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Purple Phoenix Games (2266 KP) rated Illumination in Tabletop Games
Oct 5, 2021
Ancient Medieval books. We all love ’em, right? Full of bright beautiful pictures of angels fighting demons, knights fighting dragons, dogs fighting squirrels(?), and monks fighting armed bunnies?? Hey, what’s going on here? Okay, I have played enough Alf Seegert games to know that everything comes with a hint of quirk, but now I need to pore through my non-existent collection of old tomes to find instances of monks warding off sword-brandishing rabbits. Ohhhhh, maybe this is about children’s books! Man, times were weird back in the day.
Illumination is a game about two monks who are tasked with illuminating the pages of manuscripts with drawings in the hopes of becoming the next head of the Scriptorium: The Scriptmaster, one might say. However, one of the monks gets a little itch and begins to draw irreverent subjects, like demons, dragons, and such. Which monk will earn the made-up-by-me title of Scriptmaster? Guess you will have to play to find out.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
As with many games that are well endowed with components, setup can be a bit of a task. The game will be focused around a few main areas. First, the three manuscript pages are placed on the table in any orientation, with the purple wild Drollery tiles placed on one text box on each page. The Monastery mat is placed nearby as well, with the Abbot pawn randomly placed on a blank station. This pawn will be moved around the map during play to determine which rituals may be performed at any one time. Each player will have their own player mat, upon which will be placed their starting gold (1 for the Reverent player and 5 for the Irreverent player), as well as their starting nine Illumination tiles. The rules mention separating all the Illumination tiles into stacks of three, choosing three of these stacks to flip over and place on the play mat without altering the order. This is very important to keep the tiles in their randomized order. The remainder of the tiles are to be placed nearby in stacks of three. Each player is dealt one starting Scriptorium card and a random Crusade card that will offer bonuses at the end of the game. Once all setup, the game may begin with the Reverent player’s turn.
On a turn, the active player will choose from their mat one row or column of three tiles to be played. They take the three tiles and place them upon one of the three book pages on the table, in the margins. From there the player can choose any tile from the margin to place onto the page in any order they wish, upon any quill icon they choose (except for coin tiles – those simply grant two coins immediately). If the tile is placed on a quill of a matching color to that of the tile, the player will immediately collect one coin and place it on the player mat. If the tile is placed on a quill and orthogonally touches a tile of the matching color, the player then collects a Ritual token of the same color. These Ritual tokens are used in sets of three, four, or five in order to earn VP for end of game scoring. Each purple Drollery tile is wild for the purpose of placement and Ritual token collection. Each tile placed will collect its earnings immediately, and any coins earned may be spent immediately as well.
A player may use coins for several purposes throughout the game: move a tile from the margin of one book to the margin of a different book, move the Abbot one space along the track for Ritual purposes, or to draw a Scriptorium card. The other resources are Ritual tokens, and may be spent during the turn as well. In order to spend these, the Abbot must be on the matching location on the Monastery board, and the player may spend three, four, or five matching tokens to perform the Ritual. They discard the tokens, place one of their cubes upon the appropriate icon on the Monastery mat for VP at game end.
At any time during the turn Scriptorium cards may be played. These are very special cards that allow the player to complete certain actions that break the normal rules. This could be a free movement of the Abbot, or switching places of two tiles on the player mat, or even banishing one of the opponent’s tiles to another book entirely.
Why mention the battles in the intro if they are not part of the game? They are. Once opposing foes are placed orthogonally from each other, and all involved tiles are completely enclosed by other tiles or board obstacles, a Bounded Battle will begin. Battles are simple to resolve as it requires players to count the number of combatants on both sides and whichever side has more forces wins the battle. The winner places their cube on the appropriate battle card near the Monastery mat, and the loser gains coins equal to the number of their tiles lost to battle. Tiles that are lost are simply flipped to its opposite side.
Play continues in this fashion of players choosing and placing tiles, drawing and using Scriptorium cards, performing Rituals, and resolving Bounded Battles until both players pass their turn. The game is then over and VP counted in all their places around the play area. The player with the most points becomes the next Scriptmaster Flex and is able to enhance or defile as many manuscripts as they like!
Components. This game has a lot of components, but they are mostly cardboard tiles, cardstock cards and mats, and wooden cubes. The quality is all very fine, as to be expected with Eagle-Gryphon games. The art, for me, is the biggest drawback of the game. I UNDERSTAND why it looks the way it does – in trying to stick with a Medieval manuscript theme some decision were made on the style. It just doesn’t vibe with me. I took a look at the new edition of The Road to Canterbury, by the same designer and publisher, and loved the look of it. I REALIZE that the tiles are supposed to be not only reminiscent of the art style of that time period, but also imaginations of monks and their doodles, but it’s just not for me. I do like the looks of everything else except the art on the tiles, and when that’s the majority of the components I am looking at, I sigh a little. I am absolutely no artist, and I can acknowledge that the art presented is very good and in line with the theme. Oh well.
The game play is very solid, and I do like it quite a bit. Everything makes a lot of sense as to why you are doing the actions, and the most difficult thing to comprehend the first time through is the Bounded Battles. You see, battles don’t immediately happen when you pit one foe against another. In fact, all tiles engaged need to be surrounded by other tiles or battleground obstacles before battle can begin. This allows both sides to add more tiles to help sway the balance of power, and can get a little confusing for some players. Not ME, of course, but SOME players (ok it was totally me the first time through). I am thankful that resolving the battles are pretty simple, and winning battles gives the victor a cool five points.
