"Although neighbouring peoples such as the Salish nations also traditionally produced art which shares some of the characteristics of Northwest Coast art, these styles of art are not usually included in the term, since the patterns and artifacts produced are rather different. For example, Salish peoples traditionally created standing welcome figures not created by other Northwest Coast peoples, did not traditionally create totem poles, and did not traditionally use the form lines and shapes of other Northwest Coast peoples.[4] One corollary of this fact is that — contrary to popular belief — other than some of the peoples of the Olympic Peninsula, no Native American nations of Washington and Oregon states produced totem poles and other characteristic, formline, Northwest Coast-style art objects before European contact.[5]

Traditionally, within a given community, some patterns and motifs could be used only by certain families and lineages, or with the agreement of those families and lineages. Today in British Columbia it is generally acknowledged that only First Nations artists of the appropriate nation have the moral right to produce art of given types and using given motifs. Some non-Native artists, such as John Livingston, have been adopted into First Nations and have thus formally acquired the right to produce such art.[1] In some Nations such as the Haida adoptions are simply seen as gestures and claims to produce work are viewed as economic and cultural appropriation."

• To provide some basic-to-elementary education about First Nation mythology and ways of life to those unfamiliar with them.
• To create a world and characters intriguing enough to make people want to learn more about these things on their own initiative.
• To be, at the same time, respectful of historical and mythological figures within the First Nations communities.
• To develop a simple-to-use, attractive [secret!] system and use it to its full potential within both plot and gameplay.
• To make copious use of the native regions and fauna of Canada (and possibly upper United States).
• To devise a fun, sly, manipulative main character who is relatable despite not being a traditionally accepted (western) form of hero or good guy.
• To create enemies and events that provide comprehensive gameplay, but aren't presented as morally black/white or good/evil.
• To achieve a balance between being easy to share, being easy to play (requirements-wise), and being within my capabilities as a programmer, while still adhering to my artistic vision as a designer who wants to make really cool stuff.
• To be primarily self-funded/low in monetary cost, so that profits can be forwarded to various associated charities.
• To create a kickass RPG that's just as fun to make as it is to play, bitch.

The white-robed boys swept back their hoods and Locke saw that they were twins; perhaps a year or two older than himself, and far sturdier-looking. They had the olive skin and black hair of the true Camorri; their identical long, hook-ended noses, however, were something of an anomaly. Smiling, they joined hands and bowed in unison from the waist.

'Um, hi,' Locke said. 'Which of you is . . . which?'

'Today, I am Galdo,' said the one on Locke's left.

'Tomorrow, I will probably be Galdo,' said the other one.

'Or perhaps we'll both want to be Calo,' added the one that had first spoken.

'In time,' Father Chains interrupted, 'you'll learn to tell them apart by the number of dents I've kicked in their respective arses; one of them always manages to be ahead of the other, somehow.' He stood behind Locke and placed both of his wide, heavy hands on Locke's shoulders. 'Idiots, this is Locke Lamora. As you can see, I've just bought him from your old benefactor, the master of Shades' Hill.'

'We remember you,' said presumed-Galdo.

'A Catchfire orphan,' said presumed-Calo.

'Father Chains bought us just after you arrived,' they said in unison, grinning.

'Knock that bullshit off," Father Chains said, his voice somehow regal. 'You two have just volunteered to cook dinner. Pears and sausage in oil, and a double portion for your new little brother. Get. Locke and I will deal with the kettle.'

Sneering and gesturing rudely as they went, the twins ran for the curtained door and vanished behind it. Locke could hear their footsteps trailing away down some sort of staircase, and then Father Chains motioned for him to sit beside the copper money-kettle.

The Lies of Locke Lamora is a fantasy novel by Scott Lynch. It follows the adventures of a group of con artists known as the Gentlemen Bastards. They live in a city called Camorr, heavily based on late medieval Venice. The book is divided into two interspersed stories. In the present time, the Gentlemen Bastards must contend with the Grey King, a powerful figure terrorizing Camorr's criminal community. Every other chapter, however, delves into the history and mythology of Camorr, the Gentlemen Bastards, and especially the protagonist Locke Lamora.
— Wikipedia entry accessed June 6 2011

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