphate through "holy war" or viewing a distorted picture of the United States as the "Great Satan." These ideas are no doubt helped by the preponderance of conspiracy theories which claim that 9/11 was an "inside job" caused by the CIA or Israeli Zionists.

What can be done to stop this madness? For those already far enough into their indoctrination to murder, torture, or rape, it seems that violence may be the only recourse to stop them. The Obama's Administration's efforts to bomb ISIS are a good step forward, as they've saved the Yazidis from almost certain genocide. Yet the Obama Administration should also examine the ways in which America's foreign policy contributes to our false image as "The Great Satan". He should take Malala Yousafzai's advice and stop the drone strikes, reconsider his armed support of the Saudi and Egyptian tyrannies, and continue to press for a peaceful settlement between Israelis and Palestinians. Though America can only do so much in these regards. Ultimately, our best weapon is critical thinking. The ability to think critically is what will give these young minds the capacity to combat these poisonous delusions. Critical thinking may also save us from supporting the vile behaviors of our government.

It has become impossible for me to separate the atrocity of 9/11 from the chaos that trailed behind it. Leonard Pitts Jr assured us that we would "go forward from this moment", saying, "As Americans we will weep, as Americans we will mourn, and as Americans, we will rise in defense of all that we cherish," (The Miami Herald). His words are as powerful today as they probably were then. Yet I can't confidently say that we've moved forward completely, as the legacy of the War On Terror still drags down the spirit our nation. It is as a tragedy without end, without law, without victory.

Truly, Americans have done well to reflect and meditate on the attacks. Make no mistake, 9/11 was a cowardly attack on our democratic values. Bin Laden wanted to rattle our soul. To an extent, I think he did. The moral compass of our nation is caught, deep in the wide, dark womb of uncreated night. At times, even with the best of leadership, we are distraught, directionless. In The Lord of the Rings, Frodo tells Gandalf that he wishes the none of the horrors brought on by the One Ring ever happened. The wizard responds, "So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given to us." So, too, must America decide if she is going to live by the principles of a liberal democracy, or further neglect her sacred duties to her people and to the world at large. The American people showed great resilience, courage, and honor through the aftermath of 9/11, I see glimmers of these qualities every day as I walk the streets. It is these qualities that will be our salvation, and bring us out of the darkness of terror and delusion, in whatever forms they may take.
a more here: http://www.miamiherald.com/opinion/opn-columns-blogs/leonard-pitts-jr/article34661703.html#storylink=cpy

Only then, can we go forward from this moment.


Image used for criticism under "Fair Use."




Bibliography

Dawi, Akmal. "Despite Massive Taliban Death Toll, No Drop In Insurgency." The Voice of America, March 6, 2014. Web. http://www.voanews.com/content/despite-massive-taliban-death-toll-no-drop-in-insurgency/1866009.html

"Documented civilian deaths from violence." Iraq Body Count. Web. https://www.iraqbodycount.org/database/

Leaders. "The Nuremberg Judgement." The Economist, October 5, 1946. Web. http://www.economist.com/node/14205505

Leffler, Melvyn P. "The Foreign Policies of the George W. Bush Administration: Memoirs, History, Legacy." Diplomatic History, March 19, 2013. Web. http://dh.oxfordjournals.org/content/early/2013/02/23/dh.dht013.full?keytype=ref&ijkey=05KvFNKdRmwf3rQ

Pitts Jr, Leonard. "We'll go forward from this moment." The Miami Herald, September 11, 2001. Web. http://www.miamiherald.com/opinion/opn-columns-blogs/leonard-pitts-jr/article34661703.html

Storium Basics: Assets And Goals

We've already discussed Storium's first (and my favorite) Neutral card type, the Subplot, but that's not the only Neutral card type in Storium. Today, I'm going to discuss the other two types: Assets and Goals.

