Game of Thrones – Season Four Episode 9

got4This past weekend, the penultimate episode of Season Four of GOT aired, and an event which was a long time in coming was finally showed. Yes, after two seasons of build-up, the Wildlings under “King” Mance Rayder’s leadership, assaulted the Wall. Strangely, Mance was nowhere to be seen during this assault, but from the way they ended the episode, I’m sure we’ll be hearing from him soon enough. And as usual, I got some bones to pick with the writers, but not the same reasons others have.

After this weekend’s episode aired, a common thing I noticed from the critics was the statement that the attack on the Wall was no “Blackwater Bay”. Much like Season Two’s smash-up where Stannis and his armies lay siege to King’s Landing, the entire episode was dedicated to this one battle and those involved. And while it didn’t exactly have the same epic scope and grandeur as that battle, I think this is an unfair comparison.

One cannot expect a massive siege every season! It’s just not cost effective. No, in the end, I felt this battle fell a bit short because of the way they changed things around in the story, not to mention the way they shot the whole thing. By the time things really got started, I wasn’t sure if I was watching GOT or Lord of the Rings. Somehow, it felt like Peter Jackson was at the helm and not George RR Martin. But first, a recap…

The Watchers on the Wall:
GOT4_9_1The episode begins with Jon and Samwell standing atop the Wall and discussing love. Sam asks what it was like being with Ygritte, while once again lamenting the fact that he left Gilly at Moletown, where he suspects she died. Jon sends Sam below to get some rest, but he instead goes to the library to learn what Wildlings are known to do to their captives. Aemon finds him and they spend the time talking of lost love.

Going back outside, Sam comes to the gate in time to see Gilly knocking at Castle Black’s gate and asking to be let in. After convincing the Brother guarding it to let her in, he tells her they will never be apart again. Their reunion is interrupted when they hear a horn sound. From atop the Wall, Jon and the other brothers spot a massive forest fire looming in the distance. Mance’s signal to attack is issued, and thousands of Wildlings, giants and mammoths form up.

GOT4_9_2Under the command of Ser Alliser Thorne, the Brothers begin preparing their defenses, and he takes a moment to let Jon know that he will be equal to the task of leading them. The mammoths move forward to the gate while other Wildlings begin scaling the Wall. Sam places Gilly in a chamber below and locks the door, telling her she must hide and he must stand with his Brothers. He kisses her goodbye, and she makes him promise he won’t die.

South of the Wall, Ygritte, Tormund, the Thenns and their raiding party are preparing to make their assault. While they wait for Mance to send the signal – “the biggest fire the North has ever seen”. When they spot it, they launch their attack on Castle Black’s gates. Sam and the others let loose on them with arrows, but are quickly overtaken as the Wildling party moves in and scales the short walls that guard the southern approach.

GOT4_9_4Hearing of the attack on the Castle, Thorne goes below to organize the defense, leaving Slynt in charge. Below, two giants lead a mammoth to the gate and hitch ropes from its harness the doors, intending to pull it off. Slynt quickly proves unequal to the task of leading the defense and begins muttering about how it was so much easier commanding the Kingsguard. Grenn then tricks Slynt and tells him he’s needed below too, which leaves Jon in charge.

Relying on the lessons he learned during his time among them, Jon has his archers fire arrows onto those scaling the Wall and drops barrels on those at the gate. Below, the battle in Castle Black’s courtyard turns bad. The brothers lose many men, Thorne is injured and incapacitated, and Slynt runs and locks himself in the same room as Gilly. Jon decides to go below with Grenn and some others, and orders Eddison to unleash fire on the mammoths.

GOT4_9_3This he does, which kills most of the Wildlings and sends the mammoth running. One of the two giants is then killed by a Scorpion up on the Wall, sending the other into a rage and leading him to begin prying the gate open with his bare hands. Jon arrives below and tells Grenn and the others to get to the gate an hold it at all costs. He then has Sam unlock Ghost from his cage and begins fighting his way through the Wildlings.

In a pitch fight, Jon kills Styr (the leader of the Thenn party) with a blacksmith’s hammer and comes face to face with Ygritte, who has her bow drawn on him. She hesitates to shoot him, and is then shot with an arrow through the chest by Olly, the young boy who mans the elevator. She dies, repeating the same words she said to him, time and time again: “You know nothing, Jon Snow.” Inside the Wall gate, the giant breaks through and attacks Grenn and his brothers. They die holding the giant off.

got4_9_5Up top, Eddis sees that they only have the few Wildlings scaling the Wall to deal with, and orders that they drop the “Scythe” – a large metal blade at the end of a chain that combs the wall when released. This kills the remaining attackers, and the rest fall back. In the courtyard, Tormund is wounded and captured, and Jon orders him put in chains. Sam returns below to find Gilly safe, and Slynt cowering in the corner.

