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Purple Phoenix Games (2266 KP) rated Yummy Yummy Monster Tummy in Tabletop Games
Jan 14, 2022
The Kids Table series from Purple Phoenix Games seeks to lightly explore games that are focused toward children and families. We will do our best to give some good insight, but not bog your down with the millions of rules…
In Yummy Yummy Monster Tummy (which, again, I think I will just call “this game” from here on out), players are kids who are visiting their grandfather and hear noises in the attic. When the kids check out the noises, they find colorful little friendly monsters roaming about! These monsters are all super hungry, and you have found that they love eating items that are the same color as their fur. Oh, but they hate anything considered to be a “vitamin.” Sound familiar, parents?
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup this game, first download the official app to your phone or tablet. Yes, an app. Start the app and choose your skill level. Grab all the cards belonging to the Attic set, shuffle them, deal each player the appropriate amount of cards, and place the rest of the deck face-down to form a draw pile. You are now ready to play!
This game is a cooperative game, so players are all trying to win as a team. The whole object of the game is to play cards that will match the monster’s fur that shows up on the app. The color of the cards are very important, as the cards that are played (scanned by the app) will be mixed together to form the new color. So if the monster on screen is red, adding a blue and brown card just won’t do. This not only helps teach colors and mixing, but also encourages cooperation and concentration – something my kids definitely benefit from having in a game.
As the game progresses, other creatures are added that require players to scan other cards, or that give special abilities. I will leave those to you to discover through your plays; I do not wish to spoil much of anything.
Shown below is a screenshot from one of our games, so that you can see what most of the game looks like and how cute the little monsters are.
Players will continue to play cards, draw new cards, and try their hands at mixing the correct colors to match the monster as closely as they can until the app is finished throwing monsters at you. At that time, your success is evaluated and you may even progress to the next mission, or to a new area altogether, adding a new set of cards to the existing deck. This increases possibilities for new color combinations, but also slowly adds in new rules to keep the game interesting and fresh.
My little boy and I have played this game about three million times since we received it from Lucky Duck Games. We cannot get enough of it, and have tried to introduce other players to it with tons of success. The overall premise is very cute and easy to grasp. Even when adding in new creatures and their special rules, he has been handling it remarkably.
I really appreciate the effort that has gone into developing a hybrid app/board game for kids that is just really fun for all who play it. I have seen where this has been redeveloped and rethemed from a different game with more sensitive subject matter. So that’s a boon.
I think the hardest part about playing this game is finding the sweet spot of where to hold the card so that the front-facing camera on the device is able to scan the QR code on the card backs. I know my kid had a difficult time figuring out what “5-10 inches away from the camera” actually meant. An easy fix, and we were on our way to our hundredth play.
If you haven’t had the opportunity to play one of these app-drive hybrid games, I definitely recommend picking up a copy of Yummy Yummy Monster Tummy right away. It is very light, designed for children AND adults, and will provide innumerable hours of quality time with family.
Oh, and don’t worry about reading the rulebook. Just download the app, shuffle the cards, and let the app whisk you away… to your grampa’s attic. Enjoy!
In Yummy Yummy Monster Tummy (which, again, I think I will just call “this game” from here on out), players are kids who are visiting their grandfather and hear noises in the attic. When the kids check out the noises, they find colorful little friendly monsters roaming about! These monsters are all super hungry, and you have found that they love eating items that are the same color as their fur. Oh, but they hate anything considered to be a “vitamin.” Sound familiar, parents?
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup this game, first download the official app to your phone or tablet. Yes, an app. Start the app and choose your skill level. Grab all the cards belonging to the Attic set, shuffle them, deal each player the appropriate amount of cards, and place the rest of the deck face-down to form a draw pile. You are now ready to play!
This game is a cooperative game, so players are all trying to win as a team. The whole object of the game is to play cards that will match the monster’s fur that shows up on the app. The color of the cards are very important, as the cards that are played (scanned by the app) will be mixed together to form the new color. So if the monster on screen is red, adding a blue and brown card just won’t do. This not only helps teach colors and mixing, but also encourages cooperation and concentration – something my kids definitely benefit from having in a game.
As the game progresses, other creatures are added that require players to scan other cards, or that give special abilities. I will leave those to you to discover through your plays; I do not wish to spoil much of anything.
Shown below is a screenshot from one of our games, so that you can see what most of the game looks like and how cute the little monsters are.
Players will continue to play cards, draw new cards, and try their hands at mixing the correct colors to match the monster as closely as they can until the app is finished throwing monsters at you. At that time, your success is evaluated and you may even progress to the next mission, or to a new area altogether, adding a new set of cards to the existing deck. This increases possibilities for new color combinations, but also slowly adds in new rules to keep the game interesting and fresh.
My little boy and I have played this game about three million times since we received it from Lucky Duck Games. We cannot get enough of it, and have tried to introduce other players to it with tons of success. The overall premise is very cute and easy to grasp. Even when adding in new creatures and their special rules, he has been handling it remarkably.
I really appreciate the effort that has gone into developing a hybrid app/board game for kids that is just really fun for all who play it. I have seen where this has been redeveloped and rethemed from a different game with more sensitive subject matter. So that’s a boon.
I think the hardest part about playing this game is finding the sweet spot of where to hold the card so that the front-facing camera on the device is able to scan the QR code on the card backs. I know my kid had a difficult time figuring out what “5-10 inches away from the camera” actually meant. An easy fix, and we were on our way to our hundredth play.
If you haven’t had the opportunity to play one of these app-drive hybrid games, I definitely recommend picking up a copy of Yummy Yummy Monster Tummy right away. It is very light, designed for children AND adults, and will provide innumerable hours of quality time with family.
Oh, and don’t worry about reading the rulebook. Just download the app, shuffle the cards, and let the app whisk you away… to your grampa’s attic. Enjoy!
Bob Mann (459 KP) rated Widows (2018) in Movies
Sep 28, 2021
Death Becomes Her.
The Plot
If you are considering “inheritence planning” there are probably a number of things you might be toying with: what happens to your house; how to best transfer your investments; who gets the dog; etc. But probably “a grudge” is not on the list. But that’s the problem faced by teacher’s union rep Veronica (Viola Davis). As you might presume from the film’s title Veronica, together with fellow widows Linda (Michelle Rodriquez), Alice (Elizabeth Debicki), Amanda (Carrie Coon), are left in a tight spot when a gang’s robbery of a local black hoodlum’s stack of cash goes badly wrong. The leader of the gang, and Veronica’s husband, is Harry Rawlings (Liam Neeson), and his certain set of skills are not enough to save him.
The victim of the robbery, Jamal Manning (Brian Tyree Henry), is running for local office in the upcoming elections against Jack Mulligan (Colin Farrell), trying to take over the role as part of a long dynasty from his grouchy father Tom (Robert Duvall). Where Jamal might be better with words, Jamal’s brother Jatemme (Daniel Kaluuya, “Get Out“) has a more physical approach to resolving issues.
What Harry has left behind for Veronica is a notebook containing the details of their next job, and Veronica gathers the female group together to carry out the raid to help save them from a “bullet in the head”.
The Review
I really enjoyed this film. It’s the ying to the yang of the disappointing “Ocean’s 8” from earlier in the year. Yes, it’s YET another film that focuses on female empowerment and with a strong black presence within the cast. But what for me made it stand out above the crowd was the quality of the writing and the assuredness of the directing.
Although based on the ancient UK TV series by Lynda La Plante, the script is written by “Gone Girl” screenwriter Gillian Flynn, and is excellent. It really doesn’t EXPLAIN what is going on, but shows you a series of interconnected scenes and lets you mentally fill in the blanks. While you don’t need to be a rocket scientist to understand the overall story arc, I must admit that even now I’m not 100% sure of some of the nuances of the story. Harry, for example, seems to be a hardened career criminal, and yet he seems to be revered by the political leaders on both sides, even though he seemed to have loyalty to noone. The script cleverly uses flashbacks and has enough twists and turns to keep you on your mental toes.
The characters also worked well for me, with each having a back story and motivations that were distinctly different from each other. Alice (helped by Debecki’s standout performance) is particularly intriguing coming out of an ‘interesting’ relationship. Is she just following the path of her unpleasant mother (Jacki Weaver)? Some of the actions might suggest so.
As for the direction, Steve McQueen (he of “12 Years a Slave“), delivers some scenes that could justly be described as “bold”. A highpoint for me was a short drive by Jack Mulligan and his PA Siobhan (an excellently underplayed Molly Kunz) from a housing project, in a neighbourhood you might worry about walking through at night, to the Mulligan mansion in a leafy and pleasant street. McQueen mounts the camera on the bonnet (hood) of the car, but you can’t see the interior other than occasional glimpses of the chauffeur. All you can hear is Mulligan’s rant to his Siobhan. I thought this worked just brilliantly well. The heist itself well done and suitably tense with an outcome that continues to surprise.
If there’s a criticism then the ending rather fizzles out, leaving a few loose ends flapping in the breeze.
Words of comfort from wannabe politician Jack Mulligan (Colin Farrell) to Veronica (Viola Davis).
The Turns
It’s only been a couple of weeks since my review of the excellent “Bad Times at the El Royale” and I named as my second film of the year for my (private) “Ensemble Cast” award. And here hot on its tail is the third. There are such strong performances across the cast that it’s difficult to pull out specifics: as you start looking at the list you pull out more and more and more names…
As referenced above, I loved Elizabeth Debecki‘s performance. Both vulnerable and strong all in one package.
Colin Farrell, for me, gives his best performance in years as the son caught within the shadow of his overpowering father. A confrontational scene between Farrell and Robert Duvall is particularly powerful.
Daniel Kaluuya is truly threatening (possibly slightly OTT) as the psycho fixer.
For the second time in a month Cynthia Erivo stands out as a major acting force, as the hairstylist cum gang member Belle.
Jon Michael Hill, excellent as a fire-breathing reverend with flexible political views.
It would not surprise me to see Best Supporting Actor nods for any combinations of Debecki, Farrell, Kaluuya and Erivo for this.
I must admit that I’m not the greatest fan of Viola Davis: I find her performances quite mannered. But there’s no doubting here the depth of her passion and with this lead performance she carries this film.
Final Thoughts
I loved this as an intelligent action movie that’s a cut above the rest. Which is a surprise, since from the trailer I thought it looked good but not THAT good! It comes with my recommendation for an exciting and gripping two hours at the cinema. I’m rather caught between two ratings on this one, and if I still had half stars to use I would use it. But as I found this one of the most engrossing films of the year I’ll give it full marks.
If you are considering “inheritence planning” there are probably a number of things you might be toying with: what happens to your house; how to best transfer your investments; who gets the dog; etc. But probably “a grudge” is not on the list. But that’s the problem faced by teacher’s union rep Veronica (Viola Davis). As you might presume from the film’s title Veronica, together with fellow widows Linda (Michelle Rodriquez), Alice (Elizabeth Debicki), Amanda (Carrie Coon), are left in a tight spot when a gang’s robbery of a local black hoodlum’s stack of cash goes badly wrong. The leader of the gang, and Veronica’s husband, is Harry Rawlings (Liam Neeson), and his certain set of skills are not enough to save him.
The victim of the robbery, Jamal Manning (Brian Tyree Henry), is running for local office in the upcoming elections against Jack Mulligan (Colin Farrell), trying to take over the role as part of a long dynasty from his grouchy father Tom (Robert Duvall). Where Jamal might be better with words, Jamal’s brother Jatemme (Daniel Kaluuya, “Get Out“) has a more physical approach to resolving issues.
What Harry has left behind for Veronica is a notebook containing the details of their next job, and Veronica gathers the female group together to carry out the raid to help save them from a “bullet in the head”.
The Review
I really enjoyed this film. It’s the ying to the yang of the disappointing “Ocean’s 8” from earlier in the year. Yes, it’s YET another film that focuses on female empowerment and with a strong black presence within the cast. But what for me made it stand out above the crowd was the quality of the writing and the assuredness of the directing.
Although based on the ancient UK TV series by Lynda La Plante, the script is written by “Gone Girl” screenwriter Gillian Flynn, and is excellent. It really doesn’t EXPLAIN what is going on, but shows you a series of interconnected scenes and lets you mentally fill in the blanks. While you don’t need to be a rocket scientist to understand the overall story arc, I must admit that even now I’m not 100% sure of some of the nuances of the story. Harry, for example, seems to be a hardened career criminal, and yet he seems to be revered by the political leaders on both sides, even though he seemed to have loyalty to noone. The script cleverly uses flashbacks and has enough twists and turns to keep you on your mental toes.
The characters also worked well for me, with each having a back story and motivations that were distinctly different from each other. Alice (helped by Debecki’s standout performance) is particularly intriguing coming out of an ‘interesting’ relationship. Is she just following the path of her unpleasant mother (Jacki Weaver)? Some of the actions might suggest so.
As for the direction, Steve McQueen (he of “12 Years a Slave“), delivers some scenes that could justly be described as “bold”. A highpoint for me was a short drive by Jack Mulligan and his PA Siobhan (an excellently underplayed Molly Kunz) from a housing project, in a neighbourhood you might worry about walking through at night, to the Mulligan mansion in a leafy and pleasant street. McQueen mounts the camera on the bonnet (hood) of the car, but you can’t see the interior other than occasional glimpses of the chauffeur. All you can hear is Mulligan’s rant to his Siobhan. I thought this worked just brilliantly well. The heist itself well done and suitably tense with an outcome that continues to surprise.
If there’s a criticism then the ending rather fizzles out, leaving a few loose ends flapping in the breeze.
Words of comfort from wannabe politician Jack Mulligan (Colin Farrell) to Veronica (Viola Davis).
The Turns
It’s only been a couple of weeks since my review of the excellent “Bad Times at the El Royale” and I named as my second film of the year for my (private) “Ensemble Cast” award. And here hot on its tail is the third. There are such strong performances across the cast that it’s difficult to pull out specifics: as you start looking at the list you pull out more and more and more names…
As referenced above, I loved Elizabeth Debecki‘s performance. Both vulnerable and strong all in one package.
Colin Farrell, for me, gives his best performance in years as the son caught within the shadow of his overpowering father. A confrontational scene between Farrell and Robert Duvall is particularly powerful.
Daniel Kaluuya is truly threatening (possibly slightly OTT) as the psycho fixer.
For the second time in a month Cynthia Erivo stands out as a major acting force, as the hairstylist cum gang member Belle.
Jon Michael Hill, excellent as a fire-breathing reverend with flexible political views.
It would not surprise me to see Best Supporting Actor nods for any combinations of Debecki, Farrell, Kaluuya and Erivo for this.
I must admit that I’m not the greatest fan of Viola Davis: I find her performances quite mannered. But there’s no doubting here the depth of her passion and with this lead performance she carries this film.
Final Thoughts
I loved this as an intelligent action movie that’s a cut above the rest. Which is a surprise, since from the trailer I thought it looked good but not THAT good! It comes with my recommendation for an exciting and gripping two hours at the cinema. I’m rather caught between two ratings on this one, and if I still had half stars to use I would use it. But as I found this one of the most engrossing films of the year I’ll give it full marks.
Kirk Bage (1775 KP) rated Bohemian Rhapsody (2018) in Movies
Mar 3, 2020
In the search for a way to watch the 92nd Academy Awards live from Hollywood tonight I was led to a subscription for Now TV, which is basically the online platform for Sky Cinema. And there I found all the missing films I had yet to see from last year that aren’t available “free” on Amazon Prime or Netflix. I should really have worked it out before now that a free trial might be available, having assumed that a Sky subscription was beyond my means at the moment. Imagine my excitement to not only secure the Oscars but a 7 day pass to catch up on some big titles. It’s the small things in life…
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Kyera (8 KP) rated The Shadow Queen (Ravenspire, #1) in Books
Feb 1, 2018
As a huge fan of re-tellings, I was excited to pick up and read this book. The Shadow Queen is the tale of Snow White, re-imagined into a vast world populated with not only magic users but dragons. Of all of the versions of this story that I've experienced, the Shadow Queen is probably my favourite version. It is always more enjoyable when the heroine is not solely a damsel in distress but is able to save herself when the need arises. The portrayal of a strong female lead is welcome in this story and she is supported by an array of characters.
I really enjoyed how the characters were initially introduced and then developed over the course of the novel. We meet Lorelei (and her brother Leo) as children when their father is still alive and married to his second wife, Irina. You see the love that was once there and then the betrayal that occurs, leading to the princess fleeing the castle. She grows up outside of the palace and is able to learn about her people, become more self-sufficient than she would have been had she lived as a royal and become a stronger person as a result. You understand her motivation and drive to do what is right, even at the cost of herself.
Kol is a royal from another land who always felt like he disappointed his family, but must take on more than he feels he is ready for when he is thrust into a challenging situation. He is initially very immature but quickly grows into the strong leader that his friends already saw him as. You learn just how deeply loyal he is and willing to sacrifice for his people.
The villain was well thought out and not one-dimensional. Queen Irina feels that she must act the way she does and that she deserves the crown. As the elder of two sisters, she was supposed to be married first but that did not happen. She felt betrayed and cheated by her father, her uncle, her sister. No one treated her as she deserved and it made her bitter. She vowed to make the crown hers, whatever the cost. Despite her actions and whether she deserved it, Lorelei's betrayal just added to the darkening of her heart. Irina thought that Lorelei understood her and when it was clear that she did not, Lorelei also became the enemy. While Irina's beliefs are not necessarily valid, it was nice to see the series of events that led her to become the person she was in the novel and show her reasons for her horrific actions.
The world was vast and varied, from the dual-hearted people who could change into dragons, to magic wielders and peasants. I wish that we had seen or heard about more of the world, in depth but what we did experience was very well written. You could imagine the castle or villages that our heroes occcupied and traveled through.
Overall, I would recommend this book to young adult/teen readers who enjoy fairytales, re-tellings, fantasy, magic, dragons, strong female heroines, well-developed characters or Snow White. I enjoyed reading this book and can't wait to see where the series goes, its after happily ever after.
I really enjoyed how the characters were initially introduced and then developed over the course of the novel. We meet Lorelei (and her brother Leo) as children when their father is still alive and married to his second wife, Irina. You see the love that was once there and then the betrayal that occurs, leading to the princess fleeing the castle. She grows up outside of the palace and is able to learn about her people, become more self-sufficient than she would have been had she lived as a royal and become a stronger person as a result. You understand her motivation and drive to do what is right, even at the cost of herself.
Kol is a royal from another land who always felt like he disappointed his family, but must take on more than he feels he is ready for when he is thrust into a challenging situation. He is initially very immature but quickly grows into the strong leader that his friends already saw him as. You learn just how deeply loyal he is and willing to sacrifice for his people.
The villain was well thought out and not one-dimensional. Queen Irina feels that she must act the way she does and that she deserves the crown. As the elder of two sisters, she was supposed to be married first but that did not happen. She felt betrayed and cheated by her father, her uncle, her sister. No one treated her as she deserved and it made her bitter. She vowed to make the crown hers, whatever the cost. Despite her actions and whether she deserved it, Lorelei's betrayal just added to the darkening of her heart. Irina thought that Lorelei understood her and when it was clear that she did not, Lorelei also became the enemy. While Irina's beliefs are not necessarily valid, it was nice to see the series of events that led her to become the person she was in the novel and show her reasons for her horrific actions.
The world was vast and varied, from the dual-hearted people who could change into dragons, to magic wielders and peasants. I wish that we had seen or heard about more of the world, in depth but what we did experience was very well written. You could imagine the castle or villages that our heroes occcupied and traveled through.
Overall, I would recommend this book to young adult/teen readers who enjoy fairytales, re-tellings, fantasy, magic, dragons, strong female heroines, well-developed characters or Snow White. I enjoyed reading this book and can't wait to see where the series goes, its after happily ever after.
Sight Words Ninja - Slicing Game to Learn to Read
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NEW UPDATE! +100 NEW FEATURES! Type, handwrite, annotate, draw, highlight, scan & record notes and...
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6.0
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Music and Photo & Video
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Record, Import, Cut, Arrange, Share — With the ability to adjust the sensitivity of the mic, cut...