Unlike all the other cards in Storium, Assets and Goals are not things that you start with - they aren't part of your character from the beginning, and they aren't chosen at Refreshes or upon spending a stack or anything like that. Whether you have these cards or not isn't up to you, entirely - it depends on the narrator. These are both given to players - or provided for pickup - by the narrator at his will.

Assets represent things like items, people, or other resources that are sufficiently important to the story to be specifically noted. Narrators vary in how they use them—some toss out a ton, some toss out generic ones that players can customize (more on that later), and some provide only very specific, story-critical assets. The use is the same, regardless: You play the card and move things forward, telling how that resource is important in pushing the challenge closer to conclusion. It can sometimes be easier to write asset moves if you play a Strength or Weakness with them, so you can write how you use that asset well or badly.

Goals are kind of like Subplots, but they're things the narrator would like to see you address during the game. Like assets, narrators use these for all sorts of purposes. I've seen them used to represent injuries, enchantments, objectives…I've seen them used as requests to world-build or create NPCs that the narrator can use…all sorts of things. They work similarly to subplots - you get a stack, and when you play all the cards of that stack, you get a free Wild Strength as a reward. Basically, these are the narrator's way of saying, "Hey, talk about this in the story or show this happening, and if you do it, you can get a Strength card for making the story more interesting."

Narrators may give Assets or Goals to you directly, or may lay them out to be picked up. You can pick up a card that a narrator set out by using the "pick up cards" button at the bottom of your move editing window when writing a move. If picking a card up, you'll often want to actually show the item being picked up as part of your move, or show your character now thinking about the Goal and deciding to take it up, but that isn't always necessary (for instance, I often use Assets to represent other characters traveling with the group).

Whether given to you or picked up by you, you can then hold on to the asset card until you feel like playing it. You can also pick up and play an asset card in the same move.

Like subplots, assets and goals are neutral cards–they push a challenge closer to conclusion but don't themselves tip the scale one way or another. I look at it like this: You might have a gun, and that might matter to a scene, but whether it is a good thing or a bad thing really depends on how you use it…so Strengths and Weaknesses are still what you use to affect outcomes. That's not to say you have to play one of those cards along with an asset or goal, but I do have to say I generally find it easier to write moves for asset or goal cards if I play them with a Strength or Weakness myself.

If you play an asset or goal card on its own, think like you do for Subplot cards: the card is important to the scene and pushes things towards a conclusion, but doesn't change the current Strong/Weak balance so things still feel like they're headed for the ending they were headed for before, overall. As with Subplots, that can feel good if things were headed towards a Strong outcome, or bad if they were headed for a Weak outcome, or just...well...uncertain if they were headed for an Uncertain outcome. The overall feel of the situation hasn't changed, but now there's less time to change it.

Asset cards can be rewritten, as I've noted above. If an asset card has multiple uses (a "stack"), you can use the "browse your cards" button in your move writing window to look at it and rewrite the asset. This consumes one use of the asset card stack, but lets you rename it to something that seems more narratively important at the time. That means that if you have, say, a stack of asset cards representing a gun and you don't have access to that gun in the story presently, you can just rewrite the stack into something else–maybe your character always keeps a city map around.

Note that not all narrators allow that – some really prefer assets to represent one thing and one thing only. But the basic idea of how they're set up is to give you something to use when you feel like your character would have something to help out and you want to highlight that. I believe Stephen Hood called them "ways to plug holes in the plot," and that's a pretty apt description.

Assets and Goals will feature majorly in some games, and barely at all in others, depending on the narrator's style, but they're cards you need to be aware of. I actually haven't written all that much on Assets and Goals over the course of my writing on this blog, as in my own narration they are cards I don't use much! This is a case where I suggest talking with other players and narrators on Storium more than looking to my writing for advice. That said, here are a few articles that cover Neutral cards more generally:

Fortnite Is James Bond In Chapter 2 Season 2'S Reveal Trailer - Eurogamer

Thursday, February 20, 2020

The Lossen, Short Film, Review And Interview


In wanting to write something about The Lossen I feel like if I go more than what is in the synopsis I will be giving too much away about this insightful short film. I will just leave it that this is a film that can be enjoyed by everyone as I think every adult can find some level of being able to relate to the story.