Surveying the damage, Jon tells Sam that this was just the first assault, and that Mance will break through before long if they allow him to continue. He then tells Sam that he will meet with Mance, during which time he will attempt to kill him so that the Wildlings once again become divided. They head to for the gate, where they find the bodies of Grenn, the giant, and the others who died holding it. Sam orders the gate opened and says goodbye to Jon.

Summary:
Well, the episode certainly was fun and entertaining. One can’t deny that an incredible amount of time, effort, and good direction went into making it. And it did manage to capture the spirit, if not the letter, of the battle as it was described in the book. But as usual, there were some things that bothered to me that had to do with changes, not to mention how those changes affected the feel and flow of things. Here’s what they were, in chronological order…

First, there was no last-minute reunion between Sam and Gilly. She had been at the castle for some time, and a romance had not quite budded between them. Second, Tormund, Ygritte and the Wildling raider party had already assaulted Castle Black at this point in advance of Mance’s main assault. Having struck at Castle Black days before, they were thwarted by a great deal of ingenuity and booby traps, which were installed thanks to Jon’s help.

Third, there was none of this shuffling around of commanders in the novels. While it is true that Thorne and Slynt did not trust Jon, he was still put in charge of the Wall’s defenses since he had intimate knowledge of Mance’s plan of attack, and because Aemon on his Brothers vouched for him. It was not the case that he had it thrust on him because Thorne had to go below, or because Slynt was a coward. This last aspect they really played up, and it felt like it was just to give us someone to hate.

Fourth, two decidedly cheesy moments happened in this battle. The first was where Sam narrowly managed to get his crossbow loaded in time to take down a Wildling. The second – and by far, the worst – was Ollie going from a frightened little boy who couldn’t stand the sound of fighting to grabbing a bow and killing Ygritte with it. This more than anything was like a scene out of Jackson’s LOTR. It wasn’t nearly as bad as Legolas riding a shield down a set of steps like it was a skateboard, but still!

Fifth, Tormund was not taken prisoner during the battle. After losing his attack force south of the Wall, he fled north again and began rallying Wildlings later. Ever since, even as far as book V, he has not been heard from. And finally, Jon Snow did not decide to venture out and assassinate Mance once the battle was over. In fact, it was Slynt’s idea to send him out in the hopes that he would die while attempting to kill Mance.

You see, after the battle, Slynt and his allies were still nominally in charge since no new Lord Commander had been elected. And he would go on to be a pain in Jon’s ass since he didn’t trust him and saw him as a threat to his possible leadership. However, the way they’ve presented him here, as an incompetent coward, is melodramatic to say the least. It also kind of complicated the plot now, since Slynt disgraced himself for all to see.

In short, it felt like they were trying to sex things up from the original material; but really, I only felt like they dumbed it down. Many things they did get right, like the way the giants penetrated into the gate, or how Ygritte died with Jon standing over her and crying. They also captured the defenders sense of desperation, knowing that they were vastly outnumbered, but still protecting by the Wall’s defenses. And I have to say that this was one episode this season that didn’t bore or disappoint the hell out of me.

Still… where the hell was Mance this whole time? Has anyone else noticed he completely disappeared after his brief appearance last season? He better show up next week, as he’s kind of intrinsic to the plot!

Skyrim – Game of Thrones Theme!

skyrim_GOTIt was bound to happen sooner or later, what with Season Four of GOT coming to an end and the current popular obsession with mash-ups. In this video, Vimeo user Brady Wold mashed up the fantasy game Elders Scrolls V: Skyrim with the intro theme from Game of the Thrones to create something very watchable and fun. Using locations within the realm of Tamriel, the animation sweeps across the lands of Skyrim and watches cities like Whiterun, Riften, and others assemble themselves from the ground up.

Ever since it’s release in 2011, this RPG has been renowned for featuring elements that are quite similar to the HBO series and the fictional A Song of Ice and Fire universe on which it is based. This includes sword and sorcery, medieval history and clothing, dragons, epic fantasy, and an a common sense of aesthetics. And if that’s not enough for you, there’s a ton of GOT mods that can be uploaded to the game to add content and items from the series.

Skyrim_longclawFor instance, I myself experimented by adding weapons like Ice (Eddard Stark’s huge ass sword), Longclaw (Jon Snow’s bastard sword) and Needle (Arya Stark’s pigsticker) into the game with the “GOT Weapons Pack”. You can also download an “Arya Stark Follower” mod that has a version of this young character follow you around and assist you, and there are numerous others that allow for you to integrate livery and standards from the GOT universe into the game.

And there’s even a mod that makes it so whenever you fire up Skyrim, instead of seeing the opening Bethesda logo, this video animation plays. New ones emerge every week, including ones from the LOTR franchise and other fantasy universes. It kind of makes you wonder why the studios even bother making games anymore! Couldn’t an army of moderators simply build MMORPGs online from now on that would cut out the video game makers altogether?

