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Black Rabbit Hall
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One golden family. One fateful summer. Four lives changed forever. Amber Alton knows that the hours...
KittyMiku (138 KP) rated Anything For Love in Books
Apr 10, 2019
Relatable characters (1 more)
Full of mystery and action
Contains spoilers, click to show
I would first like to say I don't normally like these short little romance novels, but I really enjoyed this one. I often find the short romance novels like this are rushed or leaves something to be desired at the end. In Anything for Love, I found that the story was relatable and quite enjoyable to read. It left you smiling at the end and it felt complete. I don't have many complaints, just a few grammatical errors that are easily overlooked, as there might have been at most five in total. It was the characters that made the story for me, especially Winter.
Winter's past was rough, especially where her ex, Danny, was concerned. With the betrayal and manipulative nature he had, I wouldn't have blamed Winter for closing herself off to the world of dating. Even though you don't get the full extent of what he did to her, besides being a jerk, until she tells Wyatt why she is so closed off to him, you can't help but understand what she is going through. Most women swear off dating when they break up with a particular nasty relationship. Though, it rarely sticks, its not hard to see Winter is a vary realistic character, that many women can relate to. It was very nice to see that she had made up her mind and did everything in her power to stay away from Wyatt, knowing she wasn't ready for a relationship or to trust another man. It wasn't just her heart and how I could relate to her in the romance department that got me, it was her strength and determination to protect the children she helped. Her concern and kindness for the kids who are in group homes waiting to be adopted, melted my heart. It was very clear that those kids meant the world to her, even more than her own life. Not many people would stand up to a gang and even deny them a new recruit, putting their life at risk, to protect a child that wasn't theirs and yet she did. She not only kept the kid, Carlos, safe from the gang life, but she made sure she got him into an art class, so that he would be able to further his education on that which he loves. It made it easy to see how someone could fall in love with her.
While Winter is a little closed off to dating and more focused on the kids that attend her center, Wyatt is more determined to win her over while being the cop he is. At first you want to hate him. He comes off arrogant and career oriented, as well as a horn dog. It is clear he wants to be with her sexually and his determination makes you slightly wonder if he would do anything unsavory to achieve this. However, that opinion dissolves quickly after Winter allows him to take her out to hang out a bit during a Halloween party her co-worker and bestfriend throws. Wyatt shows genuine interest in Winter and even appears to be a really good guy, but what amazed me was that fact he never did anything to push her into kissing him, having sex or anything. He was patient, kind and understanding, even before Winter finally told him what Danny had done to her in her past. Though he seemed demanding and a bit of someone who would be controlling, it was nice to see the softer side of him too. To be able to find someone who won't take no as an answer, but also be patient and considerate of another's feelings is a rare trait to have. Normally, you don't see both those traits in a single person, but Wyatt has them and it makes for interesting guy. Your heart automatically goes out to him as you watch him be patient with Winter. At points, I found myself yelling at Winter because of how broken she was. I understand where she was coming from, having been in horrid relationships myself, but I would like to think if I was her, I would have been a bit more willing to trust him sooner than she did. Wyatt is a definite dream hunk and will be your book boyfriend if you only let him love you.
I have say that this book kept me thirsty for more, especially since so much was left out to keep it a bit suspenseful. I loved how the gang, Street Kings, was left alone after Winter confronts them to leave Carlos alone, that you nearly forget about them being in the picture. It made for a nice little dramatic event when they pop back up. Or when you learn more about Wyatt that is kept being hinted at throughout the story. I found this all to make quite a compelling story. It had the right amount of suspense, mystery and action to make this romance novel that perfect read in my opinion. I would recommend it to all my romance readers. I would rate this book 4 stars out of 5 stars simply because of the few grammar errors I had found while reading, Though they didn't take away from enjoying the book, I still wish they hadn't been present. It can ruin any grammar freak's day.
Anything for Love is free for the Kindle, and that's without Kinde Unlimited. It is also the first book in the series "The Hunter Brothers." I do hope you go to check it out and grab your copy from Amazon while it is free to grab. Happy Reading!
Winter's past was rough, especially where her ex, Danny, was concerned. With the betrayal and manipulative nature he had, I wouldn't have blamed Winter for closing herself off to the world of dating. Even though you don't get the full extent of what he did to her, besides being a jerk, until she tells Wyatt why she is so closed off to him, you can't help but understand what she is going through. Most women swear off dating when they break up with a particular nasty relationship. Though, it rarely sticks, its not hard to see Winter is a vary realistic character, that many women can relate to. It was very nice to see that she had made up her mind and did everything in her power to stay away from Wyatt, knowing she wasn't ready for a relationship or to trust another man. It wasn't just her heart and how I could relate to her in the romance department that got me, it was her strength and determination to protect the children she helped. Her concern and kindness for the kids who are in group homes waiting to be adopted, melted my heart. It was very clear that those kids meant the world to her, even more than her own life. Not many people would stand up to a gang and even deny them a new recruit, putting their life at risk, to protect a child that wasn't theirs and yet she did. She not only kept the kid, Carlos, safe from the gang life, but she made sure she got him into an art class, so that he would be able to further his education on that which he loves. It made it easy to see how someone could fall in love with her.
While Winter is a little closed off to dating and more focused on the kids that attend her center, Wyatt is more determined to win her over while being the cop he is. At first you want to hate him. He comes off arrogant and career oriented, as well as a horn dog. It is clear he wants to be with her sexually and his determination makes you slightly wonder if he would do anything unsavory to achieve this. However, that opinion dissolves quickly after Winter allows him to take her out to hang out a bit during a Halloween party her co-worker and bestfriend throws. Wyatt shows genuine interest in Winter and even appears to be a really good guy, but what amazed me was that fact he never did anything to push her into kissing him, having sex or anything. He was patient, kind and understanding, even before Winter finally told him what Danny had done to her in her past. Though he seemed demanding and a bit of someone who would be controlling, it was nice to see the softer side of him too. To be able to find someone who won't take no as an answer, but also be patient and considerate of another's feelings is a rare trait to have. Normally, you don't see both those traits in a single person, but Wyatt has them and it makes for interesting guy. Your heart automatically goes out to him as you watch him be patient with Winter. At points, I found myself yelling at Winter because of how broken she was. I understand where she was coming from, having been in horrid relationships myself, but I would like to think if I was her, I would have been a bit more willing to trust him sooner than she did. Wyatt is a definite dream hunk and will be your book boyfriend if you only let him love you.
I have say that this book kept me thirsty for more, especially since so much was left out to keep it a bit suspenseful. I loved how the gang, Street Kings, was left alone after Winter confronts them to leave Carlos alone, that you nearly forget about them being in the picture. It made for a nice little dramatic event when they pop back up. Or when you learn more about Wyatt that is kept being hinted at throughout the story. I found this all to make quite a compelling story. It had the right amount of suspense, mystery and action to make this romance novel that perfect read in my opinion. I would recommend it to all my romance readers. I would rate this book 4 stars out of 5 stars simply because of the few grammar errors I had found while reading, Though they didn't take away from enjoying the book, I still wish they hadn't been present. It can ruin any grammar freak's day.
Anything for Love is free for the Kindle, and that's without Kinde Unlimited. It is also the first book in the series "The Hunter Brothers." I do hope you go to check it out and grab your copy from Amazon while it is free to grab. Happy Reading!
Connor Sheffield (293 KP) rated Vikings in TV
Feb 4, 2018
Somewhat historically accurate (2 more)
Visually Compelling
Gripping drama that keeps you wanting more
One of my favourite shows of all time
Vikings, for the first 3 seasons, tells the story of the rise to power of the legendary Ragnar Lothbrok, though the character himself in reality, despite being written about in sagas and poems from that era, remains a mystery to historians to this day.
In the show, Ragnar Lothbrok is portrayed by Travis Fimmel, who is fantastic in any role he has taken from what I have seen of his work. As Ragnar he excels at portraying many aspects of the character, from a loving father, to a fierce warrior. Though you still believe that he has nothing but the best intentions for his people, as well as himself. He is a somewhat difficult man to read as he may seem selfish at time, and yet his actions help the people around him, whilst other times, his actions may appear to be for the benefit of others, when really it is an act of selfishness. No matter what he does though, he does it well.
However, there is more to this show that just Ragnar Lothbrok. There is his wife, Lagertha, a famous shield maiden portrayed by Katheryn Winnick, who is able to achieve the same talent as Fimmel, by portraying the many sides to the character she plays. She is a loving mother, wife, though sometimes troubled, but at the end of the day, she is a badass. A strong female protagonist with a lot to gain and a lot to lose. Her story unfolds more from season 2 onwards and it is one that keeps you on edge, wanting to know what the future holds for Lagertha. Sadly, we have no seers to tell us what the gods have in store for her, we can only watch in suspense as the events unfold.
Then there are the Sons of Ragnar, who in later seasons, become the pinnacle of the show. The main focus, that will shape the future of what the show will become. All of them are incredible actors who portray their characters to the best they can be. My two favourites, are Bjorn Ironside, portrayed by Alender Ludwig, and Ivar The Boneless, portrayed by Alex Høgh Andersen. Both of these young actors excel in creating the best of their characters. Bjorn being the eldest of Ragnars sons, is the one you may become attached to most as he is there from the very beginning, portrayed at first by the young, Nathan O'Toole. In season 2 however, Bjorn is growing into a tall and strong young man, and this is where Ludwig excels. You believe that he is still young and blind from the world as it truly is, but enough so that you can believe that he is willing to learn more and like his father, wishes to know as much as he can about the world.
