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Purple Phoenix Games (2266 KP) rated Gorinto in Tabletop Games
Mar 2, 2020
I have been noticing that as I do more and more reviews and previews I am learning to absolutely adore abstract strategy games. Like, I LOVE them now. So when a call for reviewers came out for a new abstract game with art by Josh Cappel, I was immediately intrigued. I love games with an Asian style (even if loosely themed), and games that reward players for thinking ahead and maximizing their turns. Wait, it plays in 30-60 minutes too? I’m a fan.
A “gorinto” is a Japanese five-tier pagoda tower where each tier is representative of something of religious importance. In this game, each tier is representative of one of the elements: fire, water, wind, earth, and void. In this prototype version, the season tracking pawn is a representative gorinto. To gain deeper understanding of these elements and attain ultimate Wisdom is the goal of the game of Gorinto.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and the final components will be different from these shown. Also, it is not my intention to detail every rule in the game. You are invited to download the rulebook, back the game through the Kickstarter campaign running until March 4, 2020, or purchase through any retailers stocking it after fulfillment. -T
To setup, each player will choose a color, take the play mat of matching color, and place their score marker on the score board. The season tracker will be placed on the scoreboard as well, along with the randomized Goal cards and end-of-game element scoring cards. The main play board will be populated with randomized element tiles pulled from the bag in the shape of a mountain, with 10 tiles placed along the side and top edges of the built mountain of tiles. Determine the first player and the game is ready to be played.
On a player’s turn they will choose one of these outlying tiles to move onto the board. Once placed, the player will choose tiles, based on the placed tile’s power, from the board. For example, “fire spreads tall,” so if a Fire tile is placed on the board, a player may choose any tile from the column where it was placed two spaces above or below the placed tile. The number of tiles that can be plucked from the board depends on the player’s “understanding” of the element (the number of tiles of that type on the player’s board +1). With two tiles on a player’s personal board, they can choose three tiles when moving that type of tile, in the example – fire.
Tiles moved from the left side of the mountain can only move horizontally in their row and tiles moved from the top of the mountain can only move vertically in their column. With each of the elements possessing different ways tiles can be chosen from the mountain, and understanding of each element affecting how many tiles can be chosen, players need to plan ahead for their turns… except that other players will be doing the same and planning their own strategies to destroy their opponents’ plans.
When there are fewer tiles to be moved outside the mountain than there are players, the season (round) ends. At this point, players will score the Goal cards before setting up for the next season.
Each season the Goal cards will be scored – so players will know throughout the game upon what they should be concentrating their efforts. Examples of these Goal cards are: score your tallest stack (1 point per tile), then score your shortest stack (0 points if no tiles on a stack); score your stacks with odd number of tiles twice; score the stack with the median number of tiles three times. By being able to manipulate and keep track of the tile stacks players can be planning their scores ahead of time for each season.
Components. Again, this is a prototype copy of the game, but already one can see the direction this game is headed, and it’s glorious! I have seen the Kickstarter page, and am super excited about seeing nearly every component get a fantastic upgrade. The art direction is incredible, the physical components are plastic and cardboard heaven. I am even pretty happy with this prototype copy. Yeah, the tiles are squarish wooden tiles with stickers, and the retail copy will have sexy interlocking plastic tokens, and the player boards in prototype are rectangular, but the retail copy will have a fancy contoured edge. Even so! The game looks amazing on the table, and will be even more so once it goes to manufacturing in earnest.
I mentioned in my intro that I am falling more in love with abstracts the more I play them. Has it just been that abstracts have been getting better and better lately, or am I leveling up as a gamer? I don’t know and I don’t care. Abstracts hold a very special place in my heart now, and this one is one of the best I have played. Most abstracts get a bad rap for being themeless and boring to look at, but Gorinto brings it and I’m totally diggin’ it. I love games like Gekitai, Calico, Elementos, Hive, and Onitama, and now there’s another to add to my display case of amazing abstracts.