The Lossen was screened at the 2019 FilmQuest film festival (website). It was nominated for Best Fantasy Short and Best Actor (Sean Knopp).

Synopsis

In the dead of night another-worldly visitor drags its hulking, hooded mass to the front door of 70-year-old successful businesswoman, Sylvia Cappleman, but this mythical Grim Reaper is not all it seems and so appears The Lossen, the Reaper's agent of death. In the final moments of her life The Lossen discovers a complication with Sylvia's passing, she cannot be taken by death because she has not fulfilled her dream. In order to rectify the problem, The Lossen takes Sylvia on a journey to confront her lost dream and the secrets of her past.

The director, Colin Skevington, provided some additional information about the film and their personal journey into film making.

The Lossen won the Grand Prize for Best Fantasy Short at the 2018 Rhode Island International Film Festival, a Gold Remi Award at WorldFest 2019 in Houston and Best Art Direction at the Vienna Independent Film Festival 2019.
 

What was the inspiration for The Lossen

The inspiration for The Lossen came whilst I was researching a documentary about the differences in attitudes towards death in the East and West. Sadly, in the West death is still a taboo subject and most people want to avoid any thought of the inevitable. The opening scene of the The Lossen came to me as a daydream. I could see the imposing figure of the Grim Reaper, scythe in hand, walking down the path of an impressive, old country house. It raps on the door awakening Sylvia, a woman in her 70s and in the final moments of her life, but this Reaper is not what we expect. This dramatic opening scene gave me the perfect opportunity to write a script that would begin a journey to turn our view of death on its head and show us a possibility of what could be, but in an entertaining and gripping way. It reflects one of the key themes of the film; that death is not what we think it is.

What project(s) do you have coming up you're excited about?

The plan is to produce more Lossen films. I am working on the script for the next one. It follows on straight after this one. There's a little insight at the end of The Lossen. I also have a screenplay which is an epic tale with a supernatural undertone, of course. We will be working towards getting that into production and hopefully The Lossen and the follow ups will lead the way.

What was your early inspiration for pursuing a career in film?

I've always been fascinated by how things work. As a child I was always breaking open toys to see what was inside them and made them work. The first film I saw at the cinema was Snow White. I just wanted to know how it got on to the screen and films have fascinated me ever since. As I got older, I realised that film making is all about storytelling and how it's one of the most powerful ways for us to reflect on our own lives.
 

What would be your dream project?

To direct a movie of the screenplay I have written. A supernatural tale set in different times and will lead the audience to question where they come from and why they are here.

What are some of your favorite pastimes when not working on a movie?

For me the greatest thing is tending the garden. It's a place to shut off and escape. I could say I'm a snowboarder and light aircraft pilot but that would be a lie.

What is one of your favorite movies and why?

Pan's Labyrinth. It's the most stunning and engaging film to watch. Magic realism is one of my favourite genres and for me the idea of the natural world and supernatural world co-habiting and influencing each other is inspiring.

You can find more about The Lossen on the on the following sites.

IMDb (link)



Facebook: @thelossen

Twitter: @TheLossen

Instagram: @thelossen

I'm working at keeping my material free of subscription charges by supplementing costs by being an Amazon Associate and having advertising appear. I earn a fee when people make purchases of qualified products from Amazon when they enter the site from a link on Guild Master Gaming and when people click on an ad. If you do either, thank you.

If you have a comment, suggestion, or critique please leave a comment here or send an email to guildmastergaming@gmail.com.

I have articles being published by others and you can find most of them on Guild Master Gaming on Facebookand Twitter(@GuildMstrGmng).