Ivar on the other hand, is brilliant for his own reason. Andersen's portrayal is fierce, creepy and brutal. He portrays a young man who is willing to overcome any obstacle including his own disability, to prove himself as a great warrior, and a force to be reckoned with. His constant anger is always on display as well, even when he is happy. You can see just from the expressions on his face, that he has so much going through his mind. So much cunning and so much emotion that he does not show. He is phenomanal in his role.
Though there are many other characters and actors to talk about such as Gustaf Skarsgard, who's brother, Bill, recently became notorious for his role as the new updated remake of Pennywise the Clown in IT (2017), as well as Clive Standen as Rollo, Ragnar's brother who is always dancing between loyalty and betrayal. Every cast member in this show is brilliant in what they have achieved with their characters and you will come to enjoy all of them.
The visuals of the show are stunning, with lots of blood and gore, comes a historically accurate representation of the lives and locations of the Vikings of that era. From visions, to battles, to drama. The visual effects keep you entranced and bring the story to life, which makes this show so incredible in my opinion. The best part, is that with each season and each episode, the story and visuals get better and better and leave you wanting more.
The show overall, is brilliant, and I have watched it many times over from the beginning, and it never gets boring. I love the historical accuracy mixed with fantasy elements and drama, which keep it interesting, but more importantly I how the show makes the audience feel. I have felt saddened, shocked and joyful throughout this show as it brilliantly allows each character to grow and flourish into the best they can be. It leaves you in suspense of what it is to come and when the show ends, I shall be very sad, but I have high hopes that they end the show with as much power as they put in each episode from the very beginning. I will continue to watch this show multiple times with each season as I wait for the next to be released. I am on my third run through of the show whilst waiting for part 2 of season 5. As I said before, it just keeps getting better.
In the show, Ragnar Lothbrok is portrayed by Travis Fimmel, who is fantastic in any role he has taken from what I have seen of his work. As Ragnar he excels at portraying many aspects of the character, from a loving father, to a fierce warrior. Though you still believe that he has nothing but the best intentions for his people, as well as himself. He is a somewhat difficult man to read as he may seem selfish at time, and yet his actions help the people around him, whilst other times, his actions may appear to be for the benefit of others, when really it is an act of selfishness. No matter what he does though, he does it well.
However, there is more to this show that just Ragnar Lothbrok. There is his wife, Lagertha, a famous shield maiden portrayed by Katheryn Winnick, who is able to achieve the same talent as Fimmel, by portraying the many sides to the character she plays. She is a loving mother, wife, though sometimes troubled, but at the end of the day, she is a badass. A strong female protagonist with a lot to gain and a lot to lose. Her story unfolds more from season 2 onwards and it is one that keeps you on edge, wanting to know what the future holds for Lagertha. Sadly, we have no seers to tell us what the gods have in store for her, we can only watch in suspense as the events unfold.
Then there are the Sons of Ragnar, who in later seasons, become the pinnacle of the show. The main focus, that will shape the future of what the show will become. All of them are incredible actors who portray their characters to the best they can be. My two favourites, are Bjorn Ironside, portrayed by Alender Ludwig, and Ivar The Boneless, portrayed by Alex Høgh Andersen. Both of these young actors excel in creating the best of their characters. Bjorn being the eldest of Ragnars sons, is the one you may become attached to most as he is there from the very beginning, portrayed at first by the young, Nathan O'Toole. In season 2 however, Bjorn is growing into a tall and strong young man, and this is where Ludwig excels. You believe that he is still young and blind from the world as it truly is, but enough so that you can believe that he is willing to learn more and like his father, wishes to know as much as he can about the world.
Ivar on the other hand, is brilliant for his own reason. Andersen's portrayal is fierce, creepy and brutal. He portrays a young man who is willing to overcome any obstacle including his own disability, to prove himself as a great warrior, and a force to be reckoned with. His constant anger is always on display as well, even when he is happy. You can see just from the expressions on his face, that he has so much going through his mind. So much cunning and so much emotion that he does not show. He is phenomanal in his role.
Though there are many other characters and actors to talk about such as Gustaf Skarsgard, who's brother, Bill, recently became notorious for his role as the new updated remake of Pennywise the Clown in IT (2017), as well as Clive Standen as Rollo, Ragnar's brother who is always dancing between loyalty and betrayal. Every cast member in this show is brilliant in what they have achieved with their characters and you will come to enjoy all of them.
The visuals of the show are stunning, with lots of blood and gore, comes a historically accurate representation of the lives and locations of the Vikings of that era. From visions, to battles, to drama. The visual effects keep you entranced and bring the story to life, which makes this show so incredible in my opinion. The best part, is that with each season and each episode, the story and visuals get better and better and leave you wanting more.
The show overall, is brilliant, and I have watched it many times over from the beginning, and it never gets boring. I love the historical accuracy mixed with fantasy elements and drama, which keep it interesting, but more importantly I how the show makes the audience feel. I have felt saddened, shocked and joyful throughout this show as it brilliantly allows each character to grow and flourish into the best they can be. It leaves you in suspense of what it is to come and when the show ends, I shall be very sad, but I have high hopes that they end the show with as much power as they put in each episode from the very beginning. I will continue to watch this show multiple times with each season as I wait for the next to be released. I am on my third run through of the show whilst waiting for part 2 of season 5. As I said before, it just keeps getting better.
Naomi Forrest (42 KP) rated The Toy Makers in Books
Jan 2, 2019
The first thing on the very first page that I loved was the narrator setting the scene and talking directly to you:
‘See the woman with the cage of pipe-cleaner birds, the vagrant soldier marvelling at the stuffed dogs lounging in their baskets? Keep a careful eye on them; you will see them again’.
I knew just from this descriptive ‘setting the scene’ chapter this book was going to be amazing, there was so much magic encapsulated in those first five pages. Papa Jack’s Emporium is the most wonderful shop you could imagine, a labyrinth of joy, surprises around every aisle and so much more. If you have ever seen the toy shop on Home Alone 2 that looked so amazing as a child, it has nothing on this! I was pretty sure for at least half of the book that Papa Jack was indeed Father Christmas.
After the initial chapter, the reader is introduced to Cathy, a fifteen year old who, shamefully (the year is 1906), is unmarried and pregnant. Plans are made for her to go to a special home where she will give birth and her child will be adopted. However, Cathy spots an advert looking for staff for the Emporium and runs away and so, the magic begins! The reader is catapulted into the world of the emporium and soon meets Papa Jack’s sons, Emil and Kaspar, who assist their father in the running of the store and the making of the toys, which are so much more than toys as we know them. People flock from far and wide to the emporium for it’s sublime creations and the memories and pleasures that they evoke.
The first half of the novel was like a fairytale, building beautifully to a gorgeous climax, full of wonder, friendship and subtle romance (perfectly done, so as not to detract from more pressing themes). In my head, toy soldiers and paper trees were everywhere and the wendy house is the stuff that dreams are made of. I loved observing (as I stood in the corner of the emporium, I’m sure, so convincing is Dinsdale) the relationships the built between Cathy and Emil and Cathy and Kaspar, though at times I felt sorry for Emil, never quite catching up to Kaspar as he wishes. If only the story had ended at page 187. And yet, that would not have been satisfying, not enough, so really, I’m glad it didn’t.
The second part of the novel, that is where Dinsdale really takes us on a journey. A couple of darker themes are touched upon in part one, where we learn of Jekab’s history (Papa Jack) but it ramps up in the second part, which ties in with World War I and beyond. You would think going from such wonderment and happiness to a bleak world of misery and reality would make you want to stop reading but I could not put this book down. I read 3/4 of it in one go! It is in the second part that Dinsdale brings in themes of shell shock, betrayal, sibling jealousy, bitterness and true, deep, familial love. Without spoilers, some characters truly lose everything and I cried during and after the book as it moved me so greatly (I mean, I am a crier anyway but not usually with books!). The entire novel is shaped around the ‘war’ between the brothers with some shocking twists along the way. Though part two draws in more realities, more brutalities and some heartbreaking moments, magic still punctuates and carries the reader through to the end. The ending is bitter sweet and my emotions were cloudy here, anger, joy, sadness and warmth all merging into a big teary mess.
I won’t say too much about specifics because some kinds of magic need to be discovered for yourself. The most beautiful sentiment in this novel though is that toys can’t save a life but they can save a soul, because toys transport many of us back to times of happiness, of wonder and of innocence, when things were simpler and problems remedied more easily. Times change but the joy of toys doesn’t. I can recall going through toy exhibits at both the castle museum in York and a toy museum in Edinburgh and it was so thrilling not only to see toys from my childhood but toys from before. Toys have the power to make magic we never knew existed, even if it is only in our head. The Toy Makers has yielded many comparisons with Erin Morgensten’s The Night Circus but for me, this novel surpassed anything I have read before in a similar vein. I have truly been blown away into a world that I honestly believe I will carry with me forever more. If, like me, you are a Harry Potter fan, you will know what I mean when I say that this book matches up to that first trip to Diagon Alley, to Hogwarts and to Honeydukes or that journey up Enid Blyton’s faraway tree as a child but it is even more exciting as an adult. It isn’t only the description that is first rate though; Dinsdale’s narrative style and use of language pulls you in and flows so smoothly, you are carried away from the first page whether you are prepared for it or not. Some reviews have said it is too fantastical but I cannot rate this book highly enough. It isn’t always easy reading – prepare to have your heart broken in several places- but go in looking for magic. You won’t be disappointed!
