#so the very base concept of searching for a lost spell as a defined magical word is flawed to me when you try to insert it into this world

[apprentice-alwyn]

So I read the new Asra Tale “The Lost Spell” on Dorian and uh....that was...Not Great.

There were a lot of issues and I ended up thinking about what I would have done differently/how I would change the story while still trying to stick to more or less the core concept of it, and I figured I would share those musings here.

First things first, I would have made this story a more...personal one for Asra and MC involving Asra’s past and his parents. A story where Asra and MC are trying to retrieve something that was lost to his parents...I would have made this story not about a missing spell, but instead about lost alchemical research. Alchemy being the field of expertise for Asra’s parents, blending science and magic, and a field that Asra himself is most likely more unfamiliar with. (You could still make reference to this material/lost alchemical research being relevant to the current efforts to fix Vesuvia’s water system with a mention of how it could have been helpful I dunno)

This ends up being what leads Asra and MC to seek out The Magician for help  after digging for information in the palace records and library havent turned up anything and Asra’s attempts to track via magic havent been fruitful. Thus leading to the hint that what they seek can be found in Asra’s memories.

Instead of skipping straight to being told where to go to find the information, it could have been fun to have Asra and MC searching through the pools in Asra’s gate to find the right memory, giving us fragmentary moments from Asra’s past to witness as a result. Perhaps moments from, for example, when Asra and MC first met, a memory of Asra’s time on the streets with Muriel, the argument Asra and MC had during the plague, etc...until eventually they come across the memory they are looking for...one that is so old as to have been long forgotten by Asra, something a little raw and bittersweet...a memory from when Asra was a small child before he was separated from his parents. In this memory they find the alchemical research they had been searching for in the Alnazar home.

I dunno something along those lines could have been nice, while sticking to the idea of searching for some lost knowledge/magic.

[shepgeek]

Deus Ex Machina in Films

Spoilers for Slumdog Millionaire, Jaws, Angels & Demons, Contact and Signs.

If a tale is worth the telling, then should it not be extraordinary?

From our very origins, where stories of gods and monsters were told around a flickering campfire to our modern multiplexes, it has been the stories of the most dramatic shifts in people’s lives that we long to hear. These tales bring with them an inherent problem: should the piece prove to be too fantastic, too far removed from what we can connect with, then the spell is broken. Suspension of our disbelief is only a part of this, and often a film may cause a snort if it takes a dramatic step too far, or when the mechanics of an author making a story fit can be readily sniffed out. This magical balance, of spinning a yarn but never yielding the sense that the tale itself has a fundamental ring of truth to it, has plagued storytellers for centuries and the term “Deus Ex Machina”, dating from Aeschylus, has come to be associated with this issue in the modern cinematic age.

Meaning “God from the Machine”, it refers to when a story takes a contrived turn. In Ancient Greece, there would be a literal contraption that would lower actors playing the Gods into the theatre and such divine interventions would often allow direct solutions to whatever dramatic tangle the characters found themselves in. The fine line between this dramatic “Get out of Jail Free” card and writing resolutions that thrill and inspire audiences has ensnared storytellers for millennia. Modern audiences will complain when a film hits moments of what feel like implausibility, despite the entire picture up to that point involving a man who can talk to fish or a Prime Minister courting a tea lady. The moments that shunt audiences out of the experience of watching a film are both fickle and, of course subjective and, since no storyteller sets out to leave themselves open to this vulnerability, there is seemingly no way to protect your film from it, hoping instead that a crumbling of verisimilitude never manifests.

This is different from implausibility or fantasy. Films go to huge lengths to make the audience invest in a story: the reason Jaws is held up as one of the finest the medium has to offer is not due to the convincingness of the shark but how much we have invested in the three lead characters, and the shading to make them and their worlds real to us over the first hour of the film demands our investment such that, when a 25 foot plastic shark finally leaps from the water, our terror is welded to theirs. Our human biology is a problem here, since the idea of the extraordinary is what inspires the very best stories but is undermined by our animalistic understanding of coincidence. In evolving our way to the top of the food chain, we have learned to spot patterns and are built to learn from mistakes in order to thrive, so that if an extreme event happens it is programmed into us to be intrinsically suspicious. Phrases such as “truth is stranger than fiction” are accepted truisms, and yet some films are criticised if they rely too much on remarkable events, despite this often making them the stories worth telling. The logical response would be that nobody would want to see a film in which one of the other double-O agents dies in the attempt at saving the world: show us instead the spy that survives ludicrously improbable traps to win the day.

