Worgen Race Gives Alliance Fresh Fangs in Cataclysm

Sissies. Do-gooders. Wannabe heroes. These are but few of the potshots aimed at the Alliance faction in the World of Warcraft. Most of these insults come from the rival Horde faction, who just can’t help themselves. But how can we blame them?

Most of the Alliance races just lack that raw, savage edge found among the orcs and undead of the Horde. The pink-haired girl gnomes, for example, are just too cute to inspire fear on a battlefield. Lucky for the Alliance, their feral cred is about to climb a notch when the Worgen race joins the Alliance faction in the upcoming Cataclysm expansion.

Unstable, aggressive, and capable of deadly force, Worgens are wolf-like humanoids summoned to Azeroth in a past war. Their curse of lycanthropy spread over time across the human nation of Gilneas, infecting most of the population.

The people of Gilneas tried to contain the curse by isolating themselves behind the Greymane Wall. But a world-breaking disaster and an invasion from the Horde’s undead will force Gilneas to harness their worgen power-if only to secure their place in the world.

In game, the Worgen have excellent battle prowess as seen in their combat racial abilities. One of these is Darkflight which quickens movement speed by 70% for a short time and is perfect for hunting down fleeing mobs or Horde players.

Aberration is a passive ability that reduces the duration of curses and diseases, making them tougher against dark arts users like warlocks. Sure to be a PvP favorite as well is the Viciousness racial trait that awards a whole 1% bonus to all Worgen damage.

Worgens are also imposing, graphics-wise, bearing the second-largest avatars in the Alliance faction just behind the Draenei race. With all that the Worgen are bringing to the table, the Horde will now have to put their necks on the line-and at risk of a nasty bite!-when belittling their Alliance rivals.

The Best Ladder Bow in Diablo 2 for the Bowazon – Find Out How to Take Advantage of This Work of Art

Amazons who make use of Bows as their primary weapon (commonly referred to as Bowazons), should take a look at the Faith Runeword. It offers an incredible bonus to weapon damage, and several exciting mods.

This Runeword is only available to Ladder Characters.


4 Socket Missile Weapons

Runes (in order): Ohm + Jah + Lem + Eld

 The Stats:

Level Requirement: 65

Level 12-15 Fanaticism Aura When Equipped (varies)

+1-2 To All Skills (varies)

+330% Enhanced Damage

Ignore Target’s Defense

300% Bonus To Attack Rating

+75% Damage To Undead

+50 To Attack Rating Against Undead

+120 Fire Damage

All Resistances +15

10% Reanimate As: Returned

75% Extra Gold From Monsters

Level 12-15 Fanaticism Aura When Equipped (varies)

This is one of the star mods of the Faith Runeword.

Fanaticism is one of the Paladin’s many Auras, located in the Offensive Aura Skill Tree. It is one of the most popular Auras with Diablo 2 players because not only does it improves the Paladin’s own Attack Speed, Attack Rating and Damage output, but it improves all of the Paladin’s allies’ Damage output as well.

A Level 15 Fanaticism Aura can increase the party’s damage by 144%; this is more than double the amount of original damage! With your Faith Runeword, you can now make use of the incredibly useful Fanaticism Aura, and not only up your own melee prowess, but you’ll be the pride of your allies as well!

+1-2 To All Skills (varies)

All characters of all builds can always enjoy a + to All Skills mod. This is a wonderful mod to have on a weapon.

+330% Enhanced Damage

Improving the damage of your current weapon by a fixed figure of 330% is a huge upgrade in damage potential. Faith might  well be the Grief or Death of missile weapon s due to its high %Enhanced Damage mod.

Ignore Target’s Defense

Great for killing normal monsters quickly, but this ability doesn’t work on Champions, Uniques, Bosses or Players.

300% Bonus To Attack Rating

This will really help out when your % to Hit Monsters go down as you level up and enter Hell Difficulty. A 300% Bonus to Attack Rating is huge, and for this reason, some classes who don’t rely purely on their weapons to kill (casters, or the occasional party-multiplayer oriented Paladin) might decide to give Faith a go. Combine this with an Angelic setup, and they might actually have a decent chance to hit.

+120 Fire Damage

Icing on the cake for anyone who goes for Faith

All Resistances +15

It’s rare for a missile weapon to provide a decent bonus to All Resistance, but Faith’s +15 to All Resistances really can help out with those players who want to max out their Resistance in Hell Difficulty (most players would).

10% Reanimate As: Returned

A very interesting mod for Faith, and certainly visually entertaining on-screen. Kill a monster on stage, and there is a 10% chance that it comes back as a powerful Skeleton. This is not a world-changing, Earth-shattering mod, but it does make using Faith a lot of fun.