‘See the woman with the cage of pipe-cleaner birds, the vagrant soldier marvelling at the stuffed dogs lounging in their baskets? Keep a careful eye on them; you will see them again’.
I knew just from this descriptive ‘setting the scene’ chapter this book was going to be amazing, there was so much magic encapsulated in those first five pages. Papa Jack’s Emporium is the most wonderful shop you could imagine, a labyrinth of joy, surprises around every aisle and so much more. If you have ever seen the toy shop on Home Alone 2 that looked so amazing as a child, it has nothing on this! I was pretty sure for at least half of the book that Papa Jack was indeed Father Christmas.
After the initial chapter, the reader is introduced to Cathy, a fifteen year old who, shamefully (the year is 1906), is unmarried and pregnant. Plans are made for her to go to a special home where she will give birth and her child will be adopted. However, Cathy spots an advert looking for staff for the Emporium and runs away and so, the magic begins! The reader is catapulted into the world of the emporium and soon meets Papa Jack’s sons, Emil and Kaspar, who assist their father in the running of the store and the making of the toys, which are so much more than toys as we know them. People flock from far and wide to the emporium for it’s sublime creations and the memories and pleasures that they evoke.
The first half of the novel was like a fairytale, building beautifully to a gorgeous climax, full of wonder, friendship and subtle romance (perfectly done, so as not to detract from more pressing themes). In my head, toy soldiers and paper trees were everywhere and the wendy house is the stuff that dreams are made of. I loved observing (as I stood in the corner of the emporium, I’m sure, so convincing is Dinsdale) the relationships the built between Cathy and Emil and Cathy and Kaspar, though at times I felt sorry for Emil, never quite catching up to Kaspar as he wishes. If only the story had ended at page 187. And yet, that would not have been satisfying, not enough, so really, I’m glad it didn’t.
The second part of the novel, that is where Dinsdale really takes us on a journey. A couple of darker themes are touched upon in part one, where we learn of Jekab’s history (Papa Jack) but it ramps up in the second part, which ties in with World War I and beyond. You would think going from such wonderment and happiness to a bleak world of misery and reality would make you want to stop reading but I could not put this book down. I read 3/4 of it in one go! It is in the second part that Dinsdale brings in themes of shell shock, betrayal, sibling jealousy, bitterness and true, deep, familial love. Without spoilers, some characters truly lose everything and I cried during and after the book as it moved me so greatly (I mean, I am a crier anyway but not usually with books!). The entire novel is shaped around the ‘war’ between the brothers with some shocking twists along the way. Though part two draws in more realities, more brutalities and some heartbreaking moments, magic still punctuates and carries the reader through to the end. The ending is bitter sweet and my emotions were cloudy here, anger, joy, sadness and warmth all merging into a big teary mess.
I won’t say too much about specifics because some kinds of magic need to be discovered for yourself. The most beautiful sentiment in this novel though is that toys can’t save a life but they can save a soul, because toys transport many of us back to times of happiness, of wonder and of innocence, when things were simpler and problems remedied more easily. Times change but the joy of toys doesn’t. I can recall going through toy exhibits at both the castle museum in York and a toy museum in Edinburgh and it was so thrilling not only to see toys from my childhood but toys from before. Toys have the power to make magic we never knew existed, even if it is only in our head. The Toy Makers has yielded many comparisons with Erin Morgensten’s The Night Circus but for me, this novel surpassed anything I have read before in a similar vein. I have truly been blown away into a world that I honestly believe I will carry with me forever more. If, like me, you are a Harry Potter fan, you will know what I mean when I say that this book matches up to that first trip to Diagon Alley, to Hogwarts and to Honeydukes or that journey up Enid Blyton’s faraway tree as a child but it is even more exciting as an adult. It isn’t only the description that is first rate though; Dinsdale’s narrative style and use of language pulls you in and flows so smoothly, you are carried away from the first page whether you are prepared for it or not. Some reviews have said it is too fantastical but I cannot rate this book highly enough. It isn’t always easy reading – prepare to have your heart broken in several places- but go in looking for magic. You won’t be disappointed!
Gareth von Kallenbach (980 KP) rated Star Wars: Episode III – Revenge of the Sith (2005) in Movies
Aug 14, 2019
After three long years of waiting, countless internet rumors, and high expectations, the final big screen Star Wars film, Star Wars: Episode III Revenge of the Sith has arrived to the delight of millions of fans worldwide.
The lavish and dark film chronicles the fall of the Republic, the demise of the Jedi Knights, and the creation of Darth Vader amongst several plotlines that complete the Prequel Trilogy.
While many critics and fans had mixed reactions to the previous films in the Prequel Trilogy, the rumors of a much darker more mature Star Wars had even the most jaded curious to see just how dark creator George Lucas was willing to go.
The film opens with the familiar main theme by John Williams and the scrolling text that updates the viewers that the Clone Wars that started at the end of the last film are still raging, and that the Separatist movement under the leadership of Count Dooku (Christopher Lee), have kidnapped the Chancellor of the Republic (Ian Mc Diarmid), and a desperate battle over the capitol planet of Coruscant has ensued.
In a dazzling blend of colors, action, and motion, two fighters piloted by Obi Wan Kenobi (Ewan McGregor), and Anakin Skywalker (Hayden Christensen), weave in and around countless fighters and capitol ships engaged in deadly combat. To say that it is an overwhelming visual display would be an understatement, as it is simply jaw dropping to see the detail that the magicians at Industrial Light and Magic have crafted.
Obi Wan and Anakin are spearheading the rescue effort that eventually puts them not only against Dooku, but the new villain, the deadly cyborg General Grevious and this is all within the first 15 minutes of the film.
Upon returning the Chancellor to Coruscant, Anakin is greeted by his wife in secret, Padme, (Natalie Portman), who informs him that she is expecting their baby.
Overjoyed by the news, and to be home after many long months away fighting, Anakin as if in a true Shakespearean tragedy proclaims that he has never been happier in his life.
Anakin’s peace is soon disrupted as he begins to have visions of his wife dying in childbirth, since these are the same type of visions Anakin had shortly before the death of his mother years earlier, he becomes obsessed with protecting his wife.
As further political intrigue unfolds, Chancellor Palpatine appoints Anakin to be his representative on the Jedi Council in a move that does nor sit well with the Jedi Elite, especially Mace Windu (Samuel L. Jackson), who begrudgingly accepts the appointment but does not bestow the title of Master upon Anakin causing further friction for the emotional Anakin.
It seems that the Jedi do not trust Palpatine and are convinced he is up to something, and will not relinquish his emergency powers that were granted to him during the war.. Towards this end, The Jedi Council tasks Anakin to spy on his friend the Chancellor and report what he has learned to the council.
This in turn causes much conflict in Anakin as he is torn between his duty as a Jedi and his friendship with the Chancellor. Since Obi Wan has been dispatched to hunt down General Grevious, Anakin is without his usually confidant and mentor leaving Palpatine to influence Anakin and turn him toward fateful decisions that will eventually change the course of the galaxy.
While filled with plenty of political intrigue, and dazzling action sequences, what drives this film is the gripping, human drama of the characters. While the viewers know what is to become of Anakin, seeing the path he takes is what makes this film a true tragedy as he does what he does for noble reasons. In a true Faustian tale, the devil does not reveal himself nor his true intentions until it is already well past the point of no return.
Lucas is careful to show Anakin as a sympathetic and loving person, who has matured from the spoiled character that he was in the last film. While at times the dialogue of the film may seem to some to be very basic, the tragic turn of events in the film helps to underscore the central themes of love, friendship, and betrayal.
The supporting work in the film is solid, especially the emotionally packed work of Mc Gregor and the maniacal performance of Mc Diarmid. My only real regret is that Portman did not have a larger role or more for her character to do, that being said, the film works on all levels.
Visually the film is amazing as the exotic locales, action, and computer generated characters such as Yoda and Grevious are a marvel to behold. It is amazing how much technology has advanced since the last film, but once again, Lucas has set the bar very high for others to follow.
Lucas has taken in my opinion some very undeserved criticism for the Prequel Trilogy, and Sith should dispel those who said that his best work was behind him and that he should have turned the directing duties over to another as this film once again underscores that he is one of the most gifted visionaries ever, and has created the ultimate saga for the ages that is second to none, and one that has and will stand the test of time.
Sith is a riveting and emotional film, that holds nothing back, it is the darkest Star Wars yet and is easily the best of the Prequel trilogy and on par with any of the classic originals, and is a true masterpiece that will delight fans old and new.
The lavish and dark film chronicles the fall of the Republic, the demise of the Jedi Knights, and the creation of Darth Vader amongst several plotlines that complete the Prequel Trilogy.