Slumdog Millionaire is a fascinating example of this contradiction and is based around the concept of a penniless boy appearing on the world’s most famous TV quiz show. What happens, however, is far from a typical appearance and the boy, who has no schooling, is in fact using the show to search for his lost love. Along the way he is asked questions that he happens to know the answers to, with the film flashing back to explain how he would know each of these facts. Statistically this is an interesting approach: given that there are hundreds of thousands of people who must have appeared on a version of this quiz over decades, one of them would have to be ranked as the luckiest in terms of the questions they happen to have been asked and, therefore, would not their story not be the most compelling? There is an intriguing idea within the film of defining intelligence as being asked the questions that we happen to know the answers to, but the role of chance in shaping a person’s destiny can prove divisive in audiences and it is this friction that blurs the line upon which audiences’ readiness to accept the story we are spun is founded. Slumdog Millionaire is ultimately not that interested in the mechanics of this since the boy himself is not motivated by the money, using the show playfully to up the dramatic stakes and revealing more about the characters involved, but the boldness in using such a unusual framing device is relatively rare.

We can take a certain amount of improbability in our stories but the dangers of invoking anything beyond chance are arguably greater, and whilst there are many examples of outrageousness in the plotting of modern films there are few, if any, whose audacity in terms of confronting these shades of grey are as remarkable as 2009’s Angels & Demons. Having made a career from inferring conspiracies around artistic and historical fact, Dan Brown’s book is adapted by Ron Howard and builds to an unforgettable climax. A series of grisly murders are investigated by symbologist Robert Langdon and escalate to a finale in which a priest detonates an antimatter bomb in the skies above Vatican City, bailing out of his helicopter with a parachute at the last minute. We soon learn that said priest had, in fact, planned both the murders and the bomb (stolen from CERN) in order to get himself elected as Pope. As preposterous plotting goes, this is pretty much as far on a limb as even the most ridiculous of Hollywood thrillers has gone but there is something to be said for the gusto and straight face that the film commits to in bringing it to a screen. What makes it completely outrageous, however, is the concluding scene, where a kindly cardinal thanks both Langdon and God. As an atheist, Langdon demurs, but the cardinal replies that, given the remarkable nature of what has happened, how could this be anything other than God’s plan: a literal use of Deus Ex Machina in the modern cinematic age!

Angels & Demons’ approach is far from unique, although perhaps not in terms of sheer nerve. Raiders of the Lost Ark’s denouement also sees the God of the Old Testament wipe out the villains (The Big Bang Theory delighted in pointing out that, for all of Indy’s heroics, he plays no role in actually saving the world) whilst the Eagles in the Middle Earth films have a strong whiff of godliness to them. The moments when a storyteller is clearly fumbling for a way to get themselves out of a sticky corner will now be increasingly exposed online, whilst even knowing moments that try to poke fun at the fourth wall have a tendency to get lynched, such as Ocean’s 12’s set piece where Tess Ocean (played by Julia Roberts) bumps into actor Bruce Willis (played by Bruce Willis) and is then coerced into saving the day by pretending to be actress Julia Roberts, whom Tess apparently resembles. The only moments when such brazenness can be allowed are when a film dives wholeheartedly into the silliness, such as the moment in Life of Brian where our hero is saved from falling to his death by some convenient passing aliens.

Many films dance around this fault line in fiction but M. Night Shyamalan’s Signs chooses to confront it by forcing each viewer to reflect on their own choices in terms of how they each decide to see the world. Following The Sixth Sense and Unbreakable, narrative twists had become the director’s trademark so the marketing of the film was stealthy, with the only knowledge circulated that the film was centred on the frivolous phenomenon of crop circles. Audiences who had been thrilled by Shyamalan’s first two films came expecting to find another sting in the tale and, whilst they would have that expectation met, for many it was not in the manner in which they were expecting.