Other aspects I really enjoy are the Scriptorium cards and the Rituals. Again, the Scriptorium cards can be drawn for two coins during the game and can provide excellent rule-breaking choices to the players. Any time a game has cards that bend the rules, I generally am a fan. The Rituals are merely tokens that are collected and then turned in for points. This doesn’t necessarily sound that interesting until I reveal that a player board only has space for seven items: Ritual tokens AND coins included. So a player may be stacking up coins, and not have space for Ritual tokens or vice versa. Hard choices need to be made sometimes, but to help with that Ritual tokens can also be used like a coin, but not the other way around. So there is no buying Ritual tokens. Having that restriction of seven items on hand is a really nice touch, and makes each turn important.
So all in all I enjoyed my plays of Illumination. I have yet to try the solo version that is included, but I will soon. I feel that of the two Medieval series games I have played I prefer The Road to Canterbury, but I do like the different feel of Illumination. Having a solo mode is also very attractive to me because my wife and I do not always have matching schedules where we can game together. I like Illumination for the actual gameplay, but the art is a turn-off for me. Purple Phoenix Games gives this one an irreverent 4 / 6. If you are looking for something a little different that features some interesting game play, tons of choices, yet is restrictive as well, take a look at Illumination. Try not to complete too many wine and candle rituals though. Those two things don’t mix very well in my experience.
Illumination is a game about two monks who are tasked with illuminating the pages of manuscripts with drawings in the hopes of becoming the next head of the Scriptorium: The Scriptmaster, one might say. However, one of the monks gets a little itch and begins to draw irreverent subjects, like demons, dragons, and such. Which monk will earn the made-up-by-me title of Scriptmaster? Guess you will have to play to find out.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
As with many games that are well endowed with components, setup can be a bit of a task. The game will be focused around a few main areas. First, the three manuscript pages are placed on the table in any orientation, with the purple wild Drollery tiles placed on one text box on each page. The Monastery mat is placed nearby as well, with the Abbot pawn randomly placed on a blank station. This pawn will be moved around the map during play to determine which rituals may be performed at any one time. Each player will have their own player mat, upon which will be placed their starting gold (1 for the Reverent player and 5 for the Irreverent player), as well as their starting nine Illumination tiles. The rules mention separating all the Illumination tiles into stacks of three, choosing three of these stacks to flip over and place on the play mat without altering the order. This is very important to keep the tiles in their randomized order. The remainder of the tiles are to be placed nearby in stacks of three. Each player is dealt one starting Scriptorium card and a random Crusade card that will offer bonuses at the end of the game. Once all setup, the game may begin with the Reverent player’s turn.
On a turn, the active player will choose from their mat one row or column of three tiles to be played. They take the three tiles and place them upon one of the three book pages on the table, in the margins. From there the player can choose any tile from the margin to place onto the page in any order they wish, upon any quill icon they choose (except for coin tiles – those simply grant two coins immediately). If the tile is placed on a quill of a matching color to that of the tile, the player will immediately collect one coin and place it on the player mat. If the tile is placed on a quill and orthogonally touches a tile of the matching color, the player then collects a Ritual token of the same color. These Ritual tokens are used in sets of three, four, or five in order to earn VP for end of game scoring. Each purple Drollery tile is wild for the purpose of placement and Ritual token collection. Each tile placed will collect its earnings immediately, and any coins earned may be spent immediately as well.
A player may use coins for several purposes throughout the game: move a tile from the margin of one book to the margin of a different book, move the Abbot one space along the track for Ritual purposes, or to draw a Scriptorium card. The other resources are Ritual tokens, and may be spent during the turn as well. In order to spend these, the Abbot must be on the matching location on the Monastery board, and the player may spend three, four, or five matching tokens to perform the Ritual. They discard the tokens, place one of their cubes upon the appropriate icon on the Monastery mat for VP at game end.
At any time during the turn Scriptorium cards may be played. These are very special cards that allow the player to complete certain actions that break the normal rules. This could be a free movement of the Abbot, or switching places of two tiles on the player mat, or even banishing one of the opponent’s tiles to another book entirely.
Why mention the battles in the intro if they are not part of the game? They are. Once opposing foes are placed orthogonally from each other, and all involved tiles are completely enclosed by other tiles or board obstacles, a Bounded Battle will begin. Battles are simple to resolve as it requires players to count the number of combatants on both sides and whichever side has more forces wins the battle. The winner places their cube on the appropriate battle card near the Monastery mat, and the loser gains coins equal to the number of their tiles lost to battle. Tiles that are lost are simply flipped to its opposite side.
Play continues in this fashion of players choosing and placing tiles, drawing and using Scriptorium cards, performing Rituals, and resolving Bounded Battles until both players pass their turn. The game is then over and VP counted in all their places around the play area. The player with the most points becomes the next Scriptmaster Flex and is able to enhance or defile as many manuscripts as they like!
Components. This game has a lot of components, but they are mostly cardboard tiles, cardstock cards and mats, and wooden cubes. The quality is all very fine, as to be expected with Eagle-Gryphon games. The art, for me, is the biggest drawback of the game. I UNDERSTAND why it looks the way it does – in trying to stick with a Medieval manuscript theme some decision were made on the style. It just doesn’t vibe with me. I took a look at the new edition of The Road to Canterbury, by the same designer and publisher, and loved the look of it. I REALIZE that the tiles are supposed to be not only reminiscent of the art style of that time period, but also imaginations of monks and their doodles, but it’s just not for me. I do like the looks of everything else except the art on the tiles, and when that’s the majority of the components I am looking at, I sigh a little. I am absolutely no artist, and I can acknowledge that the art presented is very good and in line with the theme. Oh well.