While many critics and fans had mixed reactions to the previous films in the Prequel Trilogy, the rumors of a much darker more mature Star Wars had even the most jaded curious to see just how dark creator George Lucas was willing to go.
The film opens with the familiar main theme by John Williams and the scrolling text that updates the viewers that the Clone Wars that started at the end of the last film are still raging, and that the Separatist movement under the leadership of Count Dooku (Christopher Lee), have kidnapped the Chancellor of the Republic (Ian Mc Diarmid), and a desperate battle over the capitol planet of Coruscant has ensued.
In a dazzling blend of colors, action, and motion, two fighters piloted by Obi Wan Kenobi (Ewan McGregor), and Anakin Skywalker (Hayden Christensen), weave in and around countless fighters and capitol ships engaged in deadly combat. To say that it is an overwhelming visual display would be an understatement, as it is simply jaw dropping to see the detail that the magicians at Industrial Light and Magic have crafted.
Obi Wan and Anakin are spearheading the rescue effort that eventually puts them not only against Dooku, but the new villain, the deadly cyborg General Grevious and this is all within the first 15 minutes of the film.
Upon returning the Chancellor to Coruscant, Anakin is greeted by his wife in secret, Padme, (Natalie Portman), who informs him that she is expecting their baby.
Overjoyed by the news, and to be home after many long months away fighting, Anakin as if in a true Shakespearean tragedy proclaims that he has never been happier in his life.
Anakin’s peace is soon disrupted as he begins to have visions of his wife dying in childbirth, since these are the same type of visions Anakin had shortly before the death of his mother years earlier, he becomes obsessed with protecting his wife.
As further political intrigue unfolds, Chancellor Palpatine appoints Anakin to be his representative on the Jedi Council in a move that does nor sit well with the Jedi Elite, especially Mace Windu (Samuel L. Jackson), who begrudgingly accepts the appointment but does not bestow the title of Master upon Anakin causing further friction for the emotional Anakin.
It seems that the Jedi do not trust Palpatine and are convinced he is up to something, and will not relinquish his emergency powers that were granted to him during the war.. Towards this end, The Jedi Council tasks Anakin to spy on his friend the Chancellor and report what he has learned to the council.
This in turn causes much conflict in Anakin as he is torn between his duty as a Jedi and his friendship with the Chancellor. Since Obi Wan has been dispatched to hunt down General Grevious, Anakin is without his usually confidant and mentor leaving Palpatine to influence Anakin and turn him toward fateful decisions that will eventually change the course of the galaxy.
While filled with plenty of political intrigue, and dazzling action sequences, what drives this film is the gripping, human drama of the characters. While the viewers know what is to become of Anakin, seeing the path he takes is what makes this film a true tragedy as he does what he does for noble reasons. In a true Faustian tale, the devil does not reveal himself nor his true intentions until it is already well past the point of no return.
Lucas is careful to show Anakin as a sympathetic and loving person, who has matured from the spoiled character that he was in the last film. While at times the dialogue of the film may seem to some to be very basic, the tragic turn of events in the film helps to underscore the central themes of love, friendship, and betrayal.
The supporting work in the film is solid, especially the emotionally packed work of Mc Gregor and the maniacal performance of Mc Diarmid. My only real regret is that Portman did not have a larger role or more for her character to do, that being said, the film works on all levels.
Visually the film is amazing as the exotic locales, action, and computer generated characters such as Yoda and Grevious are a marvel to behold. It is amazing how much technology has advanced since the last film, but once again, Lucas has set the bar very high for others to follow.
Lucas has taken in my opinion some very undeserved criticism for the Prequel Trilogy, and Sith should dispel those who said that his best work was behind him and that he should have turned the directing duties over to another as this film once again underscores that he is one of the most gifted visionaries ever, and has created the ultimate saga for the ages that is second to none, and one that has and will stand the test of time.
Sith is a riveting and emotional film, that holds nothing back, it is the darkest Star Wars yet and is easily the best of the Prequel trilogy and on par with any of the classic originals, and is a true masterpiece that will delight fans old and new.
Kyera (8 KP) rated Lady Midnight in Books
Feb 1, 2018
I do not discuss any plot points in my review, so you will not be spoiled.
While the Dark Artifices may not be my favourite Shadowhunter series, I believe it is the most well written thus far. It is difficult to accurately judge, as this is only the first book in a trilogy but the more that Cassandra Clare writes the better a writer she becomes. Her books have always been fantastic but Lady Midnight just felt like another step up. Cassie has clearly grown as a writer and storyteller over the years, which gives me so much hope for all her future Shadowhunter novels.
While it is possible to come into the Shadowhunter Chronicles with Lady Midnight as your first book, I would not suggest it. The Mortal Instruments is fantastic for that, as we follow Clary a girl who discovers that there is more to the world than the mundane life she thought she knew. The world building in that first series really lays the groundwork for Cassies entire Shadow World. Even in the Infernal Devices, we mainly experience the Shadow World through the eyes of Tessa who has also not grown up with the knowledge of who she is. That is the first aspect that makes Lady Midnight so different from the previous two series our two main characters Emma and Julian have grown up as Shadowhunters.
I felt that there was less world-building overall for the Shadow World, but thats not to say that the world building in this novel wasnt fantastic as can be expected from Cassandra Clare. The politics of the Clave and the Downworld, the role of the Shadowhunter and the world that they live in have been brilliantly described over the course of the novels that Cassie has written. It is for this reason that I feel that while it is not necessary to read the Infernal Devices or the Mortal Instruments before reading the Dark Artifices, I would highly recommend it. You wont necessarily understand the history or the events that led up to Lady Midnight as well as you could. There are also spoilers from the previous series and character cameos that you wont appreciate as much unless you read the previous series.
The world building the Los Angeles itself and the new aspects that Cassie writes about the Shadow World, like the Shadow Market, are absolutely fantastic in this book. With each book she writes in the Shadowhunter World, she continues to build and develop this immersive experience that is like no other. Her words are vividly descriptive and paint the image of the world in your mind. It is what makes her such an incredible writer and one of the reasons that I love her books so much.
Lady Midnight takes place in Los Angeles, the Institute that has been the home of the Blackthorn children for their whole lives. Our main characters, Emma and Julian are parabatai which makes for a nice change to the point of view that we have experienced before. You learn a lot more about the parabatai bond and its potential in this book.
With Helen exiled to Wrangel Island and Mark taken by the Hunt, Julian has had to raise his brothers and sisters for the last five years. This forced him to grow up a lot faster than he would have otherwise and changed him in various ways. He loves his family more than anything else in the world and would do anything for them, even if it meant crossing a line. That ruthless heart, willingness to betray, and capacity to lie was learned after the Dark War. Those were not traits that he had prior but were forced upon him when everything changed and the Clave tore his family apart.
Emma has made it her lifes mission to discover who killed her parents at the end of the Dark War and why. That mystery has defined her every day, pushing her to train for hours at a time, run along the beach to get faster and turn her into an incredible Shadowhunter. She is also very sassy, quippy in conversations and the midst of a battle, which reminds me a lot of Jace.
The other characters we spend time with throughout the book are Julians siblings: Ty, Livvy, Dru, and Tavvy; Cristina; Diana and Malcolm. Diana has a lot of secrets, which Im sure well discover over time, but shes the character we end up knowing the least about. Beyond being their tutor, not wanting to take over the Institute and supposedly taking her travel year in Thailand, I cant tell you anything about her.
It was nice to see the Blackthorn children grow and develop from how we knew them in the Mortal Instruments to this series. Their familial relationship and interactions were authentic and heartwarming. You fall in love with them, just like you do with Cassies other characters and understand Julians plight.
Cristina is a Shadowhunter from the Mexico City Institute who decided to spend her travel year in Los Angeles. It was nice to get to know her because we dont always get to experience or hear from Shadowhunters from other Institutes. I really enjoyed her addition to the Blackthorn family (plus one) and the dimension she added. Plus, her backstory created a connection to the Scholomance and the Centurions which are going to add even more world building to the Shadow World we know and I cant wait to see more of it.
Malcolm is the High Warlock of Los Angeles and although his personality is very different, you immediately like him. Hes more playful and childlike at times than Magnus but seems to really care for the family. After falling in love with Magnus in the Mortal Instruments, and Catarina Loss to a lesser degree in Tales from the Shadowhunter Academy, I wanted Malcolm to be the next warlock character I loved.
There is so much betrayal in this book that I could never anticipate what was going to happen next. It doesnt just come from those you would consider bad guys but Shadowhunters, crooks and those with broken hearts alike. Cassandra Clare is the Queen of plot twists, fantastic character development and astounding, emotional rollercoasters in her books and this was no exception.
Lady Midnight was a fantastic read that made me fall in love with the Shadowhunter World all over again or more than I was before? Its unclear. Either way, I adore this book and I actually think that I enjoyed it more the second time through. I would also highly recommend a re-read prior to Lord of Shadows because the novel is so packed full of incredible character development, world building and plot that you will appreciate its sequel more if the story is still fresh in your mind.