I should keep my voice down, don’t want to encourage said folks. Some of the mods they created are already on the border between and bad taste. Lord only knows what kind of stuff they’d allow for if they had total freedom! In the meantime, enjoy the video:


Source:
wired.com

The Elder Scrolls Online

theelderscrollsonlineThe news has been percolating through the internets about this MMORPG for some time. And it seems I’ve finally gotten in the know. While I’ve never considered myself to be much of a gamer, I loved The Elders Scrolls IV: Oblivion and the latest installment Skyrim with abandon. And I never got in on World of Warcraft, EVE Online, Battlestar Galactica or any other of the many online RPGs that have come out over the years, and kind of regretted that.

And the way I figure it, a massive-online gaming universe where you get to play against real people, and which is set in a fantasy realm that’s one part mythos, one part LOTR, two parts medieval warfare, and all parts kick-ass, is sure to be way fun! And given the fact that its parameters are way larger than a conventional installment in the game, I’m guessing that you get to play in the franchise’s expanded universe, rather than in any one setting.

And I’m growing rather tired of playing COD: Modern Warfare 3 online. Two many idiots, homophobes and members of the Aryan nation for me. And waaaaay too many pros who’s favorite saying in the world is “You Mad Bro?” Anyway, check out the trailer for the game below. I’m off to set up an account!

 

Elder Scrolls IV – Oblivion: A Video Game Review

elder-scrolls-iv-oblivion-oblivion-logoIt’s been awhile since I did any video game reviews, and since my purchase of Elder Scrolls V: Skyrim, I’ve been to do one. But before I could cover the latest fantasy installment from Bethesda studios, I figured I should build up to it. After all, its predecessor was a big hit with me in its time, and I got countless hours of gaming enjoyment from it for many years before I retired it.

Such is the nature of these games, they are the gift to yourself that keeps on giving! In any case, Oblivion was the first Elder Scrolls that I ever played. Prior to it, I didn’t even know about the series and didn’t have the slightest idea of what it was about. My thanks to my friend Doug for introducing me to this, and others like it!

Background:
As the fourth game in the series, Oblivion takes place within the fantasy universe known as Tamriel. In previous games, players were introduced to several different provinces in the realm, and were treated to snippets of the ongoing history behind it all. It would be no exaggeration at all to say that universe is as vast as anything envisioned by Tolkien or Martin, and was most likely inspired by one or both.

tamriel_mapThe realm of Tamriel is made up of nine provinces – Cyrodiil, Morrowind, High Rock, the Summerset Isles, Hammerfell, Black Marsh, Skyrim, Valenwood, and Elsweyr. Each serves as the home of a specific faction in the series, such as the Dunmer (Dark Elves) of Morrowind, Orsimer (Orcs) in High Rock, Altmer (High Elves) in the Summerset Isles, Argonians (reptile people) in Black Marsh, Bosmer (Wood Elves) in Valenwood, and Khajit (feline people) in Elsweyr.

There are also several factions of “Men”, which include the Bretons of High Rock, the Redguards of Hammerfell, the Nords of Skyrim, and the Imperials of Cyrodil. At some point in the series’ history, the Mede Empire was formed by uniting the provinces of Men with the Khajit, Argonians and Orcs, either through conquest or alliances, and the Imperial City established as the administrative center of Cyrodil.

The-Elder-Scrolls-OblivionBeyond the Mede Empire, which is made up of Cyrodiil, Morrowind, High Rock and Skyrim, there lies the recently-independent Hammerfell. In addition, there is the competing and often hostile Aldmeri Dominion (comprised of the other four provinces) which is ruled over by the Altmer (High Elves).

At one time, it is indicated, High Elves ruled over much of Tamriel as the Ayleids, an empire which has since fallen into ruin. Another extinct civilization is the Dwemer, a highly-advanced society of Dwarves who were masters of machinery and automation, and who apparently knew much of the Elder Scrolls. Throughout the various games, these civilizations ruins provide all kinds of treasures and the keys to ancient mysteries.

elder_scrolls_racesWithin the realm, the established religion is the worship of The Nine (echoes of the Seven in GOT), gods that represent various virtues and powers. But of course, other faiths exist as well, such as the Nords faith involving dragons, mythical beasts which are apparently extinct at this point. But the other major faith is the worship of the Daedra, gods of “First Causes” that predate the Nine and are both good and evil.

The Daedra and their intervention serve as a major motivating force in the game, contributing to both the main storyline and missions of lesser import. At many points in the series, the coming of a Daedra lord to the mortal realm is the main plot line of the story, usually as a fulfillment of some major and ancient prophecy.

elder_scrollAt the center of it all however, are the Elder Scrolls themselves. These are rarely ever featured in the game, but serve as a plot framing device, where the events in the game “were foretold in the Elder Scrolls,” basically. These objects, which were apparently forged by the gods themselves, contain incredible power and are often incomprehensible to mortals.

Game Summary:
The_Elder_Scrolls_IV_Oblivion_coverThe story opens with an intro movie showing the last Emperor, Uriel Septim (voiced by Patrick Stewart), talking about how since the dawn of time, the Tamriel has been shut off from Oblivion – the hellish realm where the Daedra rule. However, he is haunted by dreams that the gates are about to open again, fulfilling an ancient prophecy that also foretold of the death of the Septim dynasty.