If you enjoy themed abstract strategy games, games that make you think without bogging you down, and games that make you smile even when you lose simply because you enjoyed the experience, you should check this one out. There is still time to back it through Kickstarter, but the campaign ends on Wednesday, March 6. At the time of writing, the campaign is funded at over 500%.
A “gorinto” is a Japanese five-tier pagoda tower where each tier is representative of something of religious importance. In this game, each tier is representative of one of the elements: fire, water, wind, earth, and void. In this prototype version, the season tracking pawn is a representative gorinto. To gain deeper understanding of these elements and attain ultimate Wisdom is the goal of the game of Gorinto.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and the final components will be different from these shown. Also, it is not my intention to detail every rule in the game. You are invited to download the rulebook, back the game through the Kickstarter campaign running until March 4, 2020, or purchase through any retailers stocking it after fulfillment. -T
To setup, each player will choose a color, take the play mat of matching color, and place their score marker on the score board. The season tracker will be placed on the scoreboard as well, along with the randomized Goal cards and end-of-game element scoring cards. The main play board will be populated with randomized element tiles pulled from the bag in the shape of a mountain, with 10 tiles placed along the side and top edges of the built mountain of tiles. Determine the first player and the game is ready to be played.
On a player’s turn they will choose one of these outlying tiles to move onto the board. Once placed, the player will choose tiles, based on the placed tile’s power, from the board. For example, “fire spreads tall,” so if a Fire tile is placed on the board, a player may choose any tile from the column where it was placed two spaces above or below the placed tile. The number of tiles that can be plucked from the board depends on the player’s “understanding” of the element (the number of tiles of that type on the player’s board +1). With two tiles on a player’s personal board, they can choose three tiles when moving that type of tile, in the example – fire.
Tiles moved from the left side of the mountain can only move horizontally in their row and tiles moved from the top of the mountain can only move vertically in their column. With each of the elements possessing different ways tiles can be chosen from the mountain, and understanding of each element affecting how many tiles can be chosen, players need to plan ahead for their turns… except that other players will be doing the same and planning their own strategies to destroy their opponents’ plans.
When there are fewer tiles to be moved outside the mountain than there are players, the season (round) ends. At this point, players will score the Goal cards before setting up for the next season.
Each season the Goal cards will be scored – so players will know throughout the game upon what they should be concentrating their efforts. Examples of these Goal cards are: score your tallest stack (1 point per tile), then score your shortest stack (0 points if no tiles on a stack); score your stacks with odd number of tiles twice; score the stack with the median number of tiles three times. By being able to manipulate and keep track of the tile stacks players can be planning their scores ahead of time for each season.
Components. Again, this is a prototype copy of the game, but already one can see the direction this game is headed, and it’s glorious! I have seen the Kickstarter page, and am super excited about seeing nearly every component get a fantastic upgrade. The art direction is incredible, the physical components are plastic and cardboard heaven. I am even pretty happy with this prototype copy. Yeah, the tiles are squarish wooden tiles with stickers, and the retail copy will have sexy interlocking plastic tokens, and the player boards in prototype are rectangular, but the retail copy will have a fancy contoured edge. Even so! The game looks amazing on the table, and will be even more so once it goes to manufacturing in earnest.
I mentioned in my intro that I am falling more in love with abstracts the more I play them. Has it just been that abstracts have been getting better and better lately, or am I leveling up as a gamer? I don’t know and I don’t care. Abstracts hold a very special place in my heart now, and this one is one of the best I have played. Most abstracts get a bad rap for being themeless and boring to look at, but Gorinto brings it and I’m totally diggin’ it. I love games like Gekitai, Calico, Elementos, Hive, and Onitama, and now there’s another to add to my display case of amazing abstracts.
If you enjoy themed abstract strategy games, games that make you think without bogging you down, and games that make you smile even when you lose simply because you enjoyed the experience, you should check this one out. There is still time to back it through Kickstarter, but the campaign ends on Wednesday, March 6. At the time of writing, the campaign is funded at over 500%.
The Leader's Guide to Presenting
Book
Presentations are an inevitable part of a leader's day to day. They are fundamental to delivering...