While the Dark Artifices may not be my favourite Shadowhunter series, I believe it is the most well written thus far. It is difficult to accurately judge, as this is only the first book in a trilogy but the more that Cassandra Clare writes the better a writer she becomes. Her books have always been fantastic but Lady Midnight just felt like another step up. Cassie has clearly grown as a writer and storyteller over the years, which gives me so much hope for all her future Shadowhunter novels.
While it is possible to come into the Shadowhunter Chronicles with Lady Midnight as your first book, I would not suggest it. The Mortal Instruments is fantastic for that, as we follow Clary a girl who discovers that there is more to the world than the mundane life she thought she knew. The world building in that first series really lays the groundwork for Cassies entire Shadow World. Even in the Infernal Devices, we mainly experience the Shadow World through the eyes of Tessa who has also not grown up with the knowledge of who she is. That is the first aspect that makes Lady Midnight so different from the previous two series our two main characters Emma and Julian have grown up as Shadowhunters.
I felt that there was less world-building overall for the Shadow World, but thats not to say that the world building in this novel wasnt fantastic as can be expected from Cassandra Clare. The politics of the Clave and the Downworld, the role of the Shadowhunter and the world that they live in have been brilliantly described over the course of the novels that Cassie has written. It is for this reason that I feel that while it is not necessary to read the Infernal Devices or the Mortal Instruments before reading the Dark Artifices, I would highly recommend it. You wont necessarily understand the history or the events that led up to Lady Midnight as well as you could. There are also spoilers from the previous series and character cameos that you wont appreciate as much unless you read the previous series.
The world building the Los Angeles itself and the new aspects that Cassie writes about the Shadow World, like the Shadow Market, are absolutely fantastic in this book. With each book she writes in the Shadowhunter World, she continues to build and develop this immersive experience that is like no other. Her words are vividly descriptive and paint the image of the world in your mind. It is what makes her such an incredible writer and one of the reasons that I love her books so much.
Lady Midnight takes place in Los Angeles, the Institute that has been the home of the Blackthorn children for their whole lives. Our main characters, Emma and Julian are parabatai which makes for a nice change to the point of view that we have experienced before. You learn a lot more about the parabatai bond and its potential in this book.
With Helen exiled to Wrangel Island and Mark taken by the Hunt, Julian has had to raise his brothers and sisters for the last five years. This forced him to grow up a lot faster than he would have otherwise and changed him in various ways. He loves his family more than anything else in the world and would do anything for them, even if it meant crossing a line. That ruthless heart, willingness to betray, and capacity to lie was learned after the Dark War. Those were not traits that he had prior but were forced upon him when everything changed and the Clave tore his family apart.
Emma has made it her lifes mission to discover who killed her parents at the end of the Dark War and why. That mystery has defined her every day, pushing her to train for hours at a time, run along the beach to get faster and turn her into an incredible Shadowhunter. She is also very sassy, quippy in conversations and the midst of a battle, which reminds me a lot of Jace.
The other characters we spend time with throughout the book are Julians siblings: Ty, Livvy, Dru, and Tavvy; Cristina; Diana and Malcolm. Diana has a lot of secrets, which Im sure well discover over time, but shes the character we end up knowing the least about. Beyond being their tutor, not wanting to take over the Institute and supposedly taking her travel year in Thailand, I cant tell you anything about her.
It was nice to see the Blackthorn children grow and develop from how we knew them in the Mortal Instruments to this series. Their familial relationship and interactions were authentic and heartwarming. You fall in love with them, just like you do with Cassies other characters and understand Julians plight.
Cristina is a Shadowhunter from the Mexico City Institute who decided to spend her travel year in Los Angeles. It was nice to get to know her because we dont always get to experience or hear from Shadowhunters from other Institutes. I really enjoyed her addition to the Blackthorn family (plus one) and the dimension she added. Plus, her backstory created a connection to the Scholomance and the Centurions which are going to add even more world building to the Shadow World we know and I cant wait to see more of it.
Malcolm is the High Warlock of Los Angeles and although his personality is very different, you immediately like him. Hes more playful and childlike at times than Magnus but seems to really care for the family. After falling in love with Magnus in the Mortal Instruments, and Catarina Loss to a lesser degree in Tales from the Shadowhunter Academy, I wanted Malcolm to be the next warlock character I loved.
There is so much betrayal in this book that I could never anticipate what was going to happen next. It doesnt just come from those you would consider bad guys but Shadowhunters, crooks and those with broken hearts alike. Cassandra Clare is the Queen of plot twists, fantastic character development and astounding, emotional rollercoasters in her books and this was no exception.
Lady Midnight was a fantastic read that made me fall in love with the Shadowhunter World all over again or more than I was before? Its unclear. Either way, I adore this book and I actually think that I enjoyed it more the second time through. I would also highly recommend a re-read prior to Lord of Shadows because the novel is so packed full of incredible character development, world building and plot that you will appreciate its sequel more if the story is still fresh in your mind.
Kirk Bage (1775 KP) rated The Expanse in TV
Sep 4, 2020 (Updated Feb 11, 2021)
In this particular future, where there exists a cold war tension between the splintered factions of humanity across the solar system, all is not well. Earthers, Dusters (Martians) and Skinnies (Belters) compete for resources and political strength in an ever shifting landscape of trust and betrayal. It is a sci-fi geek’s paradise, full of believable tech, an extensive character list and jargon coming out of the wazoo! It’s all very complicated… and season five just finished airing on Amazon Prime on Wednesday 3rd Feb, so I thought it a good time to talk about it in detail.
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldn’t get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly – the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and why… he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The show’s main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot – you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isn’t going to be for everyone. It is very easy to say “I don’t get it” and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and there’s also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldn’t get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly – the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and why… he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The show’s main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot – you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isn’t going to be for everyone. It is very easy to say “I don’t get it” and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and there’s also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Bob Mann (459 KP) rated Mank (2020) in Movies
Dec 10, 2020
Cinematography - glorious to look at (1 more)
A fabulous ensemble cast, with Oldham, Seyfried, Arliss and Dance excelling
"Mank" is a biopic slice of the career of Herman Jacob Mankiewicz (Gary Oldman), the Hollywood screenwriter who was the pen behind what is regularly voted by critics as being the greatest movie of all time - "Citizen Kane". "Citizen Kane" was written in 1940 (and released the following year) and much of the action in "Mank" takes place in a retreat in the Mojave desert when Mank, crippled by a full-cast on the leg, has been 'sent' by Orson Welles (Tom Burke) to complete the screenplay without alcohol and other worldly distractions. Helping administer to his writing and care needs are English typist Rita Alexander (Lily Collins) and carer Fraulein Freda (Monika Gossmann). However, although Mank produces brilliant stuff, his speed of progress exasperates his 'minder' and editor John Houseman (Sam Troughton). (Yes, THAT John Houseman, the actor.)
In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?
Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?
Equally impressive though are some of the supporting cast.
- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.
The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!
Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.
In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.
Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)
It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!
A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!
Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.
The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.
Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.
Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.
(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
In developing the story, we continuously flash-back six years - - nicely indicated by typed 'script notes' - - to 1934 where Mank is working at MGM studios for Louis B. Mayer (Arliss Howard) and mixing in the circles of millionaire publisher William Randolph Hearst (Charles Dance) and his glamorous young wife, actress Marion Davies (Amanda Seyfried). Allegedly, the "Citizen Kane" script was based on Hearst. But what souring of the relationship could have led to such a stinging betrayal during those six years?
Mank has an embarrassment of acting riches. Mankiewicz is a fascinating character: charismatic, reckless, passionate and the definition of a loose cannon. Basically, a dream for a great actor to portray. And Gary Oldham IS a great actor. After doing Churchill in "Darkest Hour", he here turns in a magnificent performance as the alcoholic writer. Never more so than in a furious tirade at a dinner table late in the film, which will likely be the equivalent to the Churchill "tiger" speech come Oscar time. Surely, there's a Best Actor nomination there?
Equally impressive though are some of the supporting cast.
- Tom Burke - so good as TV's "Strike" - gives a fine impersonation of the great Orson Welles: full of confidence and swagger. It's only a cameo role, but he genuinely 'feels' like the young Welles.
- Amanda Seyfried: It took me almost half of the film to recognize her as Marion Davies, and her performance is pitch perfect - the best of her career in my view, and again Oscar-worthy.
- Arliss Howard for me almost steals the show as the megalomaniac Mayer: his introduction to Mank's brother Joe (Tom Pelphrey) has a memorable "walk with me" walkthrough of the studio with Mayer preaching on the real meaning of MGM and the movies in general. Breathtakingly good.
- But - I said "nearly steals the show".... the guy who made off with it in a swag-bag for me was our own Charles Dance as Hearst. Quietly impressive throughout, he just completely nails it with his "organ-grinder's monkey" speech towards the end of the movie. Probably my favourite monologue of 2020. Chilling. I'd really like to see Dance get a Supporting Actor nomination for this.
The screenplay was originally written by director David Fincher's late father Jack. Jack Fincher died in 2002, and this project has literally been decades in the planning. Mankiewicz has a caustic turn of phrase, and there are laugh-out lines of dialogue scattered throughout the script. "Write hard, aim low" implores Houseman at one point. And my personal favourite: Mank's puncturing of the irony that the Screen Writers Guild has been formed without an apostrophe! A huge LOL!