The game then begins with character selection, where you are required to specify your race, gender, class, etc., before things proceed. Once that is complete, you find yourself in the Imperial City dungeons, having been imprisoned for reasons you don’t fully understand. Believing the guards are coming for you, you are then surprised to see members of the Blades – the royal guard/secret police of the Empire – come to your cell with the Emperor himself.

You then overhear them saying that the royal heirs have been murdered, and they are apparently looking to smuggle the Emperor out through a secret tunnel that runs underneath the dungeons. You cell, which was supposed to be vacant, holds an entrance. After telling you to stand back, the Blades let the Emperor in, and he spots you and tells you he has seen you in his nightmares. After this introduction, he asks you to come with them.

Elder_Scrolls-Oblivion_urielIn the tunnels, you are beset by a number of agents that belong to a sect known as the Mythic Dawn. You are also able to learn from Uriel what is going on. He says that the Dragon Fires, a holy beacon which keep the planes of Oblivion and Tamriel separate, have gone out. They need to be relighted if Tamriel is to survive, but agents are pouring over the city trying to kill him and his sons.

Thus, the Blades are trying to get him to safety. After defeating the last of the Dawn agents in the tunnel, the Blades take off down a separate tunnel and leave you behind. However, you are able to follow them indirectly by passing through a series of side tunnels that are occupied by Goblins. This gives you a chance to collect gear and bolster your skills, and eventually you rejoin the main party.

You are soon cornered, at which point Uriel hands you the Amulet of Kings, the very thing that keeps the doors between Tamriel and Oblivion shut and can only be worn by someone of the Septim line. He tells you that their is one remaining heir, orders you to take the Amulet to a man named Joffrey who knows where to find him, and that only you and he can “close shut the doors of Oblivion”.

Uriel_Septim_VII_deathThe Emperor is then killed, and you are forced to find your way out of the sewers with the Amulet in hand. Once you’re out, you find yourself just outside the Imperial City and must then travel to Weynon Priory in the west. Inside, you meet Jauffre, a monk who is also a member of the Blades, and tell him what happened. He reveals that the secret heir alluded to by Uriel is a man named Martin who is serves at the Temple in Kvatch.

Ergo, that’s where your headed next. But when you arrive, you find the city is in ruins, with a refugee camp at the base of the hill and the guards camped beyond the gates and trying to hold the line against an open Oblivion gate. The guard captain tells you that a patrol was lost inside, and he and his men cannot retake the city so long as it is open. Battling through the hellish environment against Scamps, you find the last remaining patrol soldier and make it to the tower where you remove the Sigil Stone, thus collapsing the gate.

Oblivion-Gate_kvatchBack outside, you and the guards enter the city gates and begin retaking the place from the Daedra. After clearing the front courtyard, you find Martin (voiced by Sean Bean) inside the Temple with a group of refugees. You tell him your story, and his secret, and he agrees to come with you as soon as the city is clear and the refugees can be evacuated. Fighting your way further, you clear out the rest of the city and the main castle, where you find the Lord dead.

With Martin, you report back to Weynon Priory, which is under attack. Between you two and Jauffre, you manage to kill the enemy, but discover that they have stolen the Amulet of Kings. Once again, it appears the enemy are one step ahead. But with Martin alive, the three of you report to Cloud Ruler Temple, the Blade Stronghold in the north of Cyrodil, where Martin will be safe.

Oblivion_Cloud_Ruler_TempleOnce there, he takes charge of the Blades and you are given the option of joining them. With that complete, you are told to report to the nearby town of Bruma where enemy spies have been spotted. Once you kill them, you discover one of them is a resident in the town and search their house. Upon finding a letter, you learn they are part of a cult known as the Mythic Dawn who worship the Daedra lord of Mehrunes Dagon, Lord of Destruction.

Their plan is to open the gate of Oblivion so Dagon can reclaim Tamriel, and they intend to kill the Septim line since it is their blood that has been keeping the gate closed for ages. Intrinsic to this is opening a major gate outside of Bruma, destroying Cloud Ruler Temple, and now killing Martin. They are led by a Dark Elf named Mankor Camoran, a mage who has apparently been alive for centuries.

oblivion_pathofdawnYour next mission is to the Imperial City where you meet Baurus, one of the agents that was there when the Emperor was killed. He tells you that the enemy’s lair is somewhere in Tamriel and you must find it. The key appears to lie in Mankor Camoran’s volumes known as The Commentaries on the Mysterium Xarxes – a series of books about a tome of ancient power.

Already, you have found two while searching the spy’s house in Bruma, and the third is apparently on special order at the city’s book store. Meeting with the man who ordered it, you compel him to cooperate and hand it over. He tells you he had a date to meet with Mythic Dawn representatives to get a copy of the fourth and final volume.

