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Mothergamer (1546 KP) rated the PC version of Assassin's Creed Revelations in Video Games
Apr 3, 2019
Assassin's Creed Revelations ties up the story of Ezio Auditore, Altair Ibn-La'Ahad, and Desmond Miles. The story in Revelations not only includes Ezio's quest to uncover the secrets of his order, but a romantic interest, and a complex political situation as well. You also get flashbacks of Altair's life and some brief optional excursions in Desmond's mind in the Animus, making for an intricate story.
Somehow, it all fits together perfectly. Ezio's story seems to be the catalyst because his quest to find out more information about Altair ties itself to the social and political unrest in Constantinople. The romance between Sophia and Ezio is subtle and it is impressive how convincing they are and you find yourself believing that these two are falling in love with all the chaos around them. Overall, the story telling in Revelations is remarkable and the cinematic scenes are done right with fully developed characters in strongly written scenes.
A New City To Explore.....
On a basic level, Revelations plays the same as the Assassin Creed games that came before. You're still accepting various missions that have you stalking, meeting, or killing targets. Some of the quests in Revelations do add to parts of the story, but more than a handful are time wasters or poorly constructed. However, the most exciting moments are Ezio exploring Constantinople and his discovery of clues about Altair's library. It's here where the "dungeon" sequences come into play. Similar to the Lairs of Romulus and the Assassin's Tombs, these excavations can take you on some fantastic adventures and these are some of the great highlights of the game.
Adventuring Is A Dangerous Business
Even better are the chapters that feature Altair himself. Each major portion of the game includes a segment with the original assassin and players relive specific moments from his life from young to very old. Some of these missions feel slightly similar to some of Ezio's, but others are completely different. The variety keeps things from getting dull as well as the fact that they're very story driven. Some of Altair's memories even carry a certain weight and understanding of what Ezio is doing. As the game progresses, you begin to see similarities and differences between the two men, which makes the story an even more emotional and thought provoking experience.
When it comes to gameplay, it's clear Ubisoft made a number of additions in terms of controls, weaponry, and the menu layout. The most noticeable change was a button layout change. Players can now directly access a secondary weapon (throwing knives, bombs,) in addition to a primary weapon (hidden blade, sword). This gives players more options, allowing for quick reactions during stealth missions as well as challenging combat scenes. Bombs become an extension of your combat options, offering three different categories. Choices of bombs range from standard smoke bombs to a bomb that shoots out coins luring dozens of peasants.
Climbing higher and higher....
The hook blade was also introduced, a feature playing on Ezio's hidden blade, that is perfect for zip lines and climbing to heights that seem almost unreachable. It becomes a universal tool in Revelations, for exploring the city and other locations as well as proving useful in close combat and assassination missions.
Hook blade, don't leave home without it.
The only two parts of the game I found issue with were Den Defense and some of the game play as Desmond Miles. First of all, Den Defense really didn't add a lot to the experience of Revelations. In fact, it detracted from it. The menu is very clunky. Ezio stands on a rooftop near his headquarters as enemy troops march down the street attempting to damage the building so they can take it over. Players must install through a point and click cursor menu various barricades and a variety of assassins along the rooftops to fend off the attack. Controlling the deployment is really clunky and this mode does not mesh well with the game. Assassin's Creed's strength and focus is direct combat, not real time strategy. Frequently, I found myself fighting against overwhelming odds, which made the whole thing an irritating mess. If they bring Den Defense back, they definitely need to make a few changes and modifications to it.
Now we come to Desmond. Desmond's sequences are completely optional in Revelations, most likely Ubisoft anticipating a divided reaction to the departure in game design. Desmond is in a coma, attempting to reclaim his mind within the Animus architecture and must navigate through Tron like worlds in first person perspective. He moves through these oddities by using two shapes of blocks he can create and place in the world. While I did like getting to hear some of Desmond's memories and his back story, I did not like the first person perspective. It's jarring at first, and it takes a lot of getting used to. I also suffer incredibly bad vertigo in first person game settings which is why I rarely play first person games. I found that while it was a bit unsettling at first, I did get used to Desmond's first person view sequences because thankfully, the camera did not bob up and down at weird angles. I could only play in brief bits however, because after a few minutes I found myself feeling quite nauseated. I truly wish his sequences had not been done in first person, but the scenes are well thought out and the puzzles actually play well. I also found myself a bit frustrated towards the end when once again, I got more questions than answers. I came to understand that they left it this way on purpose to make room for the forthcoming Assassin's Creed game in 2012, so I'll just have to wait.
Multiplayer is augmented again in Revelations with various new modes, a variety of customization options, and a better interface along with a story mode that allows players to learn more about the Templars as they progress in the Abstergo facility. There are several modes that create unique gameplay with different match types. All of these build towards an ultimate goal which certainly rewards those who are used to focusing on a core storyline.
Overall, Assassin's Creed Revelations gives a brilliant presentation of an intricate story line filled with gorgeous graphics, great voice acting, subtle yet powerful music, and great core gameplay. For me, this was the best Assassin's Creed yet and I know I will be playing through it again. If you've been following the stories of Altair and Ezio this far, you definitely need to see their last adventure. It's worth it.
Somehow, it all fits together perfectly. Ezio's story seems to be the catalyst because his quest to find out more information about Altair ties itself to the social and political unrest in Constantinople. The romance between Sophia and Ezio is subtle and it is impressive how convincing they are and you find yourself believing that these two are falling in love with all the chaos around them. Overall, the story telling in Revelations is remarkable and the cinematic scenes are done right with fully developed characters in strongly written scenes.
A New City To Explore.....
On a basic level, Revelations plays the same as the Assassin Creed games that came before. You're still accepting various missions that have you stalking, meeting, or killing targets. Some of the quests in Revelations do add to parts of the story, but more than a handful are time wasters or poorly constructed. However, the most exciting moments are Ezio exploring Constantinople and his discovery of clues about Altair's library. It's here where the "dungeon" sequences come into play. Similar to the Lairs of Romulus and the Assassin's Tombs, these excavations can take you on some fantastic adventures and these are some of the great highlights of the game.
