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In the A Song of Ice and Fire novels, this empire began its rise to power over five thousand years ago when the humble shepherd communities of Valyria found dragon lairs in nearby volcanoes, the Fourteen Fires. Finding a way of binding the dragons to their will, the Lords Freeholder of Valyria overran the neighboring empire of Ghis, throwing it down in defeat five times before annexing it fully. Eventually Valyria's empire stretched for thousands of miles along the coasts of Essos and far inland, expanding into the far western coastal regions where it overran the lands watered by the Rhoyne River (displacing the native Rhoynar people to Westeros, where they settled in Dorne) and annexed or established eight powerful colony-states. Refugees from these states founded the city of Braavos as a secret refuge from the Valyrians. The Valyrians also established a stronghold on the island of Dragonstone, possibly to facilitate trade with the then-independent Seven Kingdoms.
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In November 2010, Assassin's Creed: Brotherhood was released. It continued the story of Ezio Auditore da Firenze from Assassin's Creed II and the modern day Assassins' story. It is also the first full game in the series to feature a multiplayer mode.
The Kilo Tray Ballas attempted a retaliation drive-by shooting as revenge for the destruction of the Front Yard Ballas' Idlewood crack house and the attack of the Balla dealers during the previous "Cleaning the Hood" mission. However, Carl, Sweet, Big Smoke, and Ryder catch them on the way to Grove Street from Willowfield as they were coming out of a drive thru at the local Cluckin' Bell restaurant. They are able to destroy the Ballas car and kill the Ballas during a shoot-out/car chase. Much to the dismay of the other OG's, Big Smoke plays no part in destroying the car and is more concerned with eating his food - providing one of the early in-game hints of Smoke's true relation with the Ballas.
After a gang war between the Ballas and Grove Street Families, Sweet is gunned down and arrested. Carl is also arrested, taken out of Los Santos by C.R.A.S.H. and dropped off in Angel Pine, with Tenpenny warning Carl to stay away from Big Smoke. At this point, Big Smoke and Ryder have defected to the Ballas and moved into the crack-cocaine trade full-time. This leaves the Grove Street Families with no leader or OGs, and many members either die during the gang war or are in hiding. The Ballas then control the entirety of what had been Grove Street territory - including Ganton and Grove Street itself, Santa Maria Beach, Temple and Playa Del Seville (in addition to re-capturing Glen Park). The Ballas then cement their control over the area of Grove Street by distributing crack cocaine through the area again, which is further fueled by their drug/supply and protection relationship with Big Smoke's cocaine empire. The Ballas and the Vagos then control all the gang territories in Los Santos.
During this stage of the game, the Ballas become the most powerful and dominant gang again, which they maintain throughout the rest of the game's middle story while building on their business relationships with Big Smoke's crack empire, the San Fierro Rifa, the Loco Syndicate, and the Russian Mafia. They are also hired by Big Smoke to provide protection in return for crack-cocaine and money (as are the Los Santos Vagos).
Sweet is released from prison on the orders of Mike Toreno, and he and Carl rebuild the depleted Families by reclaiming Ganton, Glen Park and Idlewood from the Ballas while killing many of the drug dealers in the area, weakening the Ballas' stronghold in the drug dealing business. Carl later infiltrates Big Smoke's crack palace in East Los Santos where he confronts and kills Smoke. This weakens the Ballas further and causes them to lose more of their influence on the streets. If the player chooses, they can take over all Ballas territory in Los Santos, wiping the gang out for good.
In addition to being a regular street gang, the Ballas are also hired by Big Smoke to provide protection for his drug empire in exchange for money and crack cocaine. This protection duty is one exception in the game where the Ballas and Vagos cooperate with each other despite being enemies on the streets.
I argue elsewhere ("Alembic" 48-55) that My Ántonia, Cather's only other first-person novel, should be approached as narrator Jim Burden's arrangement, that his picture making often diverges from what Cather would have produced in a thirdperson narrative, that in fact some scenes parody Jim's blind sentimentality. Nellie's narrative must be approached similarly, as the product of her own sophistication and a mixture of insight and blindness, and its brevity enables Cather to make the ordering obvious. For example, Nellie begins and ends with the string of amethysts; she balances the topaz-bestowing rich girl from "a breezy Western city" (33) in part 1 with the young woman journalist for whom Oswald "still wore his topaz sleeve-buttons" in part 2 (78), and she contrasts romantic Ewan Gray, who confesses to Myra about love, with Father Fay, the young priest to whom Myra confesses before her death (their names even rhyrne!). Saint Gaudens's copper image of naked Diana and the allusions to Norma in part 1 have their counterparts in the ivory corpus on Myra's crucifix and allusions to King Lear in part 2. Tensions are revealed through descriptions skillfully reducing setting to "the emotional penumbra of the characters themselves" ("Novel Démeublé" 40). The Henshawes' stellar phase, when they were "throwing off sparks like a pair of shooting stars" (64), is embodied in Nellie's rendering of Madison Square, "so neat after our Western cities; so protected by good manners and courtesy" (14), and in the "solidly built" "old brownstone on the north side of the Square" with chairs and curtains of "wonderful plum-colour" velvet (26) This is dramatically positioned against what Myra calls their "temporary eclipse" (62) in a new hotel "wretchedly built and already falling to pieces" in a sprawling California city tumbling "untidily into the sea" (57-58). The "high-ceilinged" openness and "manners and courtesy" are replaced by "palavery" Southerners tramping overhead, whose "stupid, messy existence [is] thrust upon [Myra] all day long, and half of the night" (66-67). Emphasizing the decline of all three principals (for "things had gone badly with [Nellie's] family" 1571) are the peeling and cracked furnishings and the fading "dear plum-coloured curtains" (63). Unsubstantial is the word Nellie uses to characterize the new setting (58). What she cannot realize, however, is the narrative strategy beyond her own that locates the temporal in the "solidly built" and the eternal in the flimsy. 076b4e4f54