The game play is very solid, and I do like it quite a bit. Everything makes a lot of sense as to why you are doing the actions, and the most difficult thing to comprehend the first time through is the Bounded Battles. You see, battles don’t immediately happen when you pit one foe against another. In fact, all tiles engaged need to be surrounded by other tiles or battleground obstacles before battle can begin. This allows both sides to add more tiles to help sway the balance of power, and can get a little confusing for some players. Not ME, of course, but SOME players (ok it was totally me the first time through). I am thankful that resolving the battles are pretty simple, and winning battles gives the victor a cool five points.
Other aspects I really enjoy are the Scriptorium cards and the Rituals. Again, the Scriptorium cards can be drawn for two coins during the game and can provide excellent rule-breaking choices to the players. Any time a game has cards that bend the rules, I generally am a fan. The Rituals are merely tokens that are collected and then turned in for points. This doesn’t necessarily sound that interesting until I reveal that a player board only has space for seven items: Ritual tokens AND coins included. So a player may be stacking up coins, and not have space for Ritual tokens or vice versa. Hard choices need to be made sometimes, but to help with that Ritual tokens can also be used like a coin, but not the other way around. So there is no buying Ritual tokens. Having that restriction of seven items on hand is a really nice touch, and makes each turn important.
So all in all I enjoyed my plays of Illumination. I have yet to try the solo version that is included, but I will soon. I feel that of the two Medieval series games I have played I prefer The Road to Canterbury, but I do like the different feel of Illumination. Having a solo mode is also very attractive to me because my wife and I do not always have matching schedules where we can game together. I like Illumination for the actual gameplay, but the art is a turn-off for me. Purple Phoenix Games gives this one an irreverent 4 / 6. If you are looking for something a little different that features some interesting game play, tons of choices, yet is restrictive as well, take a look at Illumination. Try not to complete too many wine and candle rituals though. Those two things don’t mix very well in my experience.
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Debbiereadsbook (1202 KP) rated At War with a Broken Heart in Books
Feb 26, 2019
get the tissues ready, you'll need them!
Davet and his younger brother moved to Bideford, in Cornwall to be away from their abusive parents. Davet runs a coffee shop and Fie goes every day for his coffee before starting in his pottery shop. Sid is a local police officer who also frequents the coffee shop, mostly when Fie is there too. All three men have crushed on each other for several years. When Davet is dealt a devastating blow, Fie and Sid have to rally round Davet, to keep the younger man from crumbling. Can they really make this work, the three of them?
I was warned, you know? Warned that I would need a box of tissues, for this one and boy did I need them!
Davet's blow is shocking in it's extreme, and it broke my heart for him. But also, for Fie and Sid, watching their man ( and they WERE a three, even before they voiced it!) fall apart around them and not really being able to help. BUT Davet's parents turning up galvanised them into doing what DAVET needed, rather than what they thought they should be doing, if that makes sense?
It's mmt overly explicit for a three way book, but that's not needed here. HERE it's about three men falling in, and acting on that love, even if it takes a tragedy for them to see it. That loves shines right from the start and it really is a joy to watch them fall, almost one after the other, like dominoes!
All three men have their say, so we get it all. We get Fie's dawning realisation to what Davet might feel for him, and how he deals with his survivors guilt, or not most days. We get Davet's heartbreak, but equally his joy when they finally give in to each other and how HE deals with everyone and everything in his own way. And we get Sid and his internal wrangling with himself over his relationship with his dad, and whether the three of them can REALLY be together.
It's full of Ms Donovan's witty one liners, quirky characters and her damaged and tortured men. Ms Donovan's boys do like to play with their food and I'm so glad we got a little food fight here!
I started this book at 10.15pm, after a long busy shift at work, full of a nasty cold. A few pages before sleep, is the lie you tell yourself and the next thing you know, it's 2.30am, your head is pounding, and you've ran out of book.
So, it can only get . . .
5 full and shiny stars
**same worded review will appear elsewhere**
I was warned, you know? Warned that I would need a box of tissues, for this one and boy did I need them!
Davet's blow is shocking in it's extreme, and it broke my heart for him. But also, for Fie and Sid, watching their man ( and they WERE a three, even before they voiced it!) fall apart around them and not really being able to help. BUT Davet's parents turning up galvanised them into doing what DAVET needed, rather than what they thought they should be doing, if that makes sense?
It's mmt overly explicit for a three way book, but that's not needed here. HERE it's about three men falling in, and acting on that love, even if it takes a tragedy for them to see it. That loves shines right from the start and it really is a joy to watch them fall, almost one after the other, like dominoes!
All three men have their say, so we get it all. We get Fie's dawning realisation to what Davet might feel for him, and how he deals with his survivors guilt, or not most days. We get Davet's heartbreak, but equally his joy when they finally give in to each other and how HE deals with everyone and everything in his own way. And we get Sid and his internal wrangling with himself over his relationship with his dad, and whether the three of them can REALLY be together.
It's full of Ms Donovan's witty one liners, quirky characters and her damaged and tortured men. Ms Donovan's boys do like to play with their food and I'm so glad we got a little food fight here!
I started this book at 10.15pm, after a long busy shift at work, full of a nasty cold. A few pages before sleep, is the lie you tell yourself and the next thing you know, it's 2.30am, your head is pounding, and you've ran out of book.