Adventuring Is A Dangerous Business
Even better are the chapters that feature Altair himself. Each major portion of the game includes a segment with the original assassin and players relive specific moments from his life from young to very old. Some of these missions feel slightly similar to some of Ezio's, but others are completely different. The variety keeps things from getting dull as well as the fact that they're very story driven. Some of Altair's memories even carry a certain weight and understanding of what Ezio is doing. As the game progresses, you begin to see similarities and differences between the two men, which makes the story an even more emotional and thought provoking experience.
When it comes to gameplay, it's clear Ubisoft made a number of additions in terms of controls, weaponry, and the menu layout. The most noticeable change was a button layout change. Players can now directly access a secondary weapon (throwing knives, bombs,) in addition to a primary weapon (hidden blade, sword). This gives players more options, allowing for quick reactions during stealth missions as well as challenging combat scenes. Bombs become an extension of your combat options, offering three different categories. Choices of bombs range from standard smoke bombs to a bomb that shoots out coins luring dozens of peasants.
Climbing higher and higher....
The hook blade was also introduced, a feature playing on Ezio's hidden blade, that is perfect for zip lines and climbing to heights that seem almost unreachable. It becomes a universal tool in Revelations, for exploring the city and other locations as well as proving useful in close combat and assassination missions.
Hook blade, don't leave home without it.
The only two parts of the game I found issue with were Den Defense and some of the game play as Desmond Miles. First of all, Den Defense really didn't add a lot to the experience of Revelations. In fact, it detracted from it. The menu is very clunky. Ezio stands on a rooftop near his headquarters as enemy troops march down the street attempting to damage the building so they can take it over. Players must install through a point and click cursor menu various barricades and a variety of assassins along the rooftops to fend off the attack. Controlling the deployment is really clunky and this mode does not mesh well with the game. Assassin's Creed's strength and focus is direct combat, not real time strategy. Frequently, I found myself fighting against overwhelming odds, which made the whole thing an irritating mess. If they bring Den Defense back, they definitely need to make a few changes and modifications to it.
Now we come to Desmond. Desmond's sequences are completely optional in Revelations, most likely Ubisoft anticipating a divided reaction to the departure in game design. Desmond is in a coma, attempting to reclaim his mind within the Animus architecture and must navigate through Tron like worlds in first person perspective. He moves through these oddities by using two shapes of blocks he can create and place in the world. While I did like getting to hear some of Desmond's memories and his back story, I did not like the first person perspective. It's jarring at first, and it takes a lot of getting used to. I also suffer incredibly bad vertigo in first person game settings which is why I rarely play first person games. I found that while it was a bit unsettling at first, I did get used to Desmond's first person view sequences because thankfully, the camera did not bob up and down at weird angles. I could only play in brief bits however, because after a few minutes I found myself feeling quite nauseated. I truly wish his sequences had not been done in first person, but the scenes are well thought out and the puzzles actually play well. I also found myself a bit frustrated towards the end when once again, I got more questions than answers. I came to understand that they left it this way on purpose to make room for the forthcoming Assassin's Creed game in 2012, so I'll just have to wait.
Multiplayer is augmented again in Revelations with various new modes, a variety of customization options, and a better interface along with a story mode that allows players to learn more about the Templars as they progress in the Abstergo facility. There are several modes that create unique gameplay with different match types. All of these build towards an ultimate goal which certainly rewards those who are used to focusing on a core storyline.
Overall, Assassin's Creed Revelations gives a brilliant presentation of an intricate story line filled with gorgeous graphics, great voice acting, subtle yet powerful music, and great core gameplay. For me, this was the best Assassin's Creed yet and I know I will be playing through it again. If you've been following the stories of Altair and Ezio this far, you definitely need to see their last adventure. It's worth it.
Purple Phoenix Games (2266 KP) rated Big Easy Busking in Tabletop Games
Sep 15, 2020
Ahh New Orleans. If there ever was a city I NEED to revisit, it’s New Orleans. I love nearly everything about it. The history, the art and music, the architecture, and strolling down Frenchman Street at night listening to the hottest music I’ve ever heard live. But what is it like to BE a musician in NOLA? Or even a group’s manager? Well, I’ve never played in New Orleans (I am a professional trumpet player – don’t belive me? Check out the last photo in this review to see my axe and the box as proof), but I can imagine how it would go. Does Big Easy Busking capture the feeling? Let’s find out together.
Big Easy Busking is a card-based area control game with a sweet sweet music theme. Players will be taking turns learning charts, playing charts, and transferring energy from the musicians to the crowd and back. The winner of Big Easy Busking is the player who can score the biggest haul in tips for the weekend to become the hottest band in town.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, two “streets” in New Orleans will need to be populated with song cards, both standards and learnable tunes. Crowd cards will be placed under the streets to depict certain crowds and what the moods of those crowds are. Each player will receive some starting bread (money for those not in the biz), energy for their 3-piece band of sax, trumpet, and drums, a starting set list of three tunes, and a reference card that has nothing to do with the metaphor. Decide who can play the highest note (if you are all trumpet players) and the gig may begin!
A turn is broken down into a few different parts. The first thing to be done on a turn is to finish playing the song that had been started in the previous round. Obviously you need to START playing a song to be able to finish, so the primary phase of the turn would be to either learn a song from the song offer or start playing a song from those dealt during setup. To play a song, players will choose a song card, place it under a crowd card (hopefully matching their mood: masks, hearts, beads, fleur-de-lis), gather the required energy from the musicians appropriately, and add those energy cubes to the song card.
After a song is started or learned, the player’s turn is over. On the next turn the player will finish playing the song by moving the spent energy to the crowd in full and taking $1 or moving some of the energy to the crowd and some back to their band members to be used on future songs.
