Origins City Elves Prologue


August 24, 2009 - Dragon Age: Origins has six prologue stories that you can start the game with. In the previous two weeks we've looked at the Human Noble and the Dwarven Noble prologue stories. In our final look at the prologues, we take a look at the City Elves. There are two kind of elves in Dragon Age: City Elves and the Daleish. The former are beaten down urban dwellers while the latter are still wild elves who live as nomadic groups in the wilderness. Elves used to be held in slavery, until the prophet Andraste (the creator of the main religion in the game) abolished it 400 years prior to the events of the game. However, the elves are still discriminated against and looked down upon by humans, with city elves as basically indentured servants who live in slums called alienages

The final battle is against the noblemen themselves, but if you're willing to listen they'll offer a deal that involves you leaving the city that night with a nice bag of gold. If you're feeling rather cold-blooded, or if you didn't like the idea of an arranged marriage anyway, you can take the deal. It's certainly the slimier route. Or, if you don't take the deal, you kill all the noblemen and return everyone back to the alienage. However, the victory is short lived as the city guards come down on the alienage and demand your arrest. Again, you can have a choice, as you can take responsibility for the entire affair or you declare that it was you and your male cousin who did it. The good news is that either way Duncan, the Gray Warden, will invoke his right to conscript anyone into the order; apparently it's the equivalent of an instant pardon. The bad news is that if you didn't take responsibility all by yourself, then your cousin gets arrested and sent off to the executioner while you head off to battle the evil darkspawn threatening the world

Art buyers find few investment masterpieces

It was only when Jussi Pylkk√§nen was climbing down from the auctioneer’s rostrum that he realised the scale of what had just happened.

Having presided over the sale of a ravishing nude by Amedeo Modigliani for $170m, it struck him that this surpassed any previous auction figure achieved for the Italian artist’s work — by a staggering $100m.

“I knew the record would be broken, but not by how much. When you get a work that suddenly makes $100m more, that is the greatest single leap,” says the global president of Christie’s.

Since that New York sale in November 2015, auction records for individual artists have continued to tumble, underlining the appetite of super-rich collectors for the most desirable works of art. The global caravan of auctions, gallery shows and art fairs, which this week pauses in London for the annual Frieze fair, rumbles on in anticipation of the next masterwork to be offered for sale.

Many of those buying high-value art argue that the money involved is less important than gaining possession of a unique object of unimpeachable beauty or artistic value (and, perhaps, the chance to stand out from the gilded crowd). The idea of art as an investment is a secondary function, if at all. “You’re supposed to buy art because you like it. It’s a terribly corny phrase, but you get a ‘dividend of pleasure’,” says Bendor Grosvenor, a broadcaster and former art dealer.