So, it can only get . . .
5 full and shiny stars
**same worded review will appear elsewhere**
Emma @ The Movies (1786 KP) rated What Men Want (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Who wouldn't want to know what goes through a man's mind on occasion? Actually, you know what... I'm fine, I'm not sure I really want to hear everything... *shudder*
Ali is looking for the recognition she deserves for the hard work she puts in. She's successful, but in an office full of men she might not get out of her lane and be equal with the men around her. Without the supernatural twist the outcome could have eventually been the same, but that wouldn't have made for such an entertaining movie.
What Men Want is entirely predictable, after all we saw it all before in What Women Want but it's also like a whole bunch of romcoms out there. Character encounters an obstacle, character finds romance, character finds a way to fix the obstacle and in the process of that mucks up romance, obstacle gets fixed, character realises that none of it is worthwhile without romance and gets them back with big gesture, The End.
Taraji P. Henson is right up near the top of my favourite actresses, she's got so many great performances under her belt. Ali isn't going to appear very near the top of that list. Everything in Ali, as well as the film, seems to be at opposite ends of the scale. When we have comedy it sometimes feels over the top, when we have real life it's serious. Had there been more of a balance I think we could have had a better result. That being said, I thought she was great, she's very good at visual acting.
When it comes to the supporting cast it doesn't quite hit the spot. Again, this is partly due to the Jekyll and Hyde nature of everything. You've got characters who are serious, textbook romcomers, some for comedy and a handful of sports stars doing cameos, it's difficult to make them all gel. Pete Davidson and Tracy Morgan in both stick out from the rest because they bring quite a harsh comedy which I didn't find all that entertaining.
On the flip side though I was pleased to see Aldis Hodge make an appearance, he's got just the right amount of humour and serious in there and against Henson in scenes he works particularly well. Josh Brener also brought something fun to the mix, and possibly had the best part overall. Getting to sit on both sides of the storyline allows him to interact in fun ways with Ali when she's discovering her abilities as well as later on when he's trying to hide his inner thoughts.
Speaking of which, men's inner thoughts throughout aren't badly done, though there's the occasional over the top effort. Jamal Barry/Shane Paul McGhie had the winner for me when he was meeting his sporting hero though.
Looking back at this film I think I'm actually talking it out of stars in my head. I enjoyed it a lot at the cinema, it was funny (if a little excessive at times) and it eventually shows Ali being able to empower herself even if she does cock it up along the way. It flowed well and I wasn't finding myself urging it along... but... it's not a massively consistent film. The storyline with her female friends in obviously essential to the beginning but its addition later on holds little impact apart from giving her multiple points to claim some redemption.
I can honestly say that on first viewing I was amused and entertained, but I'm not sure how well it would hold up to a second.
What you should do
When talking to people who have seen What Men Want it is fairly consistent, men tend not to like it while women say they found it entertaining (admittedly that's somewhere between 2.5 and 4 stars). I think it's worth watching, and it would probably make a good film for a girls night.
Movie thing you wish you could take home
I've completely talked myself out of hearing men's thoughts so maybe box seats instead?
Ali is looking for the recognition she deserves for the hard work she puts in. She's successful, but in an office full of men she might not get out of her lane and be equal with the men around her. Without the supernatural twist the outcome could have eventually been the same, but that wouldn't have made for such an entertaining movie.
What Men Want is entirely predictable, after all we saw it all before in What Women Want but it's also like a whole bunch of romcoms out there. Character encounters an obstacle, character finds romance, character finds a way to fix the obstacle and in the process of that mucks up romance, obstacle gets fixed, character realises that none of it is worthwhile without romance and gets them back with big gesture, The End.
Taraji P. Henson is right up near the top of my favourite actresses, she's got so many great performances under her belt. Ali isn't going to appear very near the top of that list. Everything in Ali, as well as the film, seems to be at opposite ends of the scale. When we have comedy it sometimes feels over the top, when we have real life it's serious. Had there been more of a balance I think we could have had a better result. That being said, I thought she was great, she's very good at visual acting.
When it comes to the supporting cast it doesn't quite hit the spot. Again, this is partly due to the Jekyll and Hyde nature of everything. You've got characters who are serious, textbook romcomers, some for comedy and a handful of sports stars doing cameos, it's difficult to make them all gel. Pete Davidson and Tracy Morgan in both stick out from the rest because they bring quite a harsh comedy which I didn't find all that entertaining.
On the flip side though I was pleased to see Aldis Hodge make an appearance, he's got just the right amount of humour and serious in there and against Henson in scenes he works particularly well. Josh Brener also brought something fun to the mix, and possibly had the best part overall. Getting to sit on both sides of the storyline allows him to interact in fun ways with Ali when she's discovering her abilities as well as later on when he's trying to hide his inner thoughts.
Speaking of which, men's inner thoughts throughout aren't badly done, though there's the occasional over the top effort. Jamal Barry/Shane Paul McGhie had the winner for me when he was meeting his sporting hero though.
Looking back at this film I think I'm actually talking it out of stars in my head. I enjoyed it a lot at the cinema, it was funny (if a little excessive at times) and it eventually shows Ali being able to empower herself even if she does cock it up along the way. It flowed well and I wasn't finding myself urging it along... but... it's not a massively consistent film. The storyline with her female friends in obviously essential to the beginning but its addition later on holds little impact apart from giving her multiple points to claim some redemption.