The middle step in a turn (yes, I know I am explaining it out of order, but you do have to start playing a song before you can finish it) is to optionally tip your band members by trading in money for energy at a 1:1 ratio.
Once all players have used up their energy cubes or simply wish to, they will announce that they are “taking a break.” In other words, they pass for the remainder of the round. As the last player takes their break the end of round activities begin. Printed on each crowd card are two important icons: payout amounts for majority of energy and payout amounts for energy reaching the threshold. Resolving each crowd card will determine the players that hold majority or shared majority in each crowd location. For the majority holders payouts will reflect what is printed on the upper left of the crowd card. The upper right of the crowd card displays the number of energy needed upon it to meet the threshold in order to be paid the amount shown. When all crowd cards have been scored players will setup for the next night (round) per the rules. Play continues in this way over three rounds with the winner being the player at the end of the game with the most money.
Components. This is a smaller box (not exactly the same size, but think Tiny Epic), but it is packed with some really amazing bits. First off, as you can tell from the photos the art and color palette used here is simply phenomenal. I absolutely love the color scheme and the art certainly reminds me of some paintings we purchased from an artist on Jackson Square last time we were able to visit. The cards are nice, but I think I will want to sleeve them eventually as I had them in my hands the whole game. The cardboard money and mood tokens are fine, and the wooden cubes reflect the colorful nature of this little gem. All in all, exactly what I would expect from components in a Weird Giraffe Games production. Stellar (see what I did there, Carla?).
I have not really enjoyed a ton of area control games in my gaming history. So this came as a little bit of a shock as I truly loved playing this game. Even the solo rules are engaging and DIFFICULT to win. I came close though – within $1. The game is super quick as you are trying to please the crowds and their distinct moods with your best charts, but having to be mindful of not overextending your musicians lest they be too exhausted to give you the gas when you need it. THAT part resonates with me personally. Being a musician myself, I can tell you that crowds that are into a tune or a band and give them all the energy they have will be rewarded with even more from the band. I definitely give it more when the crowd digs what we’re laying down.
In any case, this is a game review, not a nostalgic trip down my musical memory lane. But then again, a little card game just brought me back wonderful memories of my band, and of visiting New Orleans, and of the joy of live music. Does Big Easy Busking completely mimic what it’s like to be a musician? Well, no, I can’t imagine how any game truly could, but it certainly shows the cyclical nature of energy being exchanged between musicians and appreciative crowds. Oh, the names of the tunes are also pretty funny on some. This all said, I super love this game and will be kicking out something in my collection to make room for it. If you are needing a smaller card game that you can bring out with musicians or non-musicians that appreciate the theme but also want to start introducing area control in a more accessible form, please do check out Big Easy Busking. Purple Phoenix Games gives it a good-for-the-soul 10 / 12. Maybe once I get into video I will do a Dan King (Game Boy Geek) serenade for Big Easy Busking as it travels into my collection.
Big Easy Busking is a card-based area control game with a sweet sweet music theme. Players will be taking turns learning charts, playing charts, and transferring energy from the musicians to the crowd and back. The winner of Big Easy Busking is the player who can score the biggest haul in tips for the weekend to become the hottest band in town.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, two “streets” in New Orleans will need to be populated with song cards, both standards and learnable tunes. Crowd cards will be placed under the streets to depict certain crowds and what the moods of those crowds are. Each player will receive some starting bread (money for those not in the biz), energy for their 3-piece band of sax, trumpet, and drums, a starting set list of three tunes, and a reference card that has nothing to do with the metaphor. Decide who can play the highest note (if you are all trumpet players) and the gig may begin!
A turn is broken down into a few different parts. The first thing to be done on a turn is to finish playing the song that had been started in the previous round. Obviously you need to START playing a song to be able to finish, so the primary phase of the turn would be to either learn a song from the song offer or start playing a song from those dealt during setup. To play a song, players will choose a song card, place it under a crowd card (hopefully matching their mood: masks, hearts, beads, fleur-de-lis), gather the required energy from the musicians appropriately, and add those energy cubes to the song card.
After a song is started or learned, the player’s turn is over. On the next turn the player will finish playing the song by moving the spent energy to the crowd in full and taking $1 or moving some of the energy to the crowd and some back to their band members to be used on future songs.
The middle step in a turn (yes, I know I am explaining it out of order, but you do have to start playing a song before you can finish it) is to optionally tip your band members by trading in money for energy at a 1:1 ratio.
Once all players have used up their energy cubes or simply wish to, they will announce that they are “taking a break.” In other words, they pass for the remainder of the round. As the last player takes their break the end of round activities begin. Printed on each crowd card are two important icons: payout amounts for majority of energy and payout amounts for energy reaching the threshold. Resolving each crowd card will determine the players that hold majority or shared majority in each crowd location. For the majority holders payouts will reflect what is printed on the upper left of the crowd card. The upper right of the crowd card displays the number of energy needed upon it to meet the threshold in order to be paid the amount shown. When all crowd cards have been scored players will setup for the next night (round) per the rules. Play continues in this way over three rounds with the winner being the player at the end of the game with the most money.
Components. This is a smaller box (not exactly the same size, but think Tiny Epic), but it is packed with some really amazing bits. First off, as you can tell from the photos the art and color palette used here is simply phenomenal. I absolutely love the color scheme and the art certainly reminds me of some paintings we purchased from an artist on Jackson Square last time we were able to visit. The cards are nice, but I think I will want to sleeve them eventually as I had them in my hands the whole game. The cardboard money and mood tokens are fine, and the wooden cubes reflect the colorful nature of this little gem. All in all, exactly what I would expect from components in a Weird Giraffe Games production. Stellar (see what I did there, Carla?).