From its propulsive opening credits, which musically and visually invoke Saul Bass and Bernard Herrman’s work for Hitchcock, the film casts a macabre spell, introducing us to a close family broken by bereavement. As enigmatic shadows, ominous animal behaviour and melodramatic news reports seem to imply that the world may be on the verge of disaster, the film spends our time focused on this household who is living as if Armageddon has already happened. Far from casting a morose tone, however, the focus is very much on their love and support for each other and the film is surprisingly funny, with a dryness and drollness that invites you to emotionally invest in them and their world to a huge degree, with various idiosyncrasies cleverly painted in to seemingly deepen their credibility, as is the norm for this genre. Charisma was always Mel Gibson’s strongest suit but, in this film, he uses it sparingly behind an expression of a man whom life has utterly defeated; a minister who has abandoned his faith after the cruel and arbitrary loss of his wife. His performance as Graham Hess is incredible and, in one scene, he processes rage, humanity, forgiveness and sorrow within the space of a few seconds. Joaquin Phoenix plays Graham’s brother Merrill, an honest and simple man whose awkwardness belies a gently painted integrity, whilst Cherry Jones also adds considerable emotional heft as the kind and empathetic local Sheriff: the world these characters inhabit, whist harsh and simple, makes it clear that these people are good-hearted and worthy of our empathy.

Shyamalan takes what would be the hugest event in human history and focuses upon the least significant of locales. He called Signs his “most popcorn” movie and takes many cues from Spielberg, with the juxtaposition of ordinary with extraordinary, a cast of children and a troubled, failing father (literally and professionally) all Amblin tropes, and the film is notably produced by Kathleen Kennedy and Frank Marshall. As the eeriness builds with the aid of an impeccable score from James Newton Howard, the crop circles increasingly seem to be the work of alien visitors. Throughout the film however, there is a mischievous sense of ambiguity and the film continuously undermines this fantastic possibility: Shyamalan plays on the audiences’ expectations with masterful sleight of hand, continuously teasing us with the prospect of a narrative twist that we are all trying to spot ahead of time, knowing all the while that, whilst we focus on this, our attention remains away from the ace he has hidden up his other sleeve. Everything we see seems to be developing this potential alien threat, but the film is subtly sowing very different seeds and Shyamalan uses a full array of tricks to keep our attention away from his final intentions. The most memorable of these is where Merrill watches a blurry Brazilian news report whilst hiding inside the cupboard under his stairs. This simple scene is edited to creepy perfection and, as the announcer intones “what you’re about to see may disturb you”, we share Merrill’s ghoulish excitement at finally discovering the truth behind the mystery. The reveal of a creature looming for a split second, out of focus but stalking us with predatory malevolence is one of cinemas great shocks: simple, matter of fact but unexpectedly stark. As Shyamalan tears away the ambiguity, this extraordinary image pays off the patient teasing shown by the film up to this point and, crucially, keeps us frightened for this family and what this all might mean for them.

Set almost entirely set around the family’s farmhouse, the key moment of the film comes as Graham attempts to comfort an alarmed Merrill. Gibson is shot in shadow throughout the film but with a light from behind the camera reflecting in his pupils, keeping the whites of his eyes prominent and obscuring our view of his lost soul. Graham’s speech about two truths and the choice we have in how we interpret the world appears, on first viewing, to be a charismatically sad mission statement of how Graham’s faith has been lost although, as we soon discover, he has not stopped believing but has moved away from his God in rage at the loss of his wife. Graham tells Merrill that we always have a choice to either interpret the world as a confluence of happenstance or as the plan of a deeper, bigger force. Shyamalan brilliantly undercuts this hugely significant moment with an immediate distraction, as Merrill recounts his experience of once narrowly avoiding getting vomited on by a pretty girl, but the scene is of fundamental importance to the whole purpose of the film. There is a way to read Signs as Shyamalan viewing himself as the god of his own worlds, with the characters he writes bending to his will (and his subsequent film, The Lady in the Water would see him develop this idea to memorably baffling effect) but the message of this film is centred on choice. When Graham is at his lowest ebb in the final reel, he does not appeal to God but simply repeats “not again” and, eventually, “I hate you”: he has failed to disavow himself of his faith, despite trying walk away from it. Graham spends the film in a purgatory of his own making and one reading of the piece is that of a man beset by demons on his way back to the path, which is finally triggered in the film by an emotive Last Supper. Shyamalan himself comes from a Hindu background but attended a Catholic school and the film wisely stays far from any one dogma, always ultimately returning to the choice of the individual to read the world as they see it and Shyamalan invites us to do the same with his film.

In the final act, Graham has an epiphany that all the events of his life are coalescing in this single moment: his brother’s failed baseball career, his wife’s death, his son’s asthma, his daughter’s habit of leaving glasses of water everywhere: all of these factors converge simultaneously and with specific purpose. This extrapolation, whilst fantastical, only involves the joining of a handful of dots and the film never demands that the audience agrees with Graham: we have the choice ourselves to view this confluence as coincidence or as part of a wider plan. This is the genius of Shyamalan’s film, to make a film about faith, call the film “Signs” and then conceal the entire purpose of the film within an alien invasion. Another outstanding film about faith, Robert Zemeckis’ Contact, has a similar denouement, where the lead character is forced to make a choice about whether they can believe what has happened to them but Signs does not repeat the only error of that film, where the audience is privately told what really happened.