Posing as this man, Baurus meets with Camoran’s son and daughter while you keep watch. His cover is blown when their escorts spot you and you are forced to fight it out. After killing them, you manage to retrieve the fourth and final copy and go to the Mage’s Guild and ask them for help discerning its clues. You realize that a secret message is inside the book that tells you to go to the city’s cemetery at noon when the sun will be above the White-Gold tower.

oblivion_mythicdawnWhen you do this, you see a map on the mausoleum wall that shows you the location of the Mythic Dawn’s lair. After arriving there, posing as another applicant, you come to see Mankor Cameron himself, who is wearing the Amulet of Kings. After giving his people a speech, he opens a portal to “Paradise” and leaves, taking the Amulet with him. Grabbing the Mysterium Xarxes, which he left behind, you fight your way out of the cave and head back to Cloud Ruler Temple.

Once there, Martin tells you that he may be able to open the portal to Camoran’s Paradise so you can retrieve the Amulet finally. He begins reading the Xarxes to discern what he would need to do this. In the meantime, you are told to report to Bruma where another gate has opened. Alongside the city guards, you go in and shut it again, but know that this is a temporary victory.

Given that the Dawn’s long-term plan is to open a major gate outside of the city and lay waste to Bruma and Cloud Ruler Temple, you know that time is limited. You are thus given two main missions. The first is to collect the items needed to open the gate to Camoran’s Paradise, the second is to go to every other city in Cyrodil and convince the local lord to free up soldiers to send to the defense of Bruma.

oblivion_cyrodil_mapThe first mission requires you to go to several locations, securing a Daedric artifact, the blood of Tiber Septim (the first Septim Emperor), and an Ayleid crystal. The second requires you to travel to all the major cities – Anvil, Chorrol, Skingrad, Cheydinhal, Bravil and Leyawiin – and close the gates outside of these cities. This gives you a chance to see each town and learn of their particular makeup and issues, as well as pick up additional side-missions.

With all of this complete, Martin tells you that there is only one other thing that he needs – a major Sigil Stone. This requires that you allow the Mythic Dawn to open a major portal outside of Bruma, and for the soldiers to hold the line while you go in and grab hold of the stone. A major battle ensues, and you are forced to grab the stone before the Daedra are able to bring out a massive siege engine and lay waste to Bruma, as they did Kvatch.

oblivion_paradiseWith the final item secured, Martin opens the portal to Camoran’s paradise inside the Temple, and you go through. Once there, you see a Edenic like environment, where Camoran’s followers live, but are forced to endure constant death as Daedric creatures hunt them and they are resurrected. They tell you how to make your way to Camoran’s seat of power – Palace Carac Agaialor.

Once there, you confront Camoran’s and his two children – Ruma and Raven – and do battle. Once they are killed, you retrieve the Amulet, and Paradise collapses. You are returned to Cloud Ruler Temple where Martin takes the Amulet, as Emperor, and you plan to return to the Imperial City to light the Dragon Fires and seal the gates between Tamriel and Oblivion once and for all.

oblivion_mehrunes_dagonAt the palace, you are greeted by High Chancellor Ocato – leader of the Elder Council – but the meeting is cut short when the guards announce the city is under attack. It seems that Oblivion gates are opening all over the city and Daedra are pouring through. With no time to lose, you head for the Temple District so Martin can light the fires, but once there, you see Mehrunes Dagon, who has passed into your world, laying waste to the district.

Martin believes all hope is lost, but a last minute suggestion from you that the Amulet might be able to help gives him an idea. Asking you to escort him inside the temple, which is dangerous considering it involves getting around Dagon’s massive figure, he goes to the center and breaks the Amulet, combining the kings and dragon’s blood with his own. He then transforms into a massive avatar Akatosh, the principle diety of the Nine, and does battle with Dagon.

oblivion_Martin_Mehrunes_DagonDagon was defeated after the avatar of Akatosh – a massive fiery dragon – chomped his neck and sent him back to Oblivion. The avatar then turned into stone, signalling that it too had departed Tamriel and Martin was now dead. However, his sacrifice had won the day, and permanently sealed the doors between Oblivion and Tamriel shut forever. The Oblivion Crisis, as it would come to be known, was over, and a new age begun

Having taken part in the final battle and see the victory of Imperial forces over the Daedra, you are named Champion of Cyrodil and given a special suit of Dragon Armor. In addition to being named Hero of Kvatch and Hero of Bruma, you now hold a rank reserved for a very select few. With the game now over, you are free to roam and pick up any additional quests.

Additional Quests:
Outside of the Oblivion Crisis, gamers have the option of participating in numerous quests, most of which revolve around joining a Guild. These include the Fighters Guild, the Mages Guild, the Thieves Guild, and the Dark Brotherhood (an assassin’s guild). Membership in each allows you to go on additional quests, earn ranks, rewards, learn new abilities, and take part in other adventures.