Aside from the witty dialogue, the script has a nuance to the storytelling that continually surprises. A revelation from Freda about Mank's philanthropic tendencies brings you up short in your face-value impression of his character. And the drivers that engineer the rift between Mankiewicz and Hearst - based around the story of the (fictional) director Shelly Metcalf (Jamie McShane) - are not slapped in your face, but elegantly slipped into your subconscious.
In addition, certain aspects are frustratingly withheld from you. Mank's long-suffering wife (a definition of the phrase) Sara (Tuppence Middleton) only occasionally comes into focus. The only reference to his kids are a crash in the background as they "remodel" the family home. Is the charismatic Mank a faithful husband or a philanderer? Is the relationship with Rita Alexander just professional and platonic (you assume so), or is there more going on? There's a tension there in the storytelling that never quite gets resolved: and that's a good thing.
Mank also has an embarrassment of technical riches. Even from the opening titles, you get the impression that this is a work of genius. All in black and white, and with the appearance of 40's titling, they scroll majestically in the sky and then - after "Charles Dance" - effortlessly scroll down to the desert highway. It's evidence of an attention to detail perhaps forced by lockdown. ("MUM - I'm bored". "Go up to your room and do some more work on that movie then".)
It's deliciously modern, yet retro. I love the fact that the cross-reel "circle" cue-marks appear so prominently... the indicators that the projectionist needs to spin up the next reel. I think they are still used in most modern films, but not as noticeably as in the old films... and this one!
A key contributor to the movie is cinematographer Erik Messerschmidt. Everything looks just BEAUTIFUL, and it is now a big regret that I didn't go to watch this on the big screen after all. Surely there will be a cinematography Oscar nomination for this one. Unbelievably, this is Messerschmidt's debut feature as director of cinematography!
Elsewhere, you can imagine multiple other technical Oscar noms. The tight and effective editing is by Kirk Baxter. And the combination of the glorious production design (Donald Graham Burt) and the costume design (Trish Summerville) make the movie emanate the same nostalgia for Hollywood as did last year's "Once Upon a Time... In Hollywood".... albeit set forty years earlier. Even the music (by the regular team of Trent Reznor and Atticus Ross) might get nominated, since I had to go back and check that it actually HAD music at all: it's subtly unobtrusive and effective.
The only area I had any issue with here was the sound mixing, since I had trouble picking up some of the dialogue.
Although I can gush about this movie as a technical work of art, I'm going to hold off a 10* review on this one. For one reason only. I just didn't feel 100% engaged with the story (at least with a first watch). The illustrious Mrs Movie Man summed it up with the phrase "I just didn't care enough what happened to any of the characters". I think though that this one is sufficiently subtle and cerebral that it deserves another watch.
Will it win Oscars. Yes, for sure. Hell, I would like to put a bet on that "Mank" will top the list of the "most nominations" when they are announced. (Hollywood likes nothing more than a navel-gazing look at its history of course). And an obvious nomination here will be David Fincher for Best Director. But, for me, this falls into a similar bucket as that other black and white multi-Oscar winner of two year's ago "Roma". It's glorious to look at; brilliantly directed; but not a movie I would choose to readily reach for to repeatedly watch again.
(For the full graphical review, please check out the review here - https://bob-the-movie-man.com/2020/12/10/mank-divines-for-oscar-gold-in-a-sea-of-pyrites/. Thanks.)
Purple Phoenix Games (2266 KP) rated Divinus in Tabletop Games
Aug 10, 2021
Bragi. Hercules. Percy Jackson. All excellent examples of successful demigods. As you well know, demigods are offspring of a god and a mortal. Of all the things I have conjured in my lifetime to answer the old, “What do you want to be when you grow up?” question, I never really answered, “a demigod.” Well, that’s because I KNOW my parents and have a hard time believing I could be a son of a god or goddess. Unless it was some weird NPCs (novel series by Drew Hayes) universe with Grumble as my patron/parent. In any case, my new dream of becoming the greatest demigod alive must be played out in today’s preview: Divinus.
Divinus is a competitive tile placement, campaign, drafting, dice game in which players assume the roles of upcoming demigods fighting over the one last spot at the table. By appeasing the gods of the warring ancient Roman and Norse cultures players will earn their place among them. This game uses some interesting hybrid app-driven story mechanics along with legacy-style component alterations to create this world that is constantly under refurbishment and ripe for the claiming of the future Divinus.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Gamefound campaign, or through any retailers stocking it after fulfillment. -T
To setup, place the main board on the table, sort out the Map tiles by player count, and populate the board per the rulebook. Each player chooses their Demigod box and takes all components contained within. As Divinus is intended to be played either as a scenario session or its Eternal Mode, which is infinitely replayable using the board and components already altered by previously-played scenarios, open the chosen Scenario Box to be played and allow the app to instruct on how to setup with these components. All players roll their dice and place them in the “ready” pile to be used on their first turn. The first player takes the token (a black meeple in the prototype version) and the game is ready to be played!
Divinus is played in turns starting with the first player and continuing around the table until one player places their final Map tile signaling the end of the game. On a turn, players will have a choice of using an Explore action or a Rest action. More actions may be available in future scenarios, but for the prototype scenarios, these are the two available choices. During an Explore action, the active player will choose any number of their rolled dice in order to create a mathematical equation that matches with one of the Map tiles on the main board. These spaces range from 1-12 in value, so an appropriate dice combination could be 5 + 4 – 1 = 8 in order to claim the Map tile on the 8 spot. Any number of dice can be used to claim tiles, and once a tile is claimed, it must be placed within the player’s personal play area map. In order to add these tiles, the edges will need to match up by terrain type with tiles already presently in play (see below), or may also be placed atop an existing tile. Map tiles may or may not contain symbols for factions, locations, and also Sacred Places. These will all be used in scenarios for different purposes.
Once a player decides they do not wish to (or cannot) take more Explore actions, they must Rest. To Rest, the active player reclaims all spent (and unspent ready) dice and rerolls them for the next turn, replacing empty spaces on the board with new Map tiles.
Play continues in this fashion of Exploring and Resting until one player places their 16th tile, thus completing their 4×4 personal map. Players will consult the app for scoring instructions and the winner will be announced. Should the players wish to play another scenario (or many, as we would have liked), they simply use the same Demigods and open a new Scenario Box. Inside these boxes are different gods to appease, new quests to fulfill (more on these later), and stickers to be applied to game components to improve their usefulness.
Components. Again, this is a prototype version of the game, and it includes two introductory scenarios, a bunch of sticker sheets, and a developmental app. That said, I really enjoyed my plays of the scenarios and they felt like great first steps to lure me into what I just know is going to be somewhat of a lifestyle game (assuming more and more expansions are in the plans). The sticker sheets are all fine, and as I understand it, the stickers that are placed on the Map tiles will have non-removable glue, but the stickers placed on the dice faces will have removable glue. As I am not a glue expert, I can’t really vouch for either. The app is somewhat similar to those that are used in the Chronicles of Crime series, but Divinus promises to deliver an app that can scan the components WITHOUT the use of QR codes. For those gamers who think the QRs are an eye-sore, then Divinus is taking a promising first step for you! I haven’t even touched on the artwork yet, and that’s usually my favorite aspect of a game’s components. The visual style and art on Divinus really make the game pop on the table, and just draw you into the lore and setting. I love it!
So while initially Divinus is a simple roll-and-draft game of building a 4×4 grid akin to Kingdomino, the addition and usage of the Quests and, later, the Charge Actions, morph this into something quite a bit meatier. Each Scenario Box (at least in this version) contains two god cards (that affect how the end of the scenario is scored) and some Quest cards (that are side-quests players can follow to earn some extra VP and other goodies). I imagine as the game progresses through Scenario Boxes that Quests will get more difficult and the god cards more interesting as well.
All in all Divinus has roped me in, and I am very much looking forward to all the other great things that Lucky Duck Games has planned for it. I can foresee soooooo many expansions being built on this excellent chassis, and I am very eager to finish the entire legacy aspect in order to play through the Eternal Mode a bunch of times. Can I divulge a little dirty secret of mine here? I have never before played any type of legacy board game, and if this is what they are like, then I will be breaking out my copy of Betrayal Legacy way sooner than I originally planned.
I believe that the theming here is great, the gameplay is relatively simple to grasp, and the hybrid app-driven story really adds to the entire experience. If you are someone who, like me, has yet to delve into legacy-style games where the components are constantly changing due to choices made at the table, and you have a penchant for dice games with a splash of ACTUAL math skills used, I urge you to take a look at backing Divinus on Gamefound ASAP. With just the initial two scenarios included, I am already addicted to the game and cannot wait to sink my teeth into more scenarios and more crucial decisions that will alter the landscape of my copy of the game. I know that as of the publish date of this preview, the campaign is already about 1000% funded and so many stretch goals have already been unlocked. It is a great time to hop on board and grab a big ol’ chunk of goodies for this one. You may have a preference for Roman or Norse mythology before playing, but be warned: your loyalties may change as a result of playing Divinus… or maybe you will learn to accept both at the harmonious center of activity in your own little section of the world.