Tyler Fletcher (8 KP) rated Artemis Fowl (2020) in Movies
Jun 14, 2020
Character development (1 more)
Forgettable story
Another Live-Action Disney Adaption Bomb
Contains spoilers, click to show
What is it about fantasy novels that makes them so difficult to translate effectively to the silver screen? It’s not impossible – J.K. Rowling’s Harry Potter series and Peter Jackson’s The Lord of the Rings adaptations are proof that it can be done. More often than not, however, the result is as limp and truncated as Kenneth Branagh’s Artemis Fowl – a few standout moments set adrift in a sea of underdeveloped characters, incomplete backstory elements, and abbreviated world building. Although the problem lies primarily in the difficulties associated with condensing an epic tale into a short-ish movie, the lack of elegance with which that is accomplished makes Artemis Fowl a failure for anyone hoping for the next great fantasy film.
The treatment accorded to Artemis Fowl (the movie condenses elements from the first two volumes of an eight-novel cycle into a single film) recalls a Disney misfire from more than three decades ago. Although The Black Cauldron was animated, it suffered from many of the same problems evident in Artemis Fowl: an oversimplification of the backstory, a rushed narrative with poorly realized characters, and a overall lack of faithfulness to the source material. The Black Cauldron worked better because it at least had a clean ending. Artemis Fowl suffers by trying to both provide a credible stopping point (in case there are no additional films) and offering a lead-in to additional adventures (in case there are additional films).
In the books, 12-year old Artemis (played by Ferdia Shaw, the grandson of Robert Shaw) is presented as an anti-hero (although, over the course of the saga, his villainous attributes fade to be replaced by heroic ones). Here, he’s more of a misunderstood boy-genius whose role as the protagonist is never in question. All of his edges have been smoothed out. The story focuses on Artemis’ efforts to locate and rescue his father, Artemis Fowl Sr. (Colin Farrell), an infamous art thief who has been kidnapped by the twisted evil fairy Opal Koboi. Her ransom for releasing him is that Artemis must locate and obtain a powerful McGuffin. He is joined in his efforts by Lower Elements Police (LEP) fairy police officer Holly Short (Lara McDonnell), giant dwarf Mulch Diggums (Josh Gad), and strongman Domovoi Butler (Nonso Anozie).
Artemis Fowl diverges considerably from the two books that form its basis, Artemis Fowl and Artemis Fowl and the Arctic Incident. Although author Eoin Colfer reportedly “approved” the changes, they push the film into an alternate universe from the one occupied by the novels. Even with the pruning of subplots and condensation of the narrative, 100 minutes is too short to tell the story effectively. None of the characters are well-developed, including Artemis. The boy’s relationship with Holly Short evolves with whiplash-inducing rapidity – one moment, they’re enemies (actually, she’s his prisoner), the next they’re friends. The film’s frenetic pace might work for ADD viewers and preteens but there’s no time for world-building or anything more than the most basic exposition. As a result, Artemis Fowl feels rushed to the point of being exhausting and strangely confusing despite the relatively straightforward storyline.
Kenneth Branagh was undoubtedly selected to direct the film based on his success with two earlier Disney properties: the live-action Cinderella and Marvel’s Thor. Perhaps because Branagh had no input into the screenplay (which was completed before he came on board), the movie lacks the complex psychological qualities he normally brings to his films. Visually, Artemis Fowl is impressive. However, although the fairy world of Haven is beautifully rendered, it appears all-too-briefly. The film’s most impressive sequence, a throwdown with a seemingly invincible troll, is a standout by any definition, but it represents only about five minutes of screen time and there’s nothing else that comes close – not even the muted climax.
As is often the case, Branagh’s presence at the top results in some impressive names in the cast. The young leads are newcomers – this is Ferdia Shaw’s first movie (and it shows – his performance is occasionally wooden) and Lara McDonnell’s third (she’s better, evidencing an indomitable pluckiness) – but the rest of the cast is populated with veterans. Josh Gad, another Disney regular, has the most openly comedic role of the film as Mulch Diggums. Colin Farrell is called on for limited duty as Artemis’ mostly-absent father. Nonso Anozie, who has a history with Branagh, plays Artemis’ protector and advisor. Finally, Judi Dench adds a dose of class as Holly’s no-nonsense boss.