Oblivion_Fighters_GuildThe Fighter Guild quest culminates in you taking on a rival mercenary organization – the Blackwood Company – when it becomes revealed that they are abusing a narcotic known as Hist Sap that makes them bloodthirsty and unpredictable. The Mages Guild quest culminates in your facing a group of Necromancers led by the “Worm KIng”, an evil mage determined to destroy the Imperial Mages.

Joining the Thieves Guild makes you an agent of the Gray Fox, a recurring figure in the game, who provides protection for all of Cyrodil’s beggars and uses them as his eyes and ears. After participating in a number of lucrative thefts, you meet the Gray Fox and assist him in his scheme to recover his lost identity – Count of Anvil. As payment, you get to keep his magic cowl, the very thing that deprived him of it in the first place.

oblivion_dark_brotherhoodFinally, the Dark Brotherhood is an order that you can join the moment you murder someone in cold blood. A visitor then comes to you while you sleep and extends an invitation. Once you join, you are given the task of assassinating anyone who been named in a Black Sacrament – a dark ritual that marks people for death. In time, you have the option of becoming a vampire, and gain the favor of the Night Mother – their patron goddess.

And of course, there are many, many side missions where you have the option of performing tasks for various Daedra. Depending on the lord in question, these can be beneficial, harmful, or just plain mischievous, and all lead to certain benefits and rewards. And of course, there are plenty of missions to be had simply by adventuring around and helping people out.

Add-Ons:
There are also additional quests which I have played – Knights of the Nine, The Shivering Isles – but I really didn’t like them too much. In the case of Knights, you are tasked with resurrecting the order of the Knights of the Nine, collect sacred weapons, armor, and artifacts, and fight against an Aylied deity that is returning to Tamriel.

Oblivion_knights7However, the production value on this game was really not as goo as the main one, and the storyline seemed awful… Christiany. I mean really, the armor and finery you wear make you look exactly like a Crusader, and by the time you are finished with the main campaign, yet another quest involving a resurrected evil seems tired and played out.

In the case of the Shivering Isles, the storyline is a bit more weird, and much more psychedelic. Here, you enter into the realm of the Daedric lord Sheogorath – Prince of Madness and ruler of the Shivering Islesto battle with him and become the new master of the Isles. Here too, found the production values weak, the quest kind of pointless, and the story and setting really odd.

oblivion_shiveringMy advice, stick to the main quests and save your money when it comes to these expansion packs. Sure, curiosity might get the better of you, but why pay extra when what’s added is not up to snuff?

Summary:
I guess it goes without saying that this game is incredibly dense and detailed. And of course, the back story is lengthy and intricate, but as long as you do your due diligence, it’s not that hard to follow. And though it does have its fair share of fantasy cliches, it’s a very inspired piece of work with plenty of historical and cultural allusions.

Many times over, I was reminded of LOTR and other prominent genres, and combined with the depth and density of it, it was little wonder why I got so many hours of enjoyment out of it. Between all the spells, weapons, abilities, upgrades, and opportunities to learn about the Elder Scrolls universe, its a truly immersive and entertaining game.

Between the main quest, secondary quests, and the hundreds – if not thousands – of additional quests, it really seems like the game has enough material to keep going indefinitely. But eventually, you are likely to map out every corner of Cyrodil, obtain the very best items, and get to the point where no enemy can possibly best you. And chances are, you’ll lose interest before then anyway, so it all works out.

And it was my experience with this game that led me to finally get around to buying The Elder Scrolls V: Skyrim not that long ago. Here too, I’ve received endless hours and enjoyment, and will be reviewing it soon enough!

New Hobbit Trailer!

The latest full-length trailer for the upcoming Hobbit movie has just been released. And I think you’ll agree, it’s way more lavish and teaser-oriented than the last. Damn studios, always gotta dangle the carrot in front of our noses! This time around, they focus more on the action and sense of crisis, especially where Ogres are concerned. And from what I can tell, this first installment will climax during the battle in the Misty Mountains, where the company came upon a cave filled with Orcs.

This is also the first time since LOTR that Gollum is being shown, and the little game he and Bilbo played – which resulted in him taking the One Ring – is revealed. Also, be sure to let me know what you think about the apparent changes Jackson is making by including Galadriel and providing hints of what was to come in LOTR. These, for the most part and to the best of my knowledge, weren’t part of the original story. Is he just thickening the plot a little, or taking liberties he shouldn’t?

The Hobbit will be a Trilogy

Some recent news has come in over the wire concerning the upcoming Tolkien adaptation. After much anticipation and a few snippets released from the studio as teaser trailers, Peter Jackson has announced that the upcoming Hobbit movie will in fact be a trilogy. Hints to that effect were dropped at the recent San Diego Comic Con, and now Peter Jackson has gone ahead and confirmed it.

Previously, he had indicated that two films would be needed to adapt this classic story to the big screen, but now it appears that the big time movie director/producer is going to need one more to make it all happen. Citing plot necessity and fan response, Jackson claimed that much of the added footage has to do with origin stories, background and character development for various characters in the story.