I have not really enjoyed a ton of area control games in my gaming history. So this came as a little bit of a shock as I truly loved playing this game. Even the solo rules are engaging and DIFFICULT to win. I came close though – within $1. The game is super quick as you are trying to please the crowds and their distinct moods with your best charts, but having to be mindful of not overextending your musicians lest they be too exhausted to give you the gas when you need it. THAT part resonates with me personally. Being a musician myself, I can tell you that crowds that are into a tune or a band and give them all the energy they have will be rewarded with even more from the band. I definitely give it more when the crowd digs what we’re laying down.
In any case, this is a game review, not a nostalgic trip down my musical memory lane. But then again, a little card game just brought me back wonderful memories of my band, and of visiting New Orleans, and of the joy of live music. Does Big Easy Busking completely mimic what it’s like to be a musician? Well, no, I can’t imagine how any game truly could, but it certainly shows the cyclical nature of energy being exchanged between musicians and appreciative crowds. Oh, the names of the tunes are also pretty funny on some. This all said, I super love this game and will be kicking out something in my collection to make room for it. If you are needing a smaller card game that you can bring out with musicians or non-musicians that appreciate the theme but also want to start introducing area control in a more accessible form, please do check out Big Easy Busking. Purple Phoenix Games gives it a good-for-the-soul 10 / 12. Maybe once I get into video I will do a Dan King (Game Boy Geek) serenade for Big Easy Busking as it travels into my collection.
Hadley (567 KP) rated The Devil in the White City: Murder, Magic, and Madness in Books
Jan 18, 2021
History (1 more)
Well-written
H.H. Holmes had many aliases and lives.
He's been a doctor and a licensed pharmacist, who then conned an old couple into selling their drug store to him where he preyed on young girls and ignorant customers that would buy whatever Holmes would tell them to buy, whether it were real or fake tonics.
He was a building owner who had a murder hotel secretly built with " a wooden chute that would descend from a secret location on the second floor all the way to the basement... ", "a room next to his office fitted with a large walk-in vault, with airtight seams and asbestos-coated iron walls. A gas jet embedded in one wall would be controlled from his closet...", "a large basement with hidden chambers and a sub-basement for the permanent storage of sensitive material. "
He owned and ran an alcohol-treatment company known as the Silver Ash Institute that claimed to have the cure for alcoholism.
He was a traveling business man, who had two wives and two children. He established the Campbell-Yates Manufacturing Company, which made nothing and sold nothing.
He was also labeled as America's first serial killer. His body count is unknown even today; his victims were frequently young women, which included stenographers and house wives. He was best known for convincing people who trusted him to sign him as the beneficiary of their life insurance policies, only to kill them and make it seem an accident so he could collect the money.
Holmes grew up in a small farming village in New Hampshire, where he briefly spoke about an early fear of a human skeleton that hung in a doctor's office: " 'I had daily to pass the office of one village doctor, the door of which was seldom if ever barred,' he wrote in a later memoir. 'Partly from its being associated in my mind as the source of all the nauseous mixtures that had been my childish terror (for this was before the day of children's medicines), and partly because of vague rumors I had heard regarding its contents, this place was one of peculiar abhorrence to me.' "... "Two children discovered Mudgett's [Holmes' real last name] fear and one day captured him and dragged him 'struggling and shrieking' into the doctor's office. 'Nor did they desist,' Mudgett wrote, 'until I had been brought face to face with one of its grinning skeletons, which, with arms outstretched, seemed ready in its turn to seize me. It was a wicked and dangerous thing to do to a child of tender years and health,' he wrote, ' but it proved an heroic method of treatment, destined ultimately to cure me of my fears, and to inculcate in me, first, a strong feeling of curiosity, and, later, a desire to learn, which resulted years afterwards in my adopting medicine as a profession.' "
Erik Larson's fourth book, the Devil in the White City, is only partly about Holmes and his dark trail of murder and lies. The story told is mostly centered around the planning and building of the 1893 World's Fair. The prologue opens with one of the architects aboard a ship long after the fair has ended - - - 1912 to be exact- - - where he begins to write of the fair in his diary. The next chapter continues on with Chicago competing against other major cities to win the rights to host the World's Fair. Chicago was not the ideal place for the fair because it was known for it's crime and slaughter houses - - - this was exactly why the politicians wanted it so badly there, so it would help to lighten the image of Chicago for the rest of the world. Even the local Whitechapel Club that had sprouted up after the infamous murders by Jack the Ripper, were excited to win the rights to host the fair in their city, and celebrated in a macabre way:
"Upon learning that Chicago had won the fair, the men of the Whitechapel Club composed a telegram to Chauncey Depew, who more than any other man symbolized New York and its campaign to win the fair. Previously Depew had promised the members of the Whitechapel Club that if Chicago prevailed he would present himself at the club's next meeting, to be hacked apart by the Ripper himself - - - metaphorically, he presumed, although at the Whitechapel Club could one ever be certain? The club's coffin, for example, had once been used to transport the body of a member who had committed suicide. After claiming his body, the club hauled it to the Indiana Dunes on Lake Michigan, where members erected an immense pyre. They placed the body on top, then set it alight. Carrying torches and wearing black hooded robes, they circled the fire singing hymns to the dead between sips of whiskey. The club also had a custom of sending robed members to kidnap visiting celebrities and steal them away in a black coach with covered windows, all without saying a word.
The club's telegram reached Depew in Washington twenty minutes after the final ballot, just as Chicago's congressional delegation began celebrating at the Willard Hotel near the White House. The telegram asked, 'When may we see you at our dissecting table?' "
There are chapters in-between, technically reading like a side story, that tell us about Holmes and his misdeeds in Chicago, but there just wasn't enough about Holmes that I could consider this a True Crime book, nor an informative book about Holmes. Unfortunately, when the reader begins to really dwell into the story of Holmes, it's quickly ended by having two or more chapters about the building of the World's Fair. One interesting point about the story is that the reader does get to see how many inventions were brought to light because of the Fair, such as the invention of the Ferris Wheel. Larson's writing is very coherent and the descriptions are so well done that the reader is practically transported back to the late 1800s, yet, before I finished the book, I felt misled by the title... then coming across everything that happened to not only the Fair, but the people who were involved with it, it's hard not to wonder if the whole thing was cursed, thus the Devil being in the White City.