It has taken Artemis Fowl nearly 20 years to traverse the route from page to screen and one senses that neither fans nor newcomers will be especially pleased with the end result. Recognizing that the film faced rough seas, Disney postponed the movie’s originally planned August 2019 release to May 2020 then, when the coronavirus made that impossible, the studio elected to shift the film to its Disney+ platform. Although partially a face-saving gesture (Artemis Fowl would likely have had a similar box office reception to Disney’s underwhelming 2018 release, The Nutcracker and the Four Realms), it at least allows the film to find a large audience in a low-pressure situation.
The bottom line seems to be that, while Disney has shown an aptitude for making many different kinds of movies, fantasy epics aren’t among them. This is one genre the Magic Kingdom should perhaps avoid, leaving such properties to studios that have shown better success (such as Warner Brothers). Artemis Fowl could have been the beginning of a movie franchise but, based on the first installment, it’s more likely a one-and-done outing. Disney can't quite get away from the John Carters can they?
THIS FILM IS AN EXCEPTIONAL BOMB
The treatment accorded to Artemis Fowl (the movie condenses elements from the first two volumes of an eight-novel cycle into a single film) recalls a Disney misfire from more than three decades ago. Although The Black Cauldron was animated, it suffered from many of the same problems evident in Artemis Fowl: an oversimplification of the backstory, a rushed narrative with poorly realized characters, and a overall lack of faithfulness to the source material. The Black Cauldron worked better because it at least had a clean ending. Artemis Fowl suffers by trying to both provide a credible stopping point (in case there are no additional films) and offering a lead-in to additional adventures (in case there are additional films).
In the books, 12-year old Artemis (played by Ferdia Shaw, the grandson of Robert Shaw) is presented as an anti-hero (although, over the course of the saga, his villainous attributes fade to be replaced by heroic ones). Here, he’s more of a misunderstood boy-genius whose role as the protagonist is never in question. All of his edges have been smoothed out. The story focuses on Artemis’ efforts to locate and rescue his father, Artemis Fowl Sr. (Colin Farrell), an infamous art thief who has been kidnapped by the twisted evil fairy Opal Koboi. Her ransom for releasing him is that Artemis must locate and obtain a powerful McGuffin. He is joined in his efforts by Lower Elements Police (LEP) fairy police officer Holly Short (Lara McDonnell), giant dwarf Mulch Diggums (Josh Gad), and strongman Domovoi Butler (Nonso Anozie).
Artemis Fowl diverges considerably from the two books that form its basis, Artemis Fowl and Artemis Fowl and the Arctic Incident. Although author Eoin Colfer reportedly “approved” the changes, they push the film into an alternate universe from the one occupied by the novels. Even with the pruning of subplots and condensation of the narrative, 100 minutes is too short to tell the story effectively. None of the characters are well-developed, including Artemis. The boy’s relationship with Holly Short evolves with whiplash-inducing rapidity – one moment, they’re enemies (actually, she’s his prisoner), the next they’re friends. The film’s frenetic pace might work for ADD viewers and preteens but there’s no time for world-building or anything more than the most basic exposition. As a result, Artemis Fowl feels rushed to the point of being exhausting and strangely confusing despite the relatively straightforward storyline.
Kenneth Branagh was undoubtedly selected to direct the film based on his success with two earlier Disney properties: the live-action Cinderella and Marvel’s Thor. Perhaps because Branagh had no input into the screenplay (which was completed before he came on board), the movie lacks the complex psychological qualities he normally brings to his films. Visually, Artemis Fowl is impressive. However, although the fairy world of Haven is beautifully rendered, it appears all-too-briefly. The film’s most impressive sequence, a throwdown with a seemingly invincible troll, is a standout by any definition, but it represents only about five minutes of screen time and there’s nothing else that comes close – not even the muted climax.