This is one great Runeword to make in a bow. Massive weapon damage enhancement, the incredibly useful Fanaticism Aura, decent boost to All Resistances, +1-2 To All Skills, and mega boost to Attack Rating…it may be a bit expensive, but looking at all the stats and mods, it would hard for any player to deny its worth. If you’re rich enough, Faith can be a very nice Runeword to make in a bow and give to your Act 1 Rogue Mercenary, who rarely has nice weapons to choose from due to her dependency on missile weapon. With Faith equipped, she can deal good damage, and provide you with the Fanaticism Aura, while your character, if you were so inclined, can then wear or wield another item that provides  a different aura (Dream Runeword for Holy Shock, Doom Runeword for Holy Freeze), so you’d have a total of two Auras going (or three, if you were a Paladin).

The Infinite Source of Art

In Light on Adobe Walls, Willa Cather says, “Every artist knows there is no such thing as ‘freedom’ in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other.” I would go on to say that laying down limits is not only the first thing an artist does, but is everything the artist does. Creating art is a process of putting limits on infinite possibility. Like the God of Genesis, the artist imposes forms upon the void. He says, “Let there be light,” and then he places limits between light and dark, between waters above and waters below, between heaven and earth, between plant and animal, between man and woman.

First, the artist chooses a medium. Every medium has inherent limits. For example, visual artists do not create sounds. They are limited to optical expression. They work with shades of color and shapes of space. Again, musical art cannot be physically touched, as can a quilt or a statue. Again, a director of movies, who has music, visual spectacles, acting, and writing at his disposal, would find it very difficult to depict the dream consciousness of Joyce’s Finnegans Wake. Before choosing a medium, the artist sits before a mass of infinite possibilities for expression. The choice of a medium places some limits on what he can and can’t do.

The artist then finds that the elements of every medium may be combined in an infinite number of ways. When I sit down to compose on the guitar, I am faced with an infinite variety of possible notes and rhythms. Each time I choose a note or a rhythm, I say no to another. I generally choose to limit myself to the 12 note series of the standard European chromatic scale. Even this limit presents me with more possibilities than I know what to do with, so I usually select a scale that limits which notes from the 12 I will focus on. Often, I choose an 8 note scale and key that has proven fruitful for creation, such as A Hungarian Minor, C Phrygian, or E Lydian Dominant. This limit brings with it a host of other limits because each key and scale has a peculiar mood and sound. Even these scales boggle my mind with infinite possibilities for grouping notes into chords and for sequencing the order the notes appear in. The rhythms in which the notes appear must also be considered, but I’ve belabored this example enough. I think it illustrates that the creative process is one of continually choosing limits to the possible. The completed work is a very particular thing that the artist orders out of the infinite.

Then again, I’m not sure Cather is completely correct in saying that laying down barriers and limitations is always the first thing the artist does. When I write poems, the first thing that happens is usually a flash of intuition about a feeling or a topic. It may be a simple metaphor, or even just a sense that a subject will yield art. At this point, I haven’t even limited the expression of the intuition to a particular medium. Admittedly, the intuition itself may be a limitation of sorts–it certainly makes a particular association and no other, and it may be what Cather referred to as a “certain relation of…objects to each other”–but, “The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh, and whither it goeth.” I’m not sure where these intuitions come from, and I’m not certain they are a limitation and barrier on the infinite. They are a sort of vague potentiality with barely discernible limits that resemble expanses to be explored, rather than barriers.

I generally choose to express these intuitions in poetry. This choice of medium imposes limits, but it may not be followed by rhyme schemes or meters. Sometimes, the next thing I do is freely associate words on a page in an attempt to capture some of the pixie dust of the original intuition. My only limit is to associate as many feelings and thoughts with the intuition as I possibly can. This word storm will become the material I impose rhymes and meters on.

The words usually come fast and furious, but I always fail to capture all of the elements of the intuition. They slip back into the infinite from which they were born. The process of putting the intuition into a mess of words is a process of putting limitations and barriers on the intuition, but I question that the artist used limits and barriers to obtain the intuition precisely because of these lost elements. The intuition seems to have the character of an infinite. I recognize that an infinite is not the infinite because it is some limited portion of the infinite, but what I’m striving to express is that the artist doesn’t necessarily obtain this first intuition by laying down limits and barriers. Somehow, his first step was to enter the freedom of the mysterious infinite. I’m not sure he consciously chooses to make that step, and the step is often only the matter of a moment, but this step must be made in order to locate a portion of the infinite upon which to impose limits and barriers. The choice of the portion is the first limit and barrier the artist imposes, but it is the second step he takes.

I’ll close this post with a short poem. The initial intuition came while I walked home from work one day. I had no paper, so the image and word storm was formed on the canvass of my mind. When I reached a notebook, I poured it onto paper in a matter of moments. I imposed very little structure on it beyond the initial words that came and a few minor adjustments.

I see God,
And undead hunger swells inside me.
I tear his head off
And eat his brain.
‘Tis sweet and satisifies
Like no other brain before it.
I see I’ve eaten Athena,
But I’m no cannibal.
She seems to have enjoyed it,
And I, now enlivened,
Look forward to the fruit
That will burst from my temple
After the coming consummation.