One of the side stories I did really enjoy was the slow unfolding of a man named Prendergast. A delusional young man who ran one of the groups of paperboys in Chicago, who was also obsessed with politics, became a determined supporter of Mayor Harrison; after Harrison was voted into office again, Prendergast believed it was because of him and the letters he sent out to numerous politicians and potential voters. Prendergast also believed he deserved a chair on the council for Harrison's re-election, for which he even showed up at City Hall to take over. This incident was the straw that broke the camel's back for Prendergast - - - he was humiliated when the people there laughed in his face. Prendergast then decided to take matters into his own hands, and bought a revolver. The day before the Fair would end, Prendergast showed up at Harrison's home and shot him. Harrison died minutes later. Prendergast turned himself in for the murder as soon as he left Harrison's residence. When asked why he had done it, Prendergast responded: " ' Because he betrayed my confidence. I supported him through his campaign and he promised to appoint me corporation counsel. He didn't live up to his word.' "
This book has been voted as a top True Crime must-read novel. I don't agree with this. As I said before: Holmes' chapters are few; eighty percent of this book is about the building of the World's Fair. As a True Crime junkie, I didn't enjoy this one, but also as a history junkie, I enjoyed learning about the Fair and everything that happened. I can't recommend this book to TC fans or horror fans. It's mostly history and architecture.
He's been a doctor and a licensed pharmacist, who then conned an old couple into selling their drug store to him where he preyed on young girls and ignorant customers that would buy whatever Holmes would tell them to buy, whether it were real or fake tonics.
He was a building owner who had a murder hotel secretly built with " a wooden chute that would descend from a secret location on the second floor all the way to the basement... ", "a room next to his office fitted with a large walk-in vault, with airtight seams and asbestos-coated iron walls. A gas jet embedded in one wall would be controlled from his closet...", "a large basement with hidden chambers and a sub-basement for the permanent storage of sensitive material. "
He owned and ran an alcohol-treatment company known as the Silver Ash Institute that claimed to have the cure for alcoholism.
He was a traveling business man, who had two wives and two children. He established the Campbell-Yates Manufacturing Company, which made nothing and sold nothing.
He was also labeled as America's first serial killer. His body count is unknown even today; his victims were frequently young women, which included stenographers and house wives. He was best known for convincing people who trusted him to sign him as the beneficiary of their life insurance policies, only to kill them and make it seem an accident so he could collect the money.
Holmes grew up in a small farming village in New Hampshire, where he briefly spoke about an early fear of a human skeleton that hung in a doctor's office: " 'I had daily to pass the office of one village doctor, the door of which was seldom if ever barred,' he wrote in a later memoir. 'Partly from its being associated in my mind as the source of all the nauseous mixtures that had been my childish terror (for this was before the day of children's medicines), and partly because of vague rumors I had heard regarding its contents, this place was one of peculiar abhorrence to me.' "... "Two children discovered Mudgett's [Holmes' real last name] fear and one day captured him and dragged him 'struggling and shrieking' into the doctor's office. 'Nor did they desist,' Mudgett wrote, 'until I had been brought face to face with one of its grinning skeletons, which, with arms outstretched, seemed ready in its turn to seize me. It was a wicked and dangerous thing to do to a child of tender years and health,' he wrote, ' but it proved an heroic method of treatment, destined ultimately to cure me of my fears, and to inculcate in me, first, a strong feeling of curiosity, and, later, a desire to learn, which resulted years afterwards in my adopting medicine as a profession.' "
Erik Larson's fourth book, the Devil in the White City, is only partly about Holmes and his dark trail of murder and lies. The story told is mostly centered around the planning and building of the 1893 World's Fair. The prologue opens with one of the architects aboard a ship long after the fair has ended - - - 1912 to be exact- - - where he begins to write of the fair in his diary. The next chapter continues on with Chicago competing against other major cities to win the rights to host the World's Fair. Chicago was not the ideal place for the fair because it was known for it's crime and slaughter houses - - - this was exactly why the politicians wanted it so badly there, so it would help to lighten the image of Chicago for the rest of the world. Even the local Whitechapel Club that had sprouted up after the infamous murders by Jack the Ripper, were excited to win the rights to host the fair in their city, and celebrated in a macabre way:
"Upon learning that Chicago had won the fair, the men of the Whitechapel Club composed a telegram to Chauncey Depew, who more than any other man symbolized New York and its campaign to win the fair. Previously Depew had promised the members of the Whitechapel Club that if Chicago prevailed he would present himself at the club's next meeting, to be hacked apart by the Ripper himself - - - metaphorically, he presumed, although at the Whitechapel Club could one ever be certain? The club's coffin, for example, had once been used to transport the body of a member who had committed suicide. After claiming his body, the club hauled it to the Indiana Dunes on Lake Michigan, where members erected an immense pyre. They placed the body on top, then set it alight. Carrying torches and wearing black hooded robes, they circled the fire singing hymns to the dead between sips of whiskey. The club also had a custom of sending robed members to kidnap visiting celebrities and steal them away in a black coach with covered windows, all without saying a word.
The club's telegram reached Depew in Washington twenty minutes after the final ballot, just as Chicago's congressional delegation began celebrating at the Willard Hotel near the White House. The telegram asked, 'When may we see you at our dissecting table?' "
There are chapters in-between, technically reading like a side story, that tell us about Holmes and his misdeeds in Chicago, but there just wasn't enough about Holmes that I could consider this a True Crime book, nor an informative book about Holmes. Unfortunately, when the reader begins to really dwell into the story of Holmes, it's quickly ended by having two or more chapters about the building of the World's Fair. One interesting point about the story is that the reader does get to see how many inventions were brought to light because of the Fair, such as the invention of the Ferris Wheel. Larson's writing is very coherent and the descriptions are so well done that the reader is practically transported back to the late 1800s, yet, before I finished the book, I felt misled by the title... then coming across everything that happened to not only the Fair, but the people who were involved with it, it's hard not to wonder if the whole thing was cursed, thus the Devil being in the White City.