After meditating on the decision to go with a third movie or stick to the original plan for two, Jackson contended that, were they not to add in a third film, much about Bilbo, Gandalf, the Dwarves of Erebor, the Necromancer, and the climactic Battle of Dol Guldur would go untold. this corresponds to rumors that Jackson has been adding in a great deal of material to the story, relying on the LOTR appendices and background info which comes from that book.

Personally, I’m not sure what to make of this. Granted, it does kind of sound like an attempt to prolong the project and make more money, and Jackson is no stranger to padding movies with unnecessary flashbacks and cheesy cutaways to scenes with Arwen crying. But if Jackson has proven anything at this point, its just how dedicated he is to Tolkien’s creation and how much he wants to bring it all to life. So frankly, I see no reason to doubt him when he says he wants to tell the story and needs more screen time in order to do it.

In the meantime, check out the trailer of the upcoming movie!

Of Prequels And Why They Suck…

Of Prequels And Why They Suck…

Looking back, I’ve noticed a sort of thread running through some of the posts I’ve made. And in truth, this thing was quite influential when it came to what inspired me to write science fiction in the first place. It began with the infamous Star Wars prequels, the movies which ruined what used to be a very influential and nostalgic franchise. It was then reinforced by the odious Dune prequels, which tarnished the legacy that inspired me to write science fiction in the first place. Since then, I’ve noticed these same elements at work in any prequel I’ve chanced upon and the lessons only seem to get more concrete.

While I’m no expert on the fine art of writing, be it science fiction or anything other genre, by the time I started doing it I was pretty clear on what I wanted to create. Basically, I wanted to write something I would enjoy, something that emulated the greats I had come to know and admire. But when it came to what I DIDN’T want to do, I found prequels summed up a lot of it succinctly (especially the aforementioned examples). I’m sure I mentioned as much in previous posts, but today, I thought I might speak to these things specifically; outline why prequels can – and often do – suck!

1. No Surprises:
Whether it was the Star Wars prequels, X Men Origins: Wolverine, the Legends of Dune series, or anything else prequel-oriented, there was one undeniable problem they all had in common: we already knew what was going to happen. By stories end, we know that the characters are going to become whatever it is they were in the original story, and we know who’s going to live and who’s going to die. In some cases, we even know how, so there really are no surprises. The only real purpose of a prequel is to fill in the background, explain HOW things happened and how the characters and story we are familiar with came to be.

For example, in Star Wars, we know that Anakin becomes Darth Vader, that Palpatine is the villain and will take over the Republic, and that Amidala will give birth to Luke and Leia before dying. There are a host of other details which the more nerdy among us were familiar with as well, and we were all drawn to theaters back in 1999 hoping to see how they played out. But in the end, when all was said and done, I don’t think any of us came away satisfied. Seeing how things happened when you already know what will happen just seems to make for a disappointing experience.

2. Sense of Duty:
Another thing that brings down a prequel is the fact that things MUST be explained. In short, the writer, director, author, etc. has a list of things which need to be covered before the end. These things have to fall within an established framework – i.e. what has already been established by the original story – and cannot contradict or be inconsistent with them. So really, in addition to having a story where there really are no surprises, you also get a story where things have to proceed in an established fashion and often seem heavily contrived. The end result is not what would feel natural based on the story so far but based on what needs to happen for the sake of the original story.

X-Men Origins will suffice as an example here. In this movie, the story had to show where Wolverine came from, how he and his brother (Sabretooth) had their falling out, and how his memory got erased. The result was actually pretty weak, in my opinion. Basically, Colonel Striker shot him in the head with Adamantium bullets, which he knew wouldn’t kill him but would erase his memory. Now, how did he know ahead of time that that would be the effect it would have? Second, why do that instead of lobbing a rocket-propelled grenade at him? Simple, because the story required it. Wolverine is supposed to be an amnesiac in the first movie, so this movie had to show how.

And while were on the subject, why didn’t Wolverine’s girlfriend kill Striker at the end when she had the chance? The woman had suggestive powers and had the man in her grasp, so why not tell him to march off a cliff? Again, because the story demanded it. Striker needed to live to see movie two, so instead she said some fluff about how she’d be no better than him and just told him to take a walk until his feet bled and he fell from exhaustion. I can’t speak for everyone, but personally, I was disappointed.

3. Less Is More
A lot of people insist that when it comes to back stories and background, the less we know, the better. After all, wasn’t Darth Vader scarier before we knew that he was once portrayed by Hayden Christensen? Wasn’t he a lot more menacing before he cried over the loss of Padme? I know for a fact that I’m not alone when I say that the whole “NOOOOOOO!” scene at the end of Revenge of the Sith brought him down in my eyes. What was once a titanic force of badassery was transformed into a whiney, bitchy child through the simple act of fashioning an origins story.