As Signs concludes, we are left alone with our own choice to make and this is what many viewers objected to, feeling that the contrivances were too silly, or maybe that water would be an unlikely vulnerability for invading aliens (despite the definitive text on this, War of the Worlds, invoking a common cold for the same dramatic purpose). I can sympathise if a viewer felt they were promised plotting to resolve the tale and it must be conceded that ambiguity from a story is dangerous if it comes as a surprise, but the conceit, showmanship and storytelling guile in making this twist thematic instead of narrative makes it, for me, Shyamalan’s masterpiece. He plays it with astonishing skill and total assurance.

We all always have a choice of how to accept what the world presents us with, and the gift of a great storyteller is to blend the meeting of the extraordinary with characters to ground our interest and our emotional investment, whilst simultaneously building a world which audiences can recognise as real. Such alchemy is so delicate, so complex that this makes a potent reminder of why so many films miss that mark, but the reality that so many storytellers have it in them to keep reaching for this delicate balance is the reason why we will always keep coming back to that campfire, waiting to be enveloped in a new, fantastic tale.

[kathleenmendez2-blog]

Delighted Quotes To Make You Smile

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[neuralnetworkmakingmagic]

{1}

Enchant Black]]

[[Patrol Ruber]] [[Stalking Growth]]

[[Sengir Two]] [[Thatcher World]]

[[Seat from Hakes One (How do I put together in Alpha)

I hope any mana costs is that the color pie is very hard to find a good job of absolutely not much about the game of expansions, as it was purposefully a very close space in the former. This little strength was that you are removed from the middle of the game. Some players use the monster. I have a dream of my column. The first thing simply converted players are interested in my column to see a pack where players want to have multiple players that played a spine. (Well, we made the creature of making it the other colors. But they wanted to actually start the ability to do with it. When I first popular with my head is that it was the flavor of the game. He always gets the following villains. It was a strong adult of the color pie must memorized as the interesting part of the past.

[[Giant Growth]] {1}{U}

[[Giant Growth]]

[[Lightning World]] (#1) vs. Every tweak is the rule that was designed. Everything to be less problematic and in each of these cards when I start talking about the game and a "with Mike" Instant, Spider Scars of Mirrodin) and the theme of the guild in every investment that "spells come together. While the rules of the mechanic and make the story of common cards and then the set is a bit cards from the Phyrexians. We have to be a lot more and it doesn't see the designer to have one on the text of Magic. Why is this?

This: The set was the colfter of a planet and crucial to play and end of turn, but still work in the entire bloodthirg of the cards and non-inducted as a designer. Timmies, the [[Spirit My]] is. It's an interesting for the design of the day I am going to find a theme and remove the card (but now when we felt it was clear that you can fit a creature type (the best type of guild. It was put into your article other than the block with a trading card game.

The lesson to write this percentage of Dragon's Maze To see, it would be the design of the story and then the collectable guild mechanics we stuck in charge of place that they made the strong one. (And developers, "A close thing every set (the guild mechanics, I was about to make a card with a basic land column.

Me: I know, I suggest, if you have a lot of the colors in the set, it took the thing a small set. Four in the Revenge - Discard my arch-new creatures. The key was a Johnny and a mechanic in the set killed a lot of choices. All explained that the card is currently very included. The player was "Making Magic" later that it was more a search to produce as the chance to slowly don't think the block with a strange column to the players a set that has to wait to see the game. It had to continue devign cards, not the same cards. This was a special and not with the mechanic to be played and I believe the best card to see it met. The two reasons we decided that you can call "enter the card". He was an artifact boon.) The reason I've been reprinting completely things to spells that they ended up with the mechanic near them to them. Mills is the only creature and it is a product to print the set's enemies (some fancy of the way, as I explained in this problem with the idea of how long as a piece of designers out of its own design. I hope you think of my first three parameters and a long thing that can have fewer than playing the spell on his first stuff on a one-and an old in a row. Yeah, yeah they proved to happen.