Divinus is a competitive tile placement, campaign, drafting, dice game in which players assume the roles of upcoming demigods fighting over the one last spot at the table. By appeasing the gods of the warring ancient Roman and Norse cultures players will earn their place among them. This game uses some interesting hybrid app-driven story mechanics along with legacy-style component alterations to create this world that is constantly under refurbishment and ripe for the claiming of the future Divinus.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, back the game through the Gamefound campaign, or through any retailers stocking it after fulfillment. -T
To setup, place the main board on the table, sort out the Map tiles by player count, and populate the board per the rulebook. Each player chooses their Demigod box and takes all components contained within. As Divinus is intended to be played either as a scenario session or its Eternal Mode, which is infinitely replayable using the board and components already altered by previously-played scenarios, open the chosen Scenario Box to be played and allow the app to instruct on how to setup with these components. All players roll their dice and place them in the “ready” pile to be used on their first turn. The first player takes the token (a black meeple in the prototype version) and the game is ready to be played!
Divinus is played in turns starting with the first player and continuing around the table until one player places their final Map tile signaling the end of the game. On a turn, players will have a choice of using an Explore action or a Rest action. More actions may be available in future scenarios, but for the prototype scenarios, these are the two available choices. During an Explore action, the active player will choose any number of their rolled dice in order to create a mathematical equation that matches with one of the Map tiles on the main board. These spaces range from 1-12 in value, so an appropriate dice combination could be 5 + 4 – 1 = 8 in order to claim the Map tile on the 8 spot. Any number of dice can be used to claim tiles, and once a tile is claimed, it must be placed within the player’s personal play area map. In order to add these tiles, the edges will need to match up by terrain type with tiles already presently in play (see below), or may also be placed atop an existing tile. Map tiles may or may not contain symbols for factions, locations, and also Sacred Places. These will all be used in scenarios for different purposes.
Once a player decides they do not wish to (or cannot) take more Explore actions, they must Rest. To Rest, the active player reclaims all spent (and unspent ready) dice and rerolls them for the next turn, replacing empty spaces on the board with new Map tiles.
Play continues in this fashion of Exploring and Resting until one player places their 16th tile, thus completing their 4×4 personal map. Players will consult the app for scoring instructions and the winner will be announced. Should the players wish to play another scenario (or many, as we would have liked), they simply use the same Demigods and open a new Scenario Box. Inside these boxes are different gods to appease, new quests to fulfill (more on these later), and stickers to be applied to game components to improve their usefulness.
Components. Again, this is a prototype version of the game, and it includes two introductory scenarios, a bunch of sticker sheets, and a developmental app. That said, I really enjoyed my plays of the scenarios and they felt like great first steps to lure me into what I just know is going to be somewhat of a lifestyle game (assuming more and more expansions are in the plans). The sticker sheets are all fine, and as I understand it, the stickers that are placed on the Map tiles will have non-removable glue, but the stickers placed on the dice faces will have removable glue. As I am not a glue expert, I can’t really vouch for either. The app is somewhat similar to those that are used in the Chronicles of Crime series, but Divinus promises to deliver an app that can scan the components WITHOUT the use of QR codes. For those gamers who think the QRs are an eye-sore, then Divinus is taking a promising first step for you! I haven’t even touched on the artwork yet, and that’s usually my favorite aspect of a game’s components. The visual style and art on Divinus really make the game pop on the table, and just draw you into the lore and setting. I love it!
So while initially Divinus is a simple roll-and-draft game of building a 4×4 grid akin to Kingdomino, the addition and usage of the Quests and, later, the Charge Actions, morph this into something quite a bit meatier. Each Scenario Box (at least in this version) contains two god cards (that affect how the end of the scenario is scored) and some Quest cards (that are side-quests players can follow to earn some extra VP and other goodies). I imagine as the game progresses through Scenario Boxes that Quests will get more difficult and the god cards more interesting as well.
All in all Divinus has roped me in, and I am very much looking forward to all the other great things that Lucky Duck Games has planned for it. I can foresee soooooo many expansions being built on this excellent chassis, and I am very eager to finish the entire legacy aspect in order to play through the Eternal Mode a bunch of times. Can I divulge a little dirty secret of mine here? I have never before played any type of legacy board game, and if this is what they are like, then I will be breaking out my copy of Betrayal Legacy way sooner than I originally planned.
I believe that the theming here is great, the gameplay is relatively simple to grasp, and the hybrid app-driven story really adds to the entire experience. If you are someone who, like me, has yet to delve into legacy-style games where the components are constantly changing due to choices made at the table, and you have a penchant for dice games with a splash of ACTUAL math skills used, I urge you to take a look at backing Divinus on Gamefound ASAP. With just the initial two scenarios included, I am already addicted to the game and cannot wait to sink my teeth into more scenarios and more crucial decisions that will alter the landscape of my copy of the game. I know that as of the publish date of this preview, the campaign is already about 1000% funded and so many stretch goals have already been unlocked. It is a great time to hop on board and grab a big ol’ chunk of goodies for this one. You may have a preference for Roman or Norse mythology before playing, but be warned: your loyalties may change as a result of playing Divinus… or maybe you will learn to accept both at the harmonious center of activity in your own little section of the world.
Mandy and G.D. Burkhead (26 KP) rated Banewreaker in Books
May 20, 2018
Shelf Life – Banewreaker Will Make You Feel Bad for Sauron
Contains spoilers, click to show
Very few fantasy fans can get away with admitting that they aren’t all that big into sweeping, high epic fantasy à la Lord of the Rings or the Pern stories or everything that Terry Brooks writes. Many non-fantasy fans, however, can point to these tales as examples of why they aren’t into fantasy. Like it or not, it’s hard not to see the latter group’s point, as a lot of high fantasy is riddled with confusing terminology, rehashed stories, and genre clichés. This is not to say that these stories are bad, per sé, just that they can easily turn off readers who aren’t in the right kind of crowd.
Banewreaker, the first book in Jacqueline Carey’s two-part volume The Sundering, will probably not change any opinions in this respect, then, as it’s sweeping high fantasy to the core. This, as it turns out, is both its greatest strength and its greatest weakness.
There are some reviews out there that laud Banewreaker as a masterful examination of subjective viewpoints in an epic fantasy turned into a human tragedy by a simple change of perspective. And they are absolutely correct.
There are other reviews, however, that call the book out as a heap of all of the stalest fantasy clichés piled one atop the other in a confusing and pretentious jumble with a shellacking of purple prose for good measure. And they are also absolutely correct.
Let me explain.
For starters, it would be inaccurate to say that this story is full of clichés. This story is clichés. This story is every familiar and used-up trope you would expect from a high fantasy, all of those details that have been done to death in thousands of other versions until almost nothing that happens seems original anymore.
This is what’s going to turn off a lot of people. But the thing is, Banewreaker has to be this way. It wants the reader to look at all of the things that they’ve come to expect from a fantasy epic and then, by shifting the narrative focus, realize that all of these beloved tropes are actually, when you think about it, tragic as hell.
In other words, it’s Lord of the Rings from Sauron’s point of view.
It’s not a riff, though. It’s not goofy like most of the stuff I go in for. It takes its subject just as seriously as the stories that it’s mirroring, and this is what makes the whole story ultimately so gripping and so moving.
The story starts out like many stories of this magnitude, with exposition stretching back to the Dawn of This Particular Creation. In this case, we have a protogenos world god named Uru-Alat who died and gave rise to seven smaller godlike beings called Shapers. First comes Haomane, who becomes the Lord of Thought and sets himself up as head honcho for this ensuing pantheon. Second is Arahila, the Basically a Love Goddess; and third is Satoris, whose purview was “the quickening of the flesh,” which is high fantasy speak for sexy times. Four more Shapers come after this who, for the sake of brevity, we’ll be glossing over.
To summarize the important godly exposition, the Seven Shapers set about shaping the world to the surprise of no one. Haomane creates elves (here called Ellyl, but if you’ve ever even looked at a fantasy, you know that they’re the elves here), Arahila creates humans, and Satoris doesn’t create anything because he’s busy hanging out with dragons and learning their wisdom. Satoris grants his fleshy quickening to the humans but not the elves, because Haomane didn’t want his elves to do that. Then Haomane decides he doesn’t want the humans to do that either, but Satoris refuses to take the gift away again. Conflict escalates, god wars ensue, and the world splits into two continents, with Satoris ostracized from his brethren on one and the remaining Shapers on the other. By the time the dust has settled, Satoris is scarred and burned pitch black, living in a mostly dead land thanks to Haomane’s wrath, but with a dagger in his possession that is the only weapon capable of killing any of the Shapers.
The story itself picks up thousands of years later, with Satoris as the Satan/Sauron stand-in living in a forbidding land surrounded by classically evil things like trolls, giant spiders, and insane people. Since Haomane is the head god, the rest of the world believes Satoris to be a terrible figure of evil and betrayal, while Satoris’s few allies know him as a pitiable and misunderstood figure who only ever wanted to honor his word and do right by his own sense of morality rather than the dictates of his elder brother god king.
From here the plot becomes the typical Army of Good vs. Army of Evil adventure, but with the protagonistic focus on Satoris and his allies. His trolls we see not as a mindless horde but as a simple, honorable people who happily serve their lord because he happily serves them right back. The mad individuals inhabiting his fortress are castaways from normal society with nowhere else to go. And the giant spiders just happen to live there and be bigger than normal, with no sinister intentions beyond that.