One of the side stories I did really enjoy was the slow unfolding of a man named Prendergast. A delusional young man who ran one of the groups of paperboys in Chicago, who was also obsessed with politics, became a determined supporter of Mayor Harrison; after Harrison was voted into office again, Prendergast believed it was because of him and the letters he sent out to numerous politicians and potential voters. Prendergast also believed he deserved a chair on the council for Harrison's re-election, for which he even showed up at City Hall to take over. This incident was the straw that broke the camel's back for Prendergast - - - he was humiliated when the people there laughed in his face. Prendergast then decided to take matters into his own hands, and bought a revolver. The day before the Fair would end, Prendergast showed up at Harrison's home and shot him. Harrison died minutes later. Prendergast turned himself in for the murder as soon as he left Harrison's residence. When asked why he had done it, Prendergast responded: " ' Because he betrayed my confidence. I supported him through his campaign and he promised to appoint me corporation counsel. He didn't live up to his word.' "
This book has been voted as a top True Crime must-read novel. I don't agree with this. As I said before: Holmes' chapters are few; eighty percent of this book is about the building of the World's Fair. As a True Crime junkie, I didn't enjoy this one, but also as a history junkie, I enjoyed learning about the Fair and everything that happened. I can't recommend this book to TC fans or horror fans. It's mostly history and architecture.
Mandy and G.D. Burkhead (26 KP) rated The Grey Bastards in Books
May 20, 2018
Shelf Life – The Grey Bastards Exemplifies Grimdark Fantasy at Its Damn Finest
Contains spoilers, click to show
The Grey Bastards is a fun, foul-mouthed read. If you’re turned off by bad language, steamy sex, or a good plot with plenty of action and twists, then this book isn’t for you. The Grey Bastards falls into the fantasy sub-genre known as grimdark. Where high fantasy has your Tolkien beautiful and noble elves, dwarves, humans, and wizards with epic battles between good and evil, grimdark takes all of that and covers it in shit, pus, and blood. Notice how in high fantasy nobody ever takes a piss or fucks? In grimdark, everyone does.
But don’t be fooled into thinking this book will be any less intelligent, epic, or heartfelt for it. The Grey Bastards is all of that and more. The novel follows Jackal, a half-breed orc living in the Lot Lands, the barren desert wasteland of Hispartha. He is a Grey Bastard, one of many half-orc hoofs, each protecting its own small town in the Lots. Members of a hoof are elite warriors that ride out on their Barbarians—giant warthogs—and slaughter invading bands of orcs.
Hispartha is a vibrant world, with a mix of fantastical species (orcs, half-orcs, elves, humans, halflings, and centaurs) with unique cultures and religions. Hispartha itself takes influences from Reconquista Spain, which is especially noticeable in the nomenclature, geography, and architecture.
The primarily atheistic half-orcs recently won their freedom from slavery at the hands of humans. Humans treat the half-orcs like second-class citizens, but tolerate them because of their strength, using them as a shield from the orcs. The elves are beautiful, reclusive, and probably the most cliché; there is one important elf character, but for the most part, we don’t get a good look into their culture in the first book. The centaurs worship Romanesque deities and go on crazed, Bacchanalian killing sprees during the blood moon.
Besides the half-orcs, the halflings are perhaps the most interesting. I still have a hard time visualizing them, trying to figure out if they are thin, pixie-like creatures or more stocky like dwarves. Their small stature and black skin makes me think of pygmies. They worship a god they expect will reincarnate someday, (view spoiler)
One thing that has always annoyed me about fantasy is that many authors feel that the characters of their world, being pre-industrial and thus “medieval,” must all be white, straight, Christian (or proto-Christian), cisgender males. If a woman appears at all is to act as the damsel, prize, or, if she’s lucky, a mystical enchantress to guide the heroes or provide a maguffin. It has come to the point in which this has become a tired and accepted baseline for fantasy. I don’t necessarily think that these fantasy authors are intentionally trying to be uninclusive, so much as they just seem to forget that other groups of people can exist in fantasy thanks to its fathers, Tolkien and Lewis.
But enough with my rant, the purpose of which is to highlight why I am often drawn to grimdark fantasy: at the very least I know that women, people of color, lgbt people, and other religions will be present, even if they are often victimized. This is because grimdark fantasy honestly depicts the horrors of rape, war, murder, slavery, and racism (or rather, speciesism in most cases) and has heroes and villains that are morally grey.
However, many authors describe these atrocities and then leave it at that, assuming that simply depicting them is enough to make a book mature and meaningful. They often fail to make any sort of statement on evil, and thus can seem to be, at best, blindly accepting it and, at worst, glorifying it (this often happens in the cases of magnificent bastard characters, who are absolute monsters but are so charming you almost respect or like them).
Jonathan French, however, does not fall short of the mark as many authors do, and for two main reasons: humor and humanity.
Let’s start with the humor. This book is hilarious. I mean in the I literally laughed out loud while reading it way. Sure, the jokes are often crass, but I have a dirty mind, so inappropriate humor is my favorite kind. The dialogue is especially top-notch, and the interactions between Jackal and his friends Fetching and Oats feel genuine, full of in-jokes, insults, and sexually-charged humor, all of which are exactly how I interact with my own close friends. And every major character in this book is so damn witty that I’m honestly jealous of them. If I could be quick enough to make even one of their zingers at the right time in a conversation, I would feel proud of myself for the rest of the day.