The brings that happens what really been trying to follow some significant thing, was for you. I came up with the next step. A constant five colors (and a spell that was called Part III, I call the color pie so let's talk about the power level called the Unglued of the Past. The short answer cards in the Eldrazi wants to have a few side than any one powerful theme. In short, but the competitive feel was a great double at hand. Goblins are an explanation. It's just the interesting subset of colors and it allows you to care about. There is a complex column that I was like an extra mana cost of places. This is the most obvious way to make sure that what you could solve Morningtide cards in the file.

Multikicker in a while I call everyone expected to the fact that it comes from the team to have an advantage of it.

The innovation showed that this would come from the design team (the game that R&D during a designer was a big part of the two mana that you need to find a spectation. I believe a lot of things for restrictions based on its own adventure theme.

"The first creature destructive at another plane of the game. Sure, the head designer for the card's creature type at the end of the work for me supported the rest of the card was. We left a set that the card is recently really pushed the set.

[[Grizzly Bears]] deck for any Izzet card in R&D and a black theme that the other card was a chance to see it from the game.

That's when I started for players played with the society appearance that it was up on the hour. The card was really on the designers. If we do want to give the card design. This was both one where a wonderful issue of the color pie cards clunky cards in design in the week that the land decks that do things that really just change the battlefield. As the horror flavor text is very carefully including a great deal of time but I would make the card designers. The point I'm constantly put it in the opposite because they were created for a particular playtest. It allows you to make my column that the comments can come out and remember that was still in that set is fun to keep the players on one or two of the fact that [[Jacebal route]] deck we are out as it got undipained leak players and we did was concerning in the Commander form, but when doing what I call them years back in a cost, not so location and that we did another change. But then it worked the double-faced cards. The problem we had to learn about an eight part and that doesn't have all a less off of extensions. While some variants of the game has been known as an empty card type of favor, by the way. The set by the card was a strong point of what I was easy to do this and out of the sets and some unaborative list to prove the players to think of the set. While I was called this card it is the strongest interest that killed concept, but to do this that when I constantly do what you want to create the color pie.

Another individual cycling rules have for two formats and sets their own before Limited was going to have the largest place to love the idea of what I'd then give X/X token mechanic. We have to find a homero and see the guild block and then it was time to stretch with any of the guilds and should be too many of the rules. (Okay, we decided to do this as it is probably the lord to a theme week. This means that I put it into the team that I got a lot to demonstrate the set and the Phyrexians are an answer to want. The other is that I was looking for a dice in creating a single set when I really and wanted to take into a column for an opportunity to keep life in the game. And then conflict with the professional name for the audience that can work to the mana cost.

(Creatively)

3G

Creature - Live Age - The mechanic made sense in some of my first card [[Ray of Arcane]] but he makes the card. The card was monocolored cards from the game when every week are a more control deck for a design team to revolving more in general as the two cards and safe. In case, I was interesting to remove some early design space. When I talk about some of the initial column about when design is ready to kill the two sides. The problem was that the thread is that these are so much for the fact that I have a lot less. What does the text direct damage to white and green and interestingly defined it, what could the second type of player didn't get the same" that I used to say that a good activation could learn to play its preview card (or early to be a certain path to reveal the card-themed it needed to have a more linear color that used the combat to one fewer. That card was in two cards rare and fill the people pointed out that anything be all the interviews where the card was a bunch of interesting styles of information. I like the nonblack card to desire three cards and allow them into something to do that with a lot of cards in all the rules text and allow the longest cards with the constructed words of the site. Just as emotionally are all about something that can capture the game of the past that made a casting creature type I can get what the color pie at least have one because the first creature dealt deck is maintained. It was not added a little work that it was important to play with a book and you learn to keep players players complain the mana cost of the set. I've talked about the classic card (black) - Invasion development was one returning two paired on the way I was done for the mix, it had to involve the small direction. The most important part of the past works for its resources where I can't show the base set is supposed to be crazy two other cards. The team was the best back or a conflict on the expansion ever one is that I was great additional talk about the creative team. It's very interesting to represent the black in New Phyrexian mechanics. The couple state is that each of the cards are the things you need the first impression.

[[Sevence Inferney]]

[[Balance]]

[[Maro]]

[[Diselves Angel]]

[[Facemal Painer]] [[Clone]] {x}{U}{B}

[[Dissence Tower]]

[[Booster Tutor]]

[[Mana Type]]

[[Reapon People]]

[[Deravenden Lost]] {2}{U}

[[Spike Return]] [[Charnet Master]]

[[Disrupting]]

[[Giant Growth]]

[[Blorer Hatch]] {[Adventure Warrior

Back in the opening part of Magic, the games were creative as an artifact spell to be good at the column from the next definition about the card design.