To use a non-prequel example, consider the Batman franchise. In the Tim Burton version, we got to see the Joker’s origin story, but in the Christopher Nolan version, we got nothing. And frankly, wasn’t Ledger’s updated take on the Joker much more scary than Nicholson’s because of it? Sure, his dialogue and acting were spot on at capturing the insanity and terror of the laughing psychotic killer, but wasn’t part of that assured by the fact that we had NO IDEA who he was or where he came from? The origins stories that he told – “wanna know how I got these scars?” – and how they kept changing was part of what made him so effective. As the audience, we wanted to know, how DID he get those scars? Why IS he so crazy? But by denying us this, I think we were kept wanting and we respected the movie more for it.

The same is true of Batman himself. In Burton’s, we got an exact reversal of what happened with the Joker. Aside from the fact that his parents were murdered, apparently by a young Jack Napier (who would go on to become the Joker), we knew nothing about him. Where he got his skills from, his equipment, and how he got started. This served to make him a much more mysterious character which in turn made him more interesting. In Burton’s Batman, he was the focal point whereas the Joker was his nemesis. But in Nolan’s updated version of The Dark Knight, the Joker was undoubtedly the focus while Batman was just the hero trying to stop him. I’d say what he knew – or in this case, didn’t know – about them was central to that.

4. The Audience’s Imagination Is The Writer’s Greatest Weapon:
I believe it was the famous photographer Duane Michals who said “I believe in the imagination. What I cannot see is infinitely more important than what I can see.” Okay, I Googled that, sue me! But the man had a point, and it applies doubly to movies since they too are a visual medium. What the readers and/or an audience can imagine based on snippets of a story is infinitely more powerful than what they can be shown with a few hundred pages of text or a two hour movie. This is why less is more. By giving the audience less to work with, they have more freedom to imagine and create. If you tell them what happened, detail for detail, then they have nothing except for what you’ve given them.

This, I think, is precisely why prequels are so often a disappointment, at least in my estimation. I’ve always considered myself to be an imaginative person. Given a blank canvas, or one with just a few details, I can create just about anything. And I’m hardly alone in that fact. Imagination is something everyone has – to varying degrees, sure – but it’s part of what makes us human and gives our lives meaning. Being able to express our inner life makes us happy, and there are few things more hurtful and insulting than having someone mock or dismiss that creativity. It’s also one of the cornerstones of a free society, the freedom to create and not be persecuted for it.

So it’s little wonder then why people are drawn to movies where books they’ve read are being adapted to film, or to prequels, where things that have been previously alluded to are acted out. People go to see them because they want to know if it will bear any resemblance to what they themselves imagined. Or, they go because they just want to see what the director’s own vision was. Either way, when you get around to seeing it for yourself, is it not a letdown no matter what? Isn’t that the real reason why people who’ve read the book constantly insist that the movie isn’t as good? That certainly seemed to be the consensus amongst LOTR geeks. And I should know; by The Two Towers, I was one of them! And isn’t that the real reason why the Star Wars prequels sucked as much as they did? We, the fans and audiences are active participants and create out of what we are given. Being told point blank what happened removes half the fun of it!

Some Tips For Writing:
Well, that’s all I got for now. Except to say that if someone is hoping to do a prequel, there are certain tips that I’ve come up with that can help. These are by no means established rules, just the result of my own amateur experience and observations. For one, a writer should take care not to give too much away when writing background. As always, less is more. It’s enough to let the background stay in the background and focus on the story. The more the reader/audience has to work with, the better. That way, when you are writing out the back story, you have much more freedom to work with, and don’t have to worry about staying within boundaries.

Second, a good idea is to write things out ahead of time. When I was thinking up Legacies, I began by writing out an outline for the entire background of the story. I didn’t do this because I was one day planning on writing a whole franchise worth of books, prequels included, but because I just wanted the story to be tight and know where everything fit. But because of that, I was able to pen several short stories that took place before the first novel. Rarely were the main characters and plot lines from that novel the focus of these stories, but they did serve as a solid backdrop which helped to advance things.

But don’t take my word on that, consider Lucas himself. He thought up the entire plot for Star Wars trilogy before making the first movie in the franchise, thus he knew exactly what he wanted to do ahead of time. Sure, he made changes and was forced to adapt along the way, but the end result benefited from this foresight. However, when it came to the prequels, he had only the bare bones to work with, and began writing each movie independently of shooting it. And it certainly showed, didn’t it? Rather than feeling like an ongoing story, each movie was a self-contained tale that was full of duty and contrivances. Nuff said? Plan ahead!

Last, but not least, remember that a story, ANY story, needs to tell its own tale. It cannot be written for the sake of filling in another. Its a bit of a vague point, I know, but a writer’s mentality is important when it comes to the creative process. At no point can you be thinking, “this needs to be explained, that needs to be explained”. It needs to be, “this is a story that needs to be told”. Every character has an interesting back story, and stories are living, organic things. They change over time, grow, and eventually die. Showing how they got to where they were going needs to be interesting and told with sincerity. So forget the duty, focus on the events and what made them interesting. If in the end its not a story that you yourself would enjoy, then don’t tell it! Simple as that…