Humor is necessary to prevent any grimdark fantasy from becoming too over-the-top or depressing. And honestly, humor is needed most when the world is a dark and frightening place. But too much humor could accidentally downplay the point of grimdark: the brutally honest depiction of the atrocities that people are capable of.
And this is where it is important to have an element of humanity. By this I mean that the “good guys” must make some action or statement on those atrocities. Too often I read or watch hardened badass characters with no emotion who can watch a person get tortured and killed without flinching (maybe even do it themselves) and who never stop to question the nature of their society (even as part of their character growth), and I have difficulty finding them at all relatable or even the least bit interesting.
Now, often for this type of character, he or she is dead inside as a coping mechanism and part of their character arc is learning to allow themselves to feel their repressed emotions: heartbreak, anger, fear, etc. This can be done very well (see The Hunger Games for a great example—dystopian scifi and grimdark fantasy have very similar undertones). But most times it just ends up falling flat.
But Jackal already starts out with more personality than most grimdark protagonists. He is a humorous and light-hearted person. Sure, he lives in a desert wasteland, his race is entirely created by rape, he’s treated as a second-class citizen, and his life and the lives of those around him are in constant danger of rape and/or murder by invading orcs or blood-crazed centaurs. But despite all of that, he still has a sense of humor, people he loves, a community, ambitions, moral code, and all of the other things that these protagonists are often lacking.
Don’t get me wrong, he can be an asshole, and he’s often acts rashly before he thinks. But the scene that really stuck with me the most was [when Jackal and the wizard Crafty come across an unconscious elf sex-slave. I was expecting him to say something along the lines of “There’s nothing we can do for her, we have to save ourselves” or “This isn’t any of our business” or “It would be best to just put her out of her mercy.” These are the typical lines that a grimdark protagonist might utter while their companion—accused of being a bleeding heart—frees the slave. But this was not the case. Jackal and Crafty both immediately set out to free the girl and steal her away from her owner, despite the danger to themselves. And when he comes across an entire castle-full of these women, Jackal again sets about freeing them without a moment’s hesitation. (hide spoiler)]
And it’s no surprise that Jackal has a serious problem with rape. As I’ve mentioned before, half-orcs are entirely the product of roving bands of orcs raping human, elven, or even half-orc women. [When Jackal learns that Starling, the elf slave he rescued, is pregnant with a half-orc baby, he is not only furious with the orcs that gang-raped her, but also disturbed by the fact that elven society shuns any of their women who have been raped, and that these victims often end up taking their own lives rather than give birth to an impure half-elf. (hide spoiler)]
Furthermore, Jackal, unlike many people in Hispartha, does not buy into misogyny or sexism. His best friend Fetching is the first female half-orc to have joined a group of riders. Not only does Jackal respect Fetching, he understands the emotional turmoil that she is dealing with being the first female rider and how she overcompensates as a result to earn the respect of the other men.
While there is quite a bit of speciesism (pretty much none of the species get along with one another), the inhabitants of Hispartha come in every skin color and nobody gives a damn. Furthermore, sexuality is primarily treated as each person’s individual preference and nobody else’s business. While characters may make jokes about acting “backy” (gay), these are made in good humor between friends, and nobody gets particularly offended by them. Fetching is herself openly bisexual (though she seems to suppress her heterosexual desires more than her homosexual ones out of that same need to be “one of the boys”), and Oats and Jackal are one of my favorite bromantic pairings.
Grimdark fantasy can often be depressing to read. But Jonathan French does an excellent job of infusing hope into his narrative. The story actually has a happier ending than I was expecting. [I was especially pleased when Jackal chooses Fetching to be the new leader of the hoof (she is voted in unanimously by the other riders). I find it incredibly annoying in books and movies when revolutionaries/usurpers decide to appoint themselves leaders, as the former does not qualify you for the latter. Part of Jackal’s arc is realizing that he is not meant to lead the hoof like he’d once desired. (hide spoiler)]
For the sequel, The True Bastards, I’m hoping to see [if a cure can be found for the thrice-blood child now infected with plague, how Fetching is doing leading the hoof, and what the mysterious Starling is up to (I don’t buy for a second that she’s killed herself). And of course, I fully expect that Jackal is going to have to fulfill his empty promise to the halfling’s resurrected god, Belico.
But don’t be fooled into thinking this book will be any less intelligent, epic, or heartfelt for it. The Grey Bastards is all of that and more. The novel follows Jackal, a half-breed orc living in the Lot Lands, the barren desert wasteland of Hispartha. He is a Grey Bastard, one of many half-orc hoofs, each protecting its own small town in the Lots. Members of a hoof are elite warriors that ride out on their Barbarians—giant warthogs—and slaughter invading bands of orcs.
Hispartha is a vibrant world, with a mix of fantastical species (orcs, half-orcs, elves, humans, halflings, and centaurs) with unique cultures and religions. Hispartha itself takes influences from Reconquista Spain, which is especially noticeable in the nomenclature, geography, and architecture.
The primarily atheistic half-orcs recently won their freedom from slavery at the hands of humans. Humans treat the half-orcs like second-class citizens, but tolerate them because of their strength, using them as a shield from the orcs. The elves are beautiful, reclusive, and probably the most cliché; there is one important elf character, but for the most part, we don’t get a good look into their culture in the first book. The centaurs worship Romanesque deities and go on crazed, Bacchanalian killing sprees during the blood moon.
Besides the half-orcs, the halflings are perhaps the most interesting. I still have a hard time visualizing them, trying to figure out if they are thin, pixie-like creatures or more stocky like dwarves. Their small stature and black skin makes me think of pygmies. They worship a god they expect will reincarnate someday, (view spoiler)
One thing that has always annoyed me about fantasy is that many authors feel that the characters of their world, being pre-industrial and thus “medieval,” must all be white, straight, Christian (or proto-Christian), cisgender males. If a woman appears at all is to act as the damsel, prize, or, if she’s lucky, a mystical enchantress to guide the heroes or provide a maguffin. It has come to the point in which this has become a tired and accepted baseline for fantasy. I don’t necessarily think that these fantasy authors are intentionally trying to be uninclusive, so much as they just seem to forget that other groups of people can exist in fantasy thanks to its fathers, Tolkien and Lewis.
