Tanya Artemiciov is a talented Mage-class adventurer who just got kicked out of her party by a sexist scumbag. So what's a girl to do? Go to the wasteland and blow stuff up of course! One small problem though: she inadvertently frees a mythical Sorceress named Laplace who was sealed away for the past 300 years...Surprise! Turns out this so-called "wicked" Sorceress is actually pretty cool. Laplace wants to start a party of her own, Tanya wants revenge, and the solution is obvious: team up. It's time to kick ass, kiss girls, and dismantle the patriarchy!

"After taking first place in the Sparring Tournament, Tanya Artemiciov and the rest of her party members are invited to the royal soiree. Following a chance encounter with Princess Arianora, they catch a glimpse of Maxwell, the man who sealed Laplace away for 300 years. And the very next morning, Laplace goes missing.What secrets are hiding in Laplace's dark past? What's the REAL reason she was sealed away for so long? And... why does she look so much like Arianora?! Kick off your high heels and loosen that corset, because it's time for revenge: part two!"

Baskets made of baleen, the fibrous substance found in the mouths of plankton-eating whales-a malleable and durable material that once had commercial uses equivalent to those of plastics today-were first created by Alaska Natives in the early years of the twentieth century. Because they were made for the tourist trade, they were initially disdained by scholars and collectors, but today they have joined other art forms as a highly prized symbol of native identity. Baskets of exquisite workmanship, often topped with fanciful ivory carvings, have been created for almost a century, contributing significantly to the livelihood of their makers in the Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay, Alaska. Baleen Basketry of the North Alaskan Eskimo, originally published in 1983, was the first book on this unusual basket form. In this completely redesigned edition, it remains the most informative work on baleen baskets, covering their history, characteristics, and construction, as well as profiling their makers. Illustrations of the basketmakers at work and line drawings showing the methods of construction are a charming addition to this book, which belongs in the library of all those with an interest in the art of basketry and in Alaskan Native arts in general.

Now in a full-color second edition, "Not Just a Pretty Face" is an engaging exploration of the role of dolls and doll making in Alaska Native cultures. From ancient ivory carvings to the thriving tourist market, dolls and human figurines have played integral parts in the ritual, economic, and social lives of Native Alaskans. Dolls served as children's playthings, represented absent community members at ceremonies, and predicted the movements of game animals for shamans. "Not Just a Pretty Face" surveys these and other uses of dolls and figurines, illustrating in beautiful color photographs the diversity of the doll-making tradition in Eskimo, Athabaskan, and Northwest Coast Native communities.
Authors explore the ethnographic literature, twentieth-century oral histories, and photographic documentation of dolls and the doll-making process. Contemporary doll makers explain, in their own words, how they learned to make dolls and what doll making means to them. The second edition features a photo essay on Rosalie Paniyak of Chevak, one of the most influential doll makers in Alaska today.
"Not Just a Pretty Face" provides a panoramic view of an ancient tradition and situates the art of doll making within a contemporary context. Scholarly, yet accessible, "Not Just a Pretty Face" is a lively contribution to the literature on dolls, anthropology, and Native studies.