I can honestly say that on first viewing I was amused and entertained, but I'm not sure how well it would hold up to a second.
What you should do
When talking to people who have seen What Men Want it is fairly consistent, men tend not to like it while women say they found it entertaining (admittedly that's somewhere between 2.5 and 4 stars). I think it's worth watching, and it would probably make a good film for a girls night.
Movie thing you wish you could take home
I've completely talked myself out of hearing men's thoughts so maybe box seats instead?
Kristy H (1252 KP) rated Best Intentions in Books
Feb 13, 2018
Marti Trailor is a beleaguered mother of three young children, struggling to hold on to any pieces of her own self as she takes care of her household and family while her husband, Elliot, works endless hours as an obstetrician. When her youngest daughter starts kindergarten, Marti, a former social worker, decides to go back to work. She gets a job, which, coincidentally happens to be in her husband's hospital--something he doesn't seem too thrilled about. Once there, Marti realizes just how overworked many of the doctors are. She also can't help but get a little too involved in the lives of her clients. It's while helping a client--and skirting that precarious line between social worker and friend--that Marti sees something horrible happen at the hospital. This event will change the course of her life forever and threaten everything she holds dear.
<i>This was an interesting novel, to say the least.</i> I was immediately drawn to it, as the author apparently lives in Charlottesville, my hometown. This book is set in Richmond, VA, and she certainly captures the area and the state quite well.
The book is told entirely from Marti's perspective and it takes a little while to fall into the pattern of reading, as present-tense and past-tense are presented together in the chapters without any break (at least they were in my ARC), leaving you a bit confused at first. The back and forth can be a little awkward and jarring in the beginning, though once you get used to it, it's a pretty compelling device. The novel isn't exactly exciting in a thriller-type way, but there's <i>a fascinating element to it that keeps you reading.</i>
There's a lot going on in this book--marital issues, a discussion on hospital policies, Marti juggling work and motherhood, investigative journalism, discussion into Richmond politics, etc. Sometimes it seems a little too much: did Marti really need to be the daughter of a Congressman, for instance?
Still, Raskin is a descriptive writer, and her prose is fairly easy to read, and again, as I mentioned, it's a hard-to-put down book. She had me from nearly the beginning, when she described one of the characters as "Tommy Lee Jones in his heyday cute." (She gets me, she really gets me, I thought!)
As the novel progresses, I found it almost Jodi Picoult-esque. There's a strong emphasis on character development, courtroom drama, and plot elements designed to make you think. Sure, the characters are drawn a bit black and white--Elliot bad, Marti good, but it works: Elliot is just so awful you cannot help but like Marti even more. Did I find the novel quite as persuasive and enjoyable as Picoult in her heyday? No. But that's pretty hard to do.
Overall, I enjoyed this one. It's descriptive, oddly compelling, and was a nice change of pace from the thrillers I've been reading lately. Definitely worth a read. I'd go with around 3.75 stars, rounded up to 4 here.
I received a copy of this novel from the publisher and Netgalley (thank you!); it is available everywhere as of 08/15/2017.
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<i>This was an interesting novel, to say the least.</i> I was immediately drawn to it, as the author apparently lives in Charlottesville, my hometown. This book is set in Richmond, VA, and she certainly captures the area and the state quite well.
The book is told entirely from Marti's perspective and it takes a little while to fall into the pattern of reading, as present-tense and past-tense are presented together in the chapters without any break (at least they were in my ARC), leaving you a bit confused at first. The back and forth can be a little awkward and jarring in the beginning, though once you get used to it, it's a pretty compelling device. The novel isn't exactly exciting in a thriller-type way, but there's <i>a fascinating element to it that keeps you reading.</i>
There's a lot going on in this book--marital issues, a discussion on hospital policies, Marti juggling work and motherhood, investigative journalism, discussion into Richmond politics, etc. Sometimes it seems a little too much: did Marti really need to be the daughter of a Congressman, for instance?
Still, Raskin is a descriptive writer, and her prose is fairly easy to read, and again, as I mentioned, it's a hard-to-put down book. She had me from nearly the beginning, when she described one of the characters as "Tommy Lee Jones in his heyday cute." (She gets me, she really gets me, I thought!)
As the novel progresses, I found it almost Jodi Picoult-esque. There's a strong emphasis on character development, courtroom drama, and plot elements designed to make you think. Sure, the characters are drawn a bit black and white--Elliot bad, Marti good, but it works: Elliot is just so awful you cannot help but like Marti even more. Did I find the novel quite as persuasive and enjoyable as Picoult in her heyday? No. But that's pretty hard to do.
Overall, I enjoyed this one. It's descriptive, oddly compelling, and was a nice change of pace from the thrillers I've been reading lately. Definitely worth a read. I'd go with around 3.75 stars, rounded up to 4 here.
I received a copy of this novel from the publisher and Netgalley (thank you!); it is available everywhere as of 08/15/2017.
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Sophia (Bookwyrming Thoughts) (530 KP) rated The Second Siege (The Tapestry, #2) in Books
Jan 23, 2020
Original Review posted on <a title="The Second Siege by Henry H. Neff" href="http://bookwyrming-thoughts.blogspot.com/2013/05/review-the-second-siege-by-henry-h-neff.html">Bookwyrming Thoughts</a>
Original Rating: 3.5 out of 5 Owls
Note: Formatting is lost due to copy and paste
In the second book to The Tapestry series, Astaroth has already been released from his confinement and is causing trouble in the outside world with his allies. Max McDaniels and his roommate David Menlo are traveling to different worlds on a quest to acquire the dangerous Book of Thoth before Astaroth gets to it first.