And just like that, by actually showing us the home life of the ultimate in evil fantasy tropes, we see how easily one side’s view of evil is another’s view of good. In doing so, Banewreaker becomes perhaps the first sweeping fantasy epic with no real bad guy, just two sides of an unfortunate conflict. Both sides have their likeable characters, both sides seem from their view to be in the right, and pretty soon you, as the reader, will stop cheering for either one, because whenever one person that you like succeeds it means that another person whom you also like is failing.
In fact, the closest thing that this story has to a clearly-labeled “evil” character is the sorceress Lilias, and even then, she’s not evil so much as a woman who has done some bad things for completely understandable reasons. Lilias, in fact, is one of the most pitiful characters in this whole saga of pitiable characters, with her fears and attachments closely mirroring those of most readers, only amplified by her immortality and magical powers. She is afraid of dying. She wants to be more in the grand scheme of things than just another man’s wife or another country’s momentary ruler, both of which would just be tiny moments in a long history. She likes her youth. She likes having pretty things and pretty people around her. And from her interactions with her dragon mentor and apparently only friend, Calandor, we see that she is also capable of intense affection and even love just as she is capable of indulging in self-centered self-interest that, if not particularly a good trait, is also one that she is not alone in possessing.
Banewreaker, then, is a story with a large cast of characters but very few actual heroes or innocents as well as very few outright villains, which is exactly what it sets out to be. Those who love it and those who hate it both seem to blame this quality in particular for their feelings. The biggest complaint leveled against it (that I have read, anyway) is that the people we should be rooting for do not deserve our sympathy, while the people we should be rooting against are more misguided and unwilling to see things in another light than deserving of our scorn.
This is true. But if it’s a flaw, it’s an intentional one. And if it makes you feel like you shouldn’t be cheering for either side at all in this conflict, that’s the point. This is a story of clichés, yes, but it has something that it needs to say about these clichés and, in doing so, about the subjective and impossibly nebulous quality of morality in general.
In short, here again is another fantasy story about the Forces of Good wiping out an entire nation dedicated to their “evil” enemy. And as the story points out, even if you believe in that cause, you’re still wiping out an entire nation of people. No way is there not a downside to that. Seeing things in a black-and-white morality just means crushing a whole lot of important shades of gray underfoot.
Whether or not you like Banewreaker, then, depends in large part upon how much you realize that Carey as an author is being self-aware. As someone who read and still hasn’t stopped being awed over her Kushiel series, I can’t claim complete objectivity in this area, because I came to Banewreaker already in love with her. I can say, however, that unless you have an intense and searing aversion to ornate and sweeping style, this book is worth any fantasy-lover’s time – especially if you’ve ever felt a pang of empathy for all of the poor villainous mooks that fantasy heroes tend to mow down without a thought because they were the wrong kind of ugly.
Banewreaker, the first book in Jacqueline Carey’s two-part volume The Sundering, will probably not change any opinions in this respect, then, as it’s sweeping high fantasy to the core. This, as it turns out, is both its greatest strength and its greatest weakness.
There are some reviews out there that laud Banewreaker as a masterful examination of subjective viewpoints in an epic fantasy turned into a human tragedy by a simple change of perspective. And they are absolutely correct.
There are other reviews, however, that call the book out as a heap of all of the stalest fantasy clichés piled one atop the other in a confusing and pretentious jumble with a shellacking of purple prose for good measure. And they are also absolutely correct.
Let me explain.
For starters, it would be inaccurate to say that this story is full of clichés. This story is clichés. This story is every familiar and used-up trope you would expect from a high fantasy, all of those details that have been done to death in thousands of other versions until almost nothing that happens seems original anymore.
This is what’s going to turn off a lot of people. But the thing is, Banewreaker has to be this way. It wants the reader to look at all of the things that they’ve come to expect from a fantasy epic and then, by shifting the narrative focus, realize that all of these beloved tropes are actually, when you think about it, tragic as hell.
In other words, it’s Lord of the Rings from Sauron’s point of view.
It’s not a riff, though. It’s not goofy like most of the stuff I go in for. It takes its subject just as seriously as the stories that it’s mirroring, and this is what makes the whole story ultimately so gripping and so moving.
The story starts out like many stories of this magnitude, with exposition stretching back to the Dawn of This Particular Creation. In this case, we have a protogenos world god named Uru-Alat who died and gave rise to seven smaller godlike beings called Shapers. First comes Haomane, who becomes the Lord of Thought and sets himself up as head honcho for this ensuing pantheon. Second is Arahila, the Basically a Love Goddess; and third is Satoris, whose purview was “the quickening of the flesh,” which is high fantasy speak for sexy times. Four more Shapers come after this who, for the sake of brevity, we’ll be glossing over.
To summarize the important godly exposition, the Seven Shapers set about shaping the world to the surprise of no one. Haomane creates elves (here called Ellyl, but if you’ve ever even looked at a fantasy, you know that they’re the elves here), Arahila creates humans, and Satoris doesn’t create anything because he’s busy hanging out with dragons and learning their wisdom. Satoris grants his fleshy quickening to the humans but not the elves, because Haomane didn’t want his elves to do that. Then Haomane decides he doesn’t want the humans to do that either, but Satoris refuses to take the gift away again. Conflict escalates, god wars ensue, and the world splits into two continents, with Satoris ostracized from his brethren on one and the remaining Shapers on the other. By the time the dust has settled, Satoris is scarred and burned pitch black, living in a mostly dead land thanks to Haomane’s wrath, but with a dagger in his possession that is the only weapon capable of killing any of the Shapers.
The story itself picks up thousands of years later, with Satoris as the Satan/Sauron stand-in living in a forbidding land surrounded by classically evil things like trolls, giant spiders, and insane people. Since Haomane is the head god, the rest of the world believes Satoris to be a terrible figure of evil and betrayal, while Satoris’s few allies know him as a pitiable and misunderstood figure who only ever wanted to honor his word and do right by his own sense of morality rather than the dictates of his elder brother god king.
From here the plot becomes the typical Army of Good vs. Army of Evil adventure, but with the protagonistic focus on Satoris and his allies. His trolls we see not as a mindless horde but as a simple, honorable people who happily serve their lord because he happily serves them right back. The mad individuals inhabiting his fortress are castaways from normal society with nowhere else to go. And the giant spiders just happen to live there and be bigger than normal, with no sinister intentions beyond that.
And just like that, by actually showing us the home life of the ultimate in evil fantasy tropes, we see how easily one side’s view of evil is another’s view of good. In doing so, Banewreaker becomes perhaps the first sweeping fantasy epic with no real bad guy, just two sides of an unfortunate conflict. Both sides have their likeable characters, both sides seem from their view to be in the right, and pretty soon you, as the reader, will stop cheering for either one, because whenever one person that you like succeeds it means that another person whom you also like is failing.
In fact, the closest thing that this story has to a clearly-labeled “evil” character is the sorceress Lilias, and even then, she’s not evil so much as a woman who has done some bad things for completely understandable reasons. Lilias, in fact, is one of the most pitiful characters in this whole saga of pitiable characters, with her fears and attachments closely mirroring those of most readers, only amplified by her immortality and magical powers. She is afraid of dying. She wants to be more in the grand scheme of things than just another man’s wife or another country’s momentary ruler, both of which would just be tiny moments in a long history. She likes her youth. She likes having pretty things and pretty people around her. And from her interactions with her dragon mentor and apparently only friend, Calandor, we see that she is also capable of intense affection and even love just as she is capable of indulging in self-centered self-interest that, if not particularly a good trait, is also one that she is not alone in possessing.
Banewreaker, then, is a story with a large cast of characters but very few actual heroes or innocents as well as very few outright villains, which is exactly what it sets out to be. Those who love it and those who hate it both seem to blame this quality in particular for their feelings. The biggest complaint leveled against it (that I have read, anyway) is that the people we should be rooting for do not deserve our sympathy, while the people we should be rooting against are more misguided and unwilling to see things in another light than deserving of our scorn.
This is true. But if it’s a flaw, it’s an intentional one. And if it makes you feel like you shouldn’t be cheering for either side at all in this conflict, that’s the point. This is a story of clichés, yes, but it has something that it needs to say about these clichés and, in doing so, about the subjective and impossibly nebulous quality of morality in general.
In short, here again is another fantasy story about the Forces of Good wiping out an entire nation dedicated to their “evil” enemy. And as the story points out, even if you believe in that cause, you’re still wiping out an entire nation of people. No way is there not a downside to that. Seeing things in a black-and-white morality just means crushing a whole lot of important shades of gray underfoot.
Whether or not you like Banewreaker, then, depends in large part upon how much you realize that Carey as an author is being self-aware. As someone who read and still hasn’t stopped being awed over her Kushiel series, I can’t claim complete objectivity in this area, because I came to Banewreaker already in love with her. I can say, however, that unless you have an intense and searing aversion to ornate and sweeping style, this book is worth any fantasy-lover’s time – especially if you’ve ever felt a pang of empathy for all of the poor villainous mooks that fantasy heroes tend to mow down without a thought because they were the wrong kind of ugly.