But enough with my rant, the purpose of which is to highlight why I am often drawn to grimdark fantasy: at the very least I know that women, people of color, lgbt people, and other religions will be present, even if they are often victimized. This is because grimdark fantasy honestly depicts the horrors of rape, war, murder, slavery, and racism (or rather, speciesism in most cases) and has heroes and villains that are morally grey.
However, many authors describe these atrocities and then leave it at that, assuming that simply depicting them is enough to make a book mature and meaningful. They often fail to make any sort of statement on evil, and thus can seem to be, at best, blindly accepting it and, at worst, glorifying it (this often happens in the cases of magnificent bastard characters, who are absolute monsters but are so charming you almost respect or like them).
Jonathan French, however, does not fall short of the mark as many authors do, and for two main reasons: humor and humanity.
Let’s start with the humor. This book is hilarious. I mean in the I literally laughed out loud while reading it way. Sure, the jokes are often crass, but I have a dirty mind, so inappropriate humor is my favorite kind. The dialogue is especially top-notch, and the interactions between Jackal and his friends Fetching and Oats feel genuine, full of in-jokes, insults, and sexually-charged humor, all of which are exactly how I interact with my own close friends. And every major character in this book is so damn witty that I’m honestly jealous of them. If I could be quick enough to make even one of their zingers at the right time in a conversation, I would feel proud of myself for the rest of the day.
Humor is necessary to prevent any grimdark fantasy from becoming too over-the-top or depressing. And honestly, humor is needed most when the world is a dark and frightening place. But too much humor could accidentally downplay the point of grimdark: the brutally honest depiction of the atrocities that people are capable of.
And this is where it is important to have an element of humanity. By this I mean that the “good guys” must make some action or statement on those atrocities. Too often I read or watch hardened badass characters with no emotion who can watch a person get tortured and killed without flinching (maybe even do it themselves) and who never stop to question the nature of their society (even as part of their character growth), and I have difficulty finding them at all relatable or even the least bit interesting.
Now, often for this type of character, he or she is dead inside as a coping mechanism and part of their character arc is learning to allow themselves to feel their repressed emotions: heartbreak, anger, fear, etc. This can be done very well (see The Hunger Games for a great example—dystopian scifi and grimdark fantasy have very similar undertones). But most times it just ends up falling flat.
But Jackal already starts out with more personality than most grimdark protagonists. He is a humorous and light-hearted person. Sure, he lives in a desert wasteland, his race is entirely created by rape, he’s treated as a second-class citizen, and his life and the lives of those around him are in constant danger of rape and/or murder by invading orcs or blood-crazed centaurs. But despite all of that, he still has a sense of humor, people he loves, a community, ambitions, moral code, and all of the other things that these protagonists are often lacking.
Don’t get me wrong, he can be an asshole, and he’s often acts rashly before he thinks. But the scene that really stuck with me the most was [when Jackal and the wizard Crafty come across an unconscious elf sex-slave. I was expecting him to say something along the lines of “There’s nothing we can do for her, we have to save ourselves” or “This isn’t any of our business” or “It would be best to just put her out of her mercy.” These are the typical lines that a grimdark protagonist might utter while their companion—accused of being a bleeding heart—frees the slave. But this was not the case. Jackal and Crafty both immediately set out to free the girl and steal her away from her owner, despite the danger to themselves. And when he comes across an entire castle-full of these women, Jackal again sets about freeing them without a moment’s hesitation. (hide spoiler)]
And it’s no surprise that Jackal has a serious problem with rape. As I’ve mentioned before, half-orcs are entirely the product of roving bands of orcs raping human, elven, or even half-orc women. [When Jackal learns that Starling, the elf slave he rescued, is pregnant with a half-orc baby, he is not only furious with the orcs that gang-raped her, but also disturbed by the fact that elven society shuns any of their women who have been raped, and that these victims often end up taking their own lives rather than give birth to an impure half-elf. (hide spoiler)]
Furthermore, Jackal, unlike many people in Hispartha, does not buy into misogyny or sexism. His best friend Fetching is the first female half-orc to have joined a group of riders. Not only does Jackal respect Fetching, he understands the emotional turmoil that she is dealing with being the first female rider and how she overcompensates as a result to earn the respect of the other men.
While there is quite a bit of speciesism (pretty much none of the species get along with one another), the inhabitants of Hispartha come in every skin color and nobody gives a damn. Furthermore, sexuality is primarily treated as each person’s individual preference and nobody else’s business. While characters may make jokes about acting “backy” (gay), these are made in good humor between friends, and nobody gets particularly offended by them. Fetching is herself openly bisexual (though she seems to suppress her heterosexual desires more than her homosexual ones out of that same need to be “one of the boys”), and Oats and Jackal are one of my favorite bromantic pairings.
Grimdark fantasy can often be depressing to read. But Jonathan French does an excellent job of infusing hope into his narrative. The story actually has a happier ending than I was expecting. [I was especially pleased when Jackal chooses Fetching to be the new leader of the hoof (she is voted in unanimously by the other riders). I find it incredibly annoying in books and movies when revolutionaries/usurpers decide to appoint themselves leaders, as the former does not qualify you for the latter. Part of Jackal’s arc is realizing that he is not meant to lead the hoof like he’d once desired. (hide spoiler)]
For the sequel, The True Bastards, I’m hoping to see [if a cure can be found for the thrice-blood child now infected with plague, how Fetching is doing leading the hoof, and what the mysterious Starling is up to (I don’t buy for a second that she’s killed herself). And of course, I fully expect that Jackal is going to have to fulfill his empty promise to the halfling’s resurrected god, Belico.