I'm sorry if I can't help but compare the series to Harry Potter (actually, I can't help but compare a lot of books to another book/series...). Both series are just so... similar in so many ways. It may sound ironic, but in my humble opinion, Astaroth isn't that... villainy. I mean, sure, he's cunning and evil when necessary, but I'm pretty sure that if Voldy and Astaroth had a face off, Voldy would probably crush him. Big time. Even if he's noseless. Basically because Voldy is evil 24/7.
<img src="http://i287.photobucket.com/albums/ll152/Contele_Draqula/VoldemortandDeathEaters.jpg"; width="200" height="143" />
On the other hand, Astaroth's "minions" are well... completely the opposite of the Death Eaters. The Death Eaters are pretty loyal, but there's always these little loose knots here and there when it comes to loyalty. Apparently, Astaroth's minions are too loyal to the demon, that there are practically no loose ends at all. One big happy family in taking over the world? Possibly... but don't take my word for granted. I may be wrong for all I know and all of his minions will soon overthrow him as leader of Malevolency.
In a nutshell, you can say I'm sadly disappointed that Astaroth just doesn't seem like a villain at certain times. I don't know. Maybe he'll be more evil later in the series, but for now, I think I'll categorize him a bit as Mr. Nice Guy. I'll nominate him as Dr. Evil II when he has more of the muahaha added in (okay, not exactly muahaha, but closer).
<img src="http://4.bp.blogspot.com/_OjrbRW6e1VE/THP3sett2tI/AAAAAAAAFBw/rsQC8kBELBw/s200/Dr_Evil.jpg"; />
So, the ending. Er, not exactly. Kind of a happy-sad ending, but not exactly an ending that will make me emotional that I'll need a Kleenex in hand and hide someplace so no one sees me crying, because if I get seen crying, it'll be as embarrassing as saying something in an awkward silence.. But I'm pretty glad that Max and his father saw someone they deeply cared for at least one more time after so many years. It's also not an ending where there's this lovely cliffhanger that keeps you at the edge of the seat, eager to read the next book.
As much as I hate cliffhangers, I just feel that there needs to be some sort of cliff waiting to catch more "victims" at the end when it comes to a series (maybe I'm so used to that frame of mind...), which I find missing in The Second Siege. Though hopefully I'm just missing that cliffhanger and just need to dig deeper...
Original Rating: 3.5 out of 5 Owls
Note: Formatting is lost due to copy and paste
In the second book to The Tapestry series, Astaroth has already been released from his confinement and is causing trouble in the outside world with his allies. Max McDaniels and his roommate David Menlo are traveling to different worlds on a quest to acquire the dangerous Book of Thoth before Astaroth gets to it first.
I'm sorry if I can't help but compare the series to Harry Potter (actually, I can't help but compare a lot of books to another book/series...). Both series are just so... similar in so many ways. It may sound ironic, but in my humble opinion, Astaroth isn't that... villainy. I mean, sure, he's cunning and evil when necessary, but I'm pretty sure that if Voldy and Astaroth had a face off, Voldy would probably crush him. Big time. Even if he's noseless. Basically because Voldy is evil 24/7.
<img src="http://i287.photobucket.com/albums/ll152/Contele_Draqula/VoldemortandDeathEaters.jpg"; width="200" height="143" />
On the other hand, Astaroth's "minions" are well... completely the opposite of the Death Eaters. The Death Eaters are pretty loyal, but there's always these little loose knots here and there when it comes to loyalty. Apparently, Astaroth's minions are too loyal to the demon, that there are practically no loose ends at all. One big happy family in taking over the world? Possibly... but don't take my word for granted. I may be wrong for all I know and all of his minions will soon overthrow him as leader of Malevolency.
In a nutshell, you can say I'm sadly disappointed that Astaroth just doesn't seem like a villain at certain times. I don't know. Maybe he'll be more evil later in the series, but for now, I think I'll categorize him a bit as Mr. Nice Guy. I'll nominate him as Dr. Evil II when he has more of the muahaha added in (okay, not exactly muahaha, but closer).
<img src="http://4.bp.blogspot.com/_OjrbRW6e1VE/THP3sett2tI/AAAAAAAAFBw/rsQC8kBELBw/s200/Dr_Evil.jpg"; />
So, the ending. Er, not exactly. Kind of a happy-sad ending, but not exactly an ending that will make me emotional that I'll need a Kleenex in hand and hide someplace so no one sees me crying, because if I get seen crying, it'll be as embarrassing as saying something in an awkward silence.. But I'm pretty glad that Max and his father saw someone they deeply cared for at least one more time after so many years. It's also not an ending where there's this lovely cliffhanger that keeps you at the edge of the seat, eager to read the next book.
As much as I hate cliffhangers, I just feel that there needs to be some sort of cliff waiting to catch more "victims" at the end when it comes to a series (maybe I'm so used to that frame of mind...), which I find missing in The Second Siege. Though hopefully I'm just missing that cliffhanger and just need to dig deeper...
Emma @ The Movies (1786 KP) rated Once Upon A Deadpool (Deadpool 2 PG-13 Version) (2018) in Movies
Sep 25, 2019
So you want to see a family friendly version of Deadpool 2? Well you're out of luck because after all their editing it didn't make it past the 12A certificate criteria and had to be released as a 15 again. It still deserved that 15, it wasn't exactly hiding it's sweary side very well, and the violence is still there, you just don't get splattered with as much blood.
The editing unfortunately leaves you with some obvious continuity errors. The one that bugged me the most was the scene where DP is shot through the hand. They've left out the CGI for the gaping hole but it appears later in the film.
But lets look at the extra content you get.
Fred Savage and DP cut into the film in a homage to The Princess Bride. It's an amusing addition and I really did enjoy the Matt Damon skit.
They also edited the Stan Lee mural to say RIP, it definitely made it stick out more as I completely missed it the first time I saw DP2 at the cinema.
We also got an extra three credit scenes. One before the existing ones and two after. I nearly left... I was convinced that the fourth one was the end and I stood up to leave just as the fifth one started, and someone shouted at me to sit down. I'm not even mad, I was shouting internally at myself too. I was so glad to have seen it. The end Stan Lee montage brought a tear to my eye and was horribly poignant footage.
Is it in any way an improvement on the original? Absolutely not. Was it worth watching at the cinema? Definitely, yes. The screen was packed with people who knew what they were getting and were just there to have fun. (Apart from the two people who left after about ten minutes... spoil-sports.) We laughed together like it was the first time we'd seen the film and it was a great experience. With tickets in our cinema currently £5 of free with your Unlimited card it was well worth seeing on the big screen for the experience.
I'm left actively annoyed now though because it'll probably be another DVD I have to buy. Really there is no way to make Deadpool family friendly without taking everything away that makes him so fun. The ideal scenario would have been to have the Fred Savage bits edited together with the relevant snippets of the film and had it as a 20 minutes extra when they released it to buy. That or create a MST3K style commentary track for the film where you just see DP silently miming actions to Savage while he's telling him the story and we're watching the film, then having DP physically pause the film when Savage asks him questions so that they can do the scenes. Okay, I'm calm again now.
What you should do
I don't know if they're going to release it to buy or stream, and it was a one hit wonder at the cinema so I'm not really sure what you'll be able to do about seeing it. Ultimately though it's probably just worth watching the original again in all it's sweary and bloody glory.
Movie thing you wish you could take home
From this adaptation I think I'd like to have the bleeping buzzer that Deadpool uses in the added scenes. That would really come in handy on a day to day basis.
The editing unfortunately leaves you with some obvious continuity errors. The one that bugged me the most was the scene where DP is shot through the hand. They've left out the CGI for the gaping hole but it appears later in the film.
But lets look at the extra content you get.
Fred Savage and DP cut into the film in a homage to The Princess Bride. It's an amusing addition and I really did enjoy the Matt Damon skit.
They also edited the Stan Lee mural to say RIP, it definitely made it stick out more as I completely missed it the first time I saw DP2 at the cinema.
We also got an extra three credit scenes. One before the existing ones and two after. I nearly left... I was convinced that the fourth one was the end and I stood up to leave just as the fifth one started, and someone shouted at me to sit down. I'm not even mad, I was shouting internally at myself too. I was so glad to have seen it. The end Stan Lee montage brought a tear to my eye and was horribly poignant footage.
Is it in any way an improvement on the original? Absolutely not. Was it worth watching at the cinema? Definitely, yes. The screen was packed with people who knew what they were getting and were just there to have fun. (Apart from the two people who left after about ten minutes... spoil-sports.) We laughed together like it was the first time we'd seen the film and it was a great experience. With tickets in our cinema currently £5 of free with your Unlimited card it was well worth seeing on the big screen for the experience.
I'm left actively annoyed now though because it'll probably be another DVD I have to buy. Really there is no way to make Deadpool family friendly without taking everything away that makes him so fun. The ideal scenario would have been to have the Fred Savage bits edited together with the relevant snippets of the film and had it as a 20 minutes extra when they released it to buy. That or create a MST3K style commentary track for the film where you just see DP silently miming actions to Savage while he's telling him the story and we're watching the film, then having DP physically pause the film when Savage asks him questions so that they can do the scenes. Okay, I'm calm again now.
What you should do
I don't know if they're going to release it to buy or stream, and it was a one hit wonder at the cinema so I'm not really sure what you'll be able to do about seeing it. Ultimately though it's probably just worth watching the original again in all it's sweary and bloody glory.
Movie thing you wish you could take home
From this adaptation I think I'd like to have the bleeping buzzer that Deadpool uses in the added scenes. That would really come in handy on a day to day basis.
Bob Mann (459 KP) rated A Star Is Born (2018) in Movies
Sep 28, 2021
Dullsville Arizona.
It’s unusual for the illustrious Mrs. Movie-Man and I to disagree over our opinion of a movie. Sure, she doesn’t like some genres like horror and sci-fi that I do, and I will often go to them alone. But in the main if we sit there together then we tend to have the same general view as to whether we liked it or not. (I guess that’s why we’ve been such a good match for nearly 40 years!). Not so though with this film.
The story has been filmed three times before: in 1937 (with Janet Gaynor and Fredric March); 1954 (with Judy Garland and James Mason) and 1976 (with Barbra Streisand and Kris Kristofferson). In all of these films the story has been the same: an alcoholic and over-the-hill actor (or with Kris Kristofferson, rock star) finds a young talented ingenue to love and develop into a superstar.
The modern day remake is a little different in that Jackson Maine, our older star (now played by Bradley Cooper), is a stadium-filling mega-rock-star, recognised and idolised in every bar he goes into…. and he frequents a LOT of bars. Maine mixes the cocktail with drugs in this version meaning that as one star is ascending, his seems destined to be heading into a black hole.
At its heart, this is a good story of having self-confidence in your own abilities, no matter how people around you try to put you down. Gaga’s Ally is one such person; a waitress who is constantly being told, especially by her blue-collar dad and his boozy friends, that although she has a great voice she’s “never going to make it” because of the way she looks. In chilled fashion she meets Jackson Maine, who hears her sing and thinks she might be on the edge of glory. Not worried about her big nose, he appreciates she was born that way: in fact he likes her so much he wants to poke her face. (Sorry… couldn’t resist it).
I appreciate from the IMDB rating that I am probably in a minority here. (At the time of writing this – pre-general release – it is a ridiculously high – and I suspect artificially pumped up – 8.8). But for me, I found the whole thing a dull affair. I can’t remember the last time I went to a film when I actively looked at my watch… but 1 hour 45 into this, I did (it had another 30 minutes to run).
For one thing, I just didn’t believe Bradley Cooper as the rock star character. He just came across as totally false and unbelievable to me. I had more resonance with Gaga’s Ally. Even though she is a novice actor (and it showed at times) in general I thought she did a creditable job. But given these two factors together, there are long and indulgent exchanges between the pair that seemed to me to go on in–ter–min–ably. Best actor in the film for me was Sam Elliott as Jackson’s brother Bobby. The mellowing of the brothers is a scene that I found genuinely touching.
I’d also like a glance at the original script, since there are some passages (the “boyfriend/husband” lines is a case in point) where it felt like one of them made an script mistake and, instead of Cooper (as director) shouting “cut”, they kept it going as some sort of half-arsed improv.
What is impressive is that they got to film at live concerts (including at Glastonbury), although most of this footage is of the hand-held nausea-inducing variety. There is zero doubt that Gaga can belt out a song better than anyone. But I didn’t get that same feeling about Bradley Cooper’s singing: like a lot of this film (with Cooper as co-producer, co-screenwriter AND director) it felt to me like a self-indulgent piece of casting.
I know music is extremely subjective, and “country” isnt really my think anyway. But the songs by Gaga and Lukas Nelson were – “Shallow” aside – for me rather forgetable.
Overall, in a couple of years that have brought us some great musicals – “La La Land“; “Sing Street“; “The Greatest Showman” – here’s a film about the music industry that did nothing for me I’m afraid.
But with my new user-rating system (this is the first post on the new web site) you have a chance to have YOUR say, so vote away!
The story has been filmed three times before: in 1937 (with Janet Gaynor and Fredric March); 1954 (with Judy Garland and James Mason) and 1976 (with Barbra Streisand and Kris Kristofferson). In all of these films the story has been the same: an alcoholic and over-the-hill actor (or with Kris Kristofferson, rock star) finds a young talented ingenue to love and develop into a superstar.
The modern day remake is a little different in that Jackson Maine, our older star (now played by Bradley Cooper), is a stadium-filling mega-rock-star, recognised and idolised in every bar he goes into…. and he frequents a LOT of bars. Maine mixes the cocktail with drugs in this version meaning that as one star is ascending, his seems destined to be heading into a black hole.
At its heart, this is a good story of having self-confidence in your own abilities, no matter how people around you try to put you down. Gaga’s Ally is one such person; a waitress who is constantly being told, especially by her blue-collar dad and his boozy friends, that although she has a great voice she’s “never going to make it” because of the way she looks. In chilled fashion she meets Jackson Maine, who hears her sing and thinks she might be on the edge of glory. Not worried about her big nose, he appreciates she was born that way: in fact he likes her so much he wants to poke her face. (Sorry… couldn’t resist it).
I appreciate from the IMDB rating that I am probably in a minority here. (At the time of writing this – pre-general release – it is a ridiculously high – and I suspect artificially pumped up – 8.8). But for me, I found the whole thing a dull affair. I can’t remember the last time I went to a film when I actively looked at my watch… but 1 hour 45 into this, I did (it had another 30 minutes to run).
For one thing, I just didn’t believe Bradley Cooper as the rock star character. He just came across as totally false and unbelievable to me. I had more resonance with Gaga’s Ally. Even though she is a novice actor (and it showed at times) in general I thought she did a creditable job. But given these two factors together, there are long and indulgent exchanges between the pair that seemed to me to go on in–ter–min–ably. Best actor in the film for me was Sam Elliott as Jackson’s brother Bobby. The mellowing of the brothers is a scene that I found genuinely touching.
I’d also like a glance at the original script, since there are some passages (the “boyfriend/husband” lines is a case in point) where it felt like one of them made an script mistake and, instead of Cooper (as director) shouting “cut”, they kept it going as some sort of half-arsed improv.
What is impressive is that they got to film at live concerts (including at Glastonbury), although most of this footage is of the hand-held nausea-inducing variety. There is zero doubt that Gaga can belt out a song better than anyone. But I didn’t get that same feeling about Bradley Cooper’s singing: like a lot of this film (with Cooper as co-producer, co-screenwriter AND director) it felt to me like a self-indulgent piece of casting.
I know music is extremely subjective, and “country” isnt really my think anyway. But the songs by Gaga and Lukas Nelson were – “Shallow” aside – for me rather forgetable.
Overall, in a couple of years that have brought us some great musicals – “La La Land“; “Sing Street“; “The Greatest Showman” – here’s a film about the music industry that did nothing for me I’m afraid.
But with my new user-rating system (this is the first post on the new web site) you have a chance to have YOUR say, so vote away!