As is often the case, Branagh’s presence at the top results in some impressive names in the cast. The young leads are newcomers – this is Ferdia Shaw’s first movie (and it shows – his performance is occasionally wooden) and Lara McDonnell’s third (she’s better, evidencing an indomitable pluckiness) – but the rest of the cast is populated with veterans. Josh Gad, another Disney regular, has the most openly comedic role of the film as Mulch Diggums. Colin Farrell is called on for limited duty as Artemis’ mostly-absent father. Nonso Anozie, who has a history with Branagh, plays Artemis’ protector and advisor. Finally, Judi Dench adds a dose of class as Holly’s no-nonsense boss.
It has taken Artemis Fowl nearly 20 years to traverse the route from page to screen and one senses that neither fans nor newcomers will be especially pleased with the end result. Recognizing that the film faced rough seas, Disney postponed the movie’s originally planned August 2019 release to May 2020 then, when the coronavirus made that impossible, the studio elected to shift the film to its Disney+ platform. Although partially a face-saving gesture (Artemis Fowl would likely have had a similar box office reception to Disney’s underwhelming 2018 release, The Nutcracker and the Four Realms), it at least allows the film to find a large audience in a low-pressure situation.
The bottom line seems to be that, while Disney has shown an aptitude for making many different kinds of movies, fantasy epics aren’t among them. This is one genre the Magic Kingdom should perhaps avoid, leaving such properties to studios that have shown better success (such as Warner Brothers). Artemis Fowl could have been the beginning of a movie franchise but, based on the first installment, it’s more likely a one-and-done outing. Disney can't quite get away from the John Carters can they?
THIS FILM IS AN EXCEPTIONAL BOMB
Steven Sklansky (231 KP) rated The Mountain Between Us (2017) in Movies
Oct 8, 2017
Suspenseful (1 more)
The Dog
Katie Winslet kept getting knocked out (1 more)
The ending.
Survival is the Only Option
I do wish this was more of a survival movie then a drama. The majority of it was good. Two strangers on the mountain trying to survive the elements. The cold, the snow, a puma and frozen lake. They survived it all. But did they really have to fall in love. I know being stuck on a mountain with no physical contact can be tough for a month, but you are trying to survive. The whole time she was trying to get back to her husband, so making the mistake once might be ok. Them falling in love was kind of cheesy. I also don't know why Kate Winslet's character had to keep getting knock out for so long. I think I would have just left her on the mountain.
Watching this movie I learned never to trust a lone pilot in a charter plane. I like that he did not chart a flight path, that seems safe, especially if you are flying into a storm. Then he goes and haves a stroke mid-flight. It was definitely sad, but I am kind of glad he didn't make it.
His dog though held the movie together. The whole time I was wondering if they were going to kill off the dog. I definitely would have added another level to the movie. It would have given the idea that one or both of them might not have survived. But with the dog around gave everyone hope.
I did see the ending coming a mile away and the last 5 minutes was not worth my time. I am sure everyone would have seen it coming. With this type of movie you sometimes have to throw in little twist.
As a survival movie it was very good. As a drama/romance film, not so much. It would be worth renting and not paying for it in theaters.
Watching this movie I learned never to trust a lone pilot in a charter plane. I like that he did not chart a flight path, that seems safe, especially if you are flying into a storm. Then he goes and haves a stroke mid-flight. It was definitely sad, but I am kind of glad he didn't make it.
His dog though held the movie together. The whole time I was wondering if they were going to kill off the dog. I definitely would have added another level to the movie. It would have given the idea that one or both of them might not have survived. But with the dog around gave everyone hope.
I did see the ending coming a mile away and the last 5 minutes was not worth my time. I am sure everyone would have seen it coming. With this type of movie you sometimes have to throw in little twist.
As a survival movie it was very good. As a drama/romance film, not so much. It would be worth renting and not paying for it in theaters.
Sensitivemuse (246 KP) rated The Ritual in Books
Nov 17, 2017
Great Horror, Could have been shorter.
So you know when you’re watching a horror movie and there’s an unseen being involved and you only catch little glimpses here and there throughout the film, and when you do actually see it you think (or more likely, scream out) WHAT THE HELL IS THAT?
Yeah that’s basically what you get throughout the book. It could be similar horror elements like Blair Witch Project, only you do find out what it is towards the latter part of the story. (And it’s still pretty creepy to figure out and picture).
I really do enjoy the horror aspects in this book and the feelings it invokes. You can really feel the desperation, frustration, and anguish felt within the characters. Tempers flare and understandably fights happen from within the group. You feel Luke’s anger and his highs and lows as you follow him throughout this horror journey.
There’s not many twists or blindside moments in this book it’s pretty much standard that you would see in horror books but the setting is very well done. A remote forest in Scandinavia while there’s something big and bad out there provides great atmosphere for the dark and scary.
It does drag out through the last third of the novel where you just have to feel for Luke and you wonder how much the human spirit can take. The ending really should have ended about 50 pages ago and there is repetition through the novel that some may find a trial to go through when reading. It’s manageable most of the time but I was close to losing my interest towards the end of the novel but powered through. It was still an enjoyable read, and recommended for those that want a good solid horror.
I’ll be reading more of his books for sure. I enjoyed the thrill and can only imagine what his other books will be like.
Yeah that’s basically what you get throughout the book. It could be similar horror elements like Blair Witch Project, only you do find out what it is towards the latter part of the story. (And it’s still pretty creepy to figure out and picture).
I really do enjoy the horror aspects in this book and the feelings it invokes. You can really feel the desperation, frustration, and anguish felt within the characters. Tempers flare and understandably fights happen from within the group. You feel Luke’s anger and his highs and lows as you follow him throughout this horror journey.
There’s not many twists or blindside moments in this book it’s pretty much standard that you would see in horror books but the setting is very well done. A remote forest in Scandinavia while there’s something big and bad out there provides great atmosphere for the dark and scary.
It does drag out through the last third of the novel where you just have to feel for Luke and you wonder how much the human spirit can take. The ending really should have ended about 50 pages ago and there is repetition through the novel that some may find a trial to go through when reading. It’s manageable most of the time but I was close to losing my interest towards the end of the novel but powered through. It was still an enjoyable read, and recommended for those that want a good solid horror.
I’ll be reading more of his books for sure. I enjoyed the thrill and can only imagine what his other books will be like.
Lee (2222 KP) rated Daddy's Home 2 (2017) in Movies
Dec 8, 2017
Starts off great but soon veers off into not so great territory.
This year hasn't been good for the comedy movie genre. Will Ferrell in particular managed to star in one of the worst 'comedy' movies I've seen in a long time with 'The House' and even the anticipated sequel to one of the better comedies in recent years, Bad Moms, turned out to be a complete dud. So when a similar, Christmas themed sequel to what was essentially one of the more average movies in recent years came along, my hopes weren't exactly high. The original Daddys Home coasted along on the likeable pairing of Will Ferrell and Mark Wahlberg but did feature a handful of funny elements, obviously enough to greenlight a sequel.
As mentioned previously, Daddys Home 2 is set at Christmas time. Brad and Dusty (Ferrell and Wahlberg) have worked out their differences from the first movie and are getting along just fine as 'co-dads' to the kids. When their own dads (Mel Gibson and John Lithgow) pay a visit, they decide to have a 'together' family Christmas, and Kurt (Gibson) even manages to book a luxury cabin in the snow for them to enjoy it all in. It's a bit of a whirlwind setup, but for a while it all works surprisingly well. I found myself really laughing at some scenes, it was like watching a classic Christmas family disaster along the lines of National Lampoons Christmas Vacation.
But sadly, the momentum soon drops. Scene after scene fails to hit home, and some scenes even leave you wondering what the hell they were thinking by including them in the movie in the first place. Mel Gibsons character becomes increasingly annoying and it's all just a bit of a shame really. Things manage to get back on track towards the end of the movie but it's disappointing that it doesn't retain the high level of laughs and entertainment that kicked off the first third or so.
As mentioned previously, Daddys Home 2 is set at Christmas time. Brad and Dusty (Ferrell and Wahlberg) have worked out their differences from the first movie and are getting along just fine as 'co-dads' to the kids. When their own dads (Mel Gibson and John Lithgow) pay a visit, they decide to have a 'together' family Christmas, and Kurt (Gibson) even manages to book a luxury cabin in the snow for them to enjoy it all in. It's a bit of a whirlwind setup, but for a while it all works surprisingly well. I found myself really laughing at some scenes, it was like watching a classic Christmas family disaster along the lines of National Lampoons Christmas Vacation.
But sadly, the momentum soon drops. Scene after scene fails to hit home, and some scenes even leave you wondering what the hell they were thinking by including them in the movie in the first place. Mel Gibsons character becomes increasingly annoying and it's all just a bit of a shame really. Things manage to get back on track towards the end of the movie but it's disappointing that it doesn't retain the high level of laughs and entertainment that kicked off the first third or so.
Acanthea Grimscythe (300 KP) rated The Lost Heir (The Dragonath Chronicles, #1) in Books
May 16, 2018
One glance at The Lost Heir‘s cover is enough to excite any fantasy loving bookwyrm. Add in it’s synopsis? Well, let’s put it this way: I buckled in for the ride and went nowhere. It’s not often that I choose to drop a book. In the year since I began book blogging, only one of my reviews was a DNF. This book marks my second.
A quick perusal of The Lost Heir on Goodreads shows the book to have some rather stellar reviews since its publish date in 2013. This leaves me baffled and wondering whether or not I was reading the same book. Andi O’Connor is great when it comes to descriptions, but beyond that her voice seems largely passive. Additionally, there is so much exposition that it is distracting.
If that alone isn’t a letdown, then the characters we meet in the first several chapters certainly are. When I review a book, I usually spend a paragraph or two on its characters. This is where I praise or ridicule the roles within the book. Only, O’Connor introduces so many characters so early in the book that I cannot recall half of their names, let alone their purposes. Those that merit mention seem unsure of themselves. For instance, Princess Mionee appears as a young, adept sorceress. While seemingly random elements of the early pages receive plenty of backstory, she appears to simply exist. And she’s a villain… apparently? Whereas our presumed hero, Darrak Hunter, is a whiney, college wimp. And the other characters we meet early on? They fail to impress.
My first attempt at reading this book saw me through the five percent of it. The second attempt netted another six percent before I came to the conclusion that, no matter what the reviews say, this book isn’t for me. The premise of The Lost Heir is stellar; it’s a shame the book isn’t.
A special thanks to the publisher and NetGalley for providing with a copy of this book for the purpose of review.
A quick perusal of The Lost Heir on Goodreads shows the book to have some rather stellar reviews since its publish date in 2013. This leaves me baffled and wondering whether or not I was reading the same book. Andi O’Connor is great when it comes to descriptions, but beyond that her voice seems largely passive. Additionally, there is so much exposition that it is distracting.
If that alone isn’t a letdown, then the characters we meet in the first several chapters certainly are. When I review a book, I usually spend a paragraph or two on its characters. This is where I praise or ridicule the roles within the book. Only, O’Connor introduces so many characters so early in the book that I cannot recall half of their names, let alone their purposes. Those that merit mention seem unsure of themselves. For instance, Princess Mionee appears as a young, adept sorceress. While seemingly random elements of the early pages receive plenty of backstory, she appears to simply exist. And she’s a villain… apparently? Whereas our presumed hero, Darrak Hunter, is a whiney, college wimp. And the other characters we meet early on? They fail to impress.
My first attempt at reading this book saw me through the five percent of it. The second attempt netted another six percent before I came to the conclusion that, no matter what the reviews say, this book isn’t for me. The premise of The Lost Heir is stellar; it’s a shame the book isn’t.
A special thanks to the publisher and NetGalley for providing with a copy